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The late immersion of multi-touch sensitive displays enables the use of tangibles on multi-touch screens. There a several wide spread and/or sophisticated solutions to fulfill this need but they seem to have some flaws. One popular system at the time of writing is an overlay frame that can be placed on a normal display with the corresponding size. The frame creates a grid with infrared light emitting diodes. The disruption of this grid can be detected and messages with the positions are sent via usb to a connected computer. This system is quite robust in matters of ambient light insensitivity and also fast to calibrate. Unfortunately it is not created with the recognition of tangibles in mind and printed patterns can not be resolved. This article summarizes an attempt to create fiducials that are recognized by an infrared multi-touch frame as fingers. Those false fingers are checked by a software for known patterns. Once a known pattern (= fiducial) has been recognized its position and orientation are send with the finger positions towards the interactive software. The usability is tested with an example application where tangibles and finger touches are used in combination.
Markerless talent tracking is widely used for interactions and animations within virtual environments. In a virtual (tv) studio talents could be overburden by interaction tasks because camera and text require extensive attention. We take a look into animations and inter- actions within a studio, which do not require any special attention or learning. We show the generation of an artificial shadow from a talent, which ease the keying process, where separation of real shadows from the background is a difficult task. We also demonstrate animations of footsteps and dust. Furthermore, capturing talents’ height can also be used to adjust the parameters of elements in the virtual environment, like the position and scaling of a virtual display. In addition to the talents, a rigid body was tracked as placeholder for graphics, easing the interaction tasks for a talent. Two test productions show the possibilities, which subtle animations offer. In the second production, the rendering was improved (shadows, filtering, normal maps, ...) and instead of using the rigid body to move an object (a flag), the animation was only controlled by the hand’s position.
The article discusses the question of “How to convey the experience in a virtual environment to third parties?” and explains the different technical implementations which can be used for live streaming and recording of a mixed reality experience. The real-world applications of our approach include education, entertainment, e- sports, tutorials, and cinematic trailers, which can benefit from our research by finding a suitable solution for their needs. We explain and outline our Mixed Reality systems as well as discuss the experience of recorded demonstrations of different VR applications, including the need for calibrated camera lens parameters based on realtime encoder values.
Für moderne interaktive Anwendungen wird es immer wichtiger, einen Benutzer durch zusätzlichen Ballast so wenig wie möglich einzuschränken. Daher bietet sich eine kamerabasierte Interaktionserkennung an. Viele existierende Verfahren benötigen dazu aber einen weitestgehend statischen Hintergrund. In der gegebenen Anwendung allerdings befindet sich im Sichtbereich der Kameras eine Projektion bewegter Inhalte, mit denen ein Benutzer interagieren kann. Im Rahmen dieser Arbeit sollte ein bestehendes, auf Infrarotlicht basierendes System verbessert werden, das sich bisher als beleuchtungsabhängig erwiesen hat. Dazu wurden zunächst mehrere Verfahren zur Trennung von Vorder- und Hintergrund auf ihre Tauglichkeit untersucht. Das favorisierte Verfahren sollte anschließend durch stereoskopische Bildaufnahme - und damit tiefenbasierte Trennung - so verbessert werden, dass der bewegte Hintergrund sicher unterdrückt wird. Dies erwies sich für die gewünschten Anwendungen zwar als nicht praktikabel, dennoch wurden mögliche andere Anwendungsbereiche gefunden. Auch die Untersuchung der einzelnen Trennungsverfahren lieferte ein Ergebnis, das - mit weiteren Tests - zur Verbesserung der bestehenden Installation beitragen kann.
Der Autor stellt eine Methode vor, um einer computergenerierten Szene auf neue Art und Weise zusätzlichen Realismus zu verleihen. Er tut dies unter Erweiterung des traditionellen festen Shadingmodells durch Bildsequenzen (nachfolgend Videotextur genannt), welche die Oberflächen anderer Objekte innerhalb einer Szene in Echtzeit beleuchten. Im Rahmen der Diplomarbeit wurde eine Beispielanwendung erstellt, in der eine vorbeiziehende Landschaft (Videotextur) auf den Innenraum eines computergenerierten Zuges (3D-Polygon-Geometrie) einen Beleuchtungseinfluß ausübt. Diese Integration von real gefilmtem Material und computergenerierten Bildern ist eine übliche Vorgehensweise bei Spezialeffekten für Film und Fernsehen, aber erst seit kurzem bietet die durchschnittliche PC-Grafikhardware entsprechende Möglichkeiten unter Echtzeitbedingungen an. Um dieses Vorhaben umzusetzen wird umfangreicher Gebrauch der OpenGL Shader- Hochsprache gemacht, durch die ein Shaderentwickler in der Lage ist, mit einem C-ähnlichen Programm die Pixelberechnungsfunktionalität der Grafikkarte seinen W ünschen entsprechend anzupassen.
The Sound Spatialization Framework is a C++ toolkit and development environment for providing advanced sound spatialization for virtual reality and multimedia applications. The Sound Spatialization Framework provides many powerful display and user-interface features not found in other sound spatialization software packages. It provides facilities that go beyond simple sound source spatialization: visualization and editing of the soundscape, multiple sinks, clustering of sound sources, monitoring and controlling resource management, support for various spatialization backends, and classes for MIDI animation and handling.
Education at the University of Aizu is focussed upon computer science. Besides being the subject matter of many courses, however, the computer also plays a vital role in the educational process itself, both in the distribution of instructional media, and in providing students with valuable practical experience. All students have unlimited access (24-hours-a-day) to individual networked workstations, most of which are multimedia-capable (even video capture is possible in two exercise rooms). Without software and content tailored for computer-aided instruction, the hardware becomes an expensive decoration. In any case, there is a need to better educate the instructors and students in the use of the equipment. In the interest of facilitating effective, collaborative use of network-based computers in teaching, this article explores the impact that a network environment can have on such activities. First, as a general overview, and to examine the motivation for the use of a network environment in teaching, this article reviews a range of different styles of collaboration. Then the article shows what kind of tools are available for use, within the context of what has come to be called Computer-Supported Cooperative Work (CSCW).