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“Public Brewing“ – eine interaktive Medienfassade mit einer be-greifbaren Nutzerschnittstelle
(2014)
Einfach benutzbare VR-Anwendungen erfordern andere Interaktionstechniken als konventionelle Desktop-Anwendungen mit Maus, Tastatur und Desktop-Metapher zur Verfügung stellen. Da solche Ansätze in Konzeption und Realisierung deutlicher komplexer sind, müssen diese mit Sorgfalt ausgewählt werden. Folgt man der Argumentation, dass VR eine natürliche Interaktion mit virtuellen Objekten ermöglicht, so führt dies fast zwangsläufig zu zweihändigen Interaktionstechniken für virtuelle Umgebungen, da Benutzer in realen Umgebungen gewohnt sind, fast ausschlieï‚lich zweihändig zu agieren. In diesem Beitrag geben wir eine Übersicht über den Stand der Technik im Bereich zweihändiger Interaktion, leiten Anforderungen an eine Entwicklung zweihändiger Interaktionstechniken in VR ab und beschreiben einen eigenen Ansatz. Dabei geht es um die zweihändige Interaktion bei der Simulation flexibler biegeschlaffer Bauteile (z. B. Schlauchverbindungen).
For this study, an experimental vibrotactile feedback system was developed to help actors with the task of moving their arm to a certain place in a virtual tv studio under live conditions. Our intention is to improve interaction with virtual objects in a virtual set, which are usually not directly visible to the actor, but only on distant displays. Vibrotactile feedback might improve the appearance on tv because an actor is able to look in any desired direction (camera or virtual object) or to read text on a teleprompter while interacting with a virtual object. Visual feedback in a virtual studio lacks spatial relation to the actor, which impedes the adjustment of the desired interaction. The five tactors of the implemented system which are mounted on the tracked arm give additional information like collision, navigation and activation. The user study for the developed system shows that the duration for reaching a certain target is much longer in case no visual feedback is given, but the accuracy is similar. In this study, subjects reported that an activation signal indicating the arrival at the target of a drag & drop task was helpful. In this paper, we discuss the problems we encountered while developing such a vibrotactile display. Keeping these pitfalls in mind could lead to better feedback systems for actors in virtual studio environments.
More than three decades of ongoing research in immersive modelling has revealed many advantages of creating objects in virtual environments. Even though there are many benefits, the potential of immersive modelling has only been partly exploited due to unresolved problems such as ergonomic problems, numerous challenges with user interaction and the inability to perform exact, fast and progressive refinements. This paper explores past research, shows alternative approaches and proposes novel interaction tools for pending problems. An immersive modelling application for polygon meshes is created from scratch and tested by professional users of desktop modelling tools, such as Autodesk Maya, in order to assess the efficiency, comfort and speed of the proposed application with direct comparison to professional desktop modelling tools.
This article presents a new approach of integrating tangible user feedback in todays virtual TV studio productions. We describe a tangible multitouch planning system, enabling multiple users to prepare and customize scene flow and settings. Users can collaboratively view and interact with virtual objects by using a tangible user interface on a shared multitouch surface. The in a 2D setting created TV scenes are simultaneously rendered on an external monitor, using a production/target renderer in 3D. Thereby the user experiences a closer reproduction of a final production. Subsequently, users are able to join together the scenes into one complex plot. Within the developing process, a video prototype of the system shows the user interaction and enables early reviews and evaluations. The requirement analysis is based on expert interviews.
The Soundtrack Of Your Life
(2012)
The conductor's philosophy
(2013)
Actors in virtual studio productions are faced with the challenge that they have to interact with invisible virtual objects because these elements are rendered separately and combined with the real image later in the production process. Virtual sets typically use static virtual elements or animated objects with predefined behavior so that actors can practice their performance and errors can be corrected in the post production. With the demand for inexpensive live recording and interactive TV productions, virtual objects will be dynamically rendered at arbitrary positions that cannot be predicted by the actor. Perceptive aids have to be employed to support a natural interaction with these objects. In our work we study the effect of haptic feedback for a simple form of interaction. Actors are equipped with a custom built haptic belt and get vibrotactile feedback during a small navigational task (path following). We present a prototype of a wireless vibrotactile feedback device and a small framework for evaluating haptic feedback in a virtual set environment. Results from an initial pilot study indicate that vibrotactile feedback is a suitable non-visual aid for interaction that is at least comparable to audio-visual alternatives used in virtual set productions.