05 Feb Construction Narration Through the Eyes of Your Field Staff
Construction projects move fast; even when it may look like things are moving slow. In this industry, like many others, time is money, and more time spent over what was budgeted, means less money made than what was forecasted.
In a perfect world, a construction project would run smooth as silk if there were no problems. The reality is, that there is always an amount of uncertainty that contractors knowingly dip their feet in. Like in anything, the more you know about the problem, generally the easier it is to solve.
When managing a project, regardless of the size, it’s impossible to be everywhere on a construction site at all times, taking of note of what’s happening and ensuring things are going as you planned. This is where your field staff come in to give managers extra muscle, and a fresh set of eyes on site. And if those eyes could snap pictures every so often, as the field staff roam around and take notes, you would have yourself a use for the narrative clip on the construction site.
The Narrative Clip 2: For (Construction) Moments that Matter.
What matters more than the pouring of that steel reinforced concrete slab? Nothing.
The narrative clip gives the chance for this industry to capture construction photographs with ease, like never before. Simply wear the clip and go on field. As the field personnel walk around, pictures are snapped and saved on the device. When the personnel re-enter the office or any other Wi-fi enabled zone, those pictures get uploaded to the server, for managers to see, comment on and archive for later use.
This product was not originally meant for construction, but it’s clear to see it’s use could add a fair amount of value to any construction team. With more interesting consumer technology being invented and released daily, I can’t help but imagine how essential these nice-to-have devices could be for other industries. Imagine I shall.
For more information on the narrative clip check out the following link:
— bhavik . . .