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Digital broadcasting enables interactive \sc tv, which presents new challenges for interactive content creation. Besides the technology for streaming and viewing, tools and systems are under development that extend traditional \sc tv studios with virtual set environments. This presentation reviews current technology and describes the requirements for such systems. Interoperability over the production, streaming, and viewer levels requires open interfaces. As the technology allow more interaction, it becomes inherent difficult to control the quality of the viewers experience
Distance and Room Effects Control for the PSFC, an Auditory Display using a Loudspeaker Array
(2000)
The Pioneer Sound Field Controller (PSFC), a loudspeaker array system, features realtime configuration of an entire sound field,including sound source direction, virtual distance, and context of simulated environment (room characteristics: room size and liveness)for each of two sound sources. In the PSFC system, there is no native parameter to specify the distance between the sound source and sound sink (listener) and also no function to control it directrly. This paper suggests the method to control virtual distance using basic parameters: volume, room size and liveness. The implementation of distance cue is an important aspect of 3D sounds. Virtual environments supporting room effects like reverberation not only gain realism but also provide additional information to users about surrounding space. The context switch of different aural attributes is done by using an API of the Sound Spatialization Framework. Therefore, when the sound sink move through two rooms, like a small bathroom and a large living room, the context of the sink switches and different sound is obtained.
A chatspace was developed that allows conversation with 3D sound using networked streaming in a shared virtual environment. The system provides an interface to advanced audio features, such as a "whisper function" for conveying a confided audio stream. This study explores the use of spatial audio to enhance a user's experience in multiuser virtual environments.
Virtual sets have evolved from computer-generated, prerendered 2D backgrounds to realtime, responsive 3D computer graphics and are nowadays standard repertoire of broadcasting divisions. The graphics, which are combined with real video feed becoming moresophisticated, real looking and more responsive. We will look at the recent developments and suggest further developments like integration of spatial audio into the studio production and generating interactive media streams. Educational institutes recognize the demands of the rising media industry and established new courses on media technology like the Duesseldorf University of Applied Sciences.
Virtual set environments for broadcasting become more sophisticated as well as the visual quality improves. Realtime interaction and production-specific visualization implemented through plugin mechanism enhance the existing systems like the 3DK. This work presents the integration of the Intersense IS-900 SCT camera tracking and 3D interaction into the 3DK virtual studio environment. The main goal of this work is the design of a virtual studio environment for post productions, which includes video output as well as media streaming formats such as MPEG-4. The systems allows high quality offline rendering during post production and 3D interaction by the moderator during the recording.
Using spatial audio successfully for augmented reality (AR) applications is a challenge, but is awarded with an improved user experience. Thus, we have extended the AR/VR framework \sc Morgan with spatial audio to improve users orientation in an AR application. In this paper, we investigate the users’ capability to localize and memorize spatial sounds (registered with virtual or real objects). We discuss two scenarios. In the first scenario, the user localizes only sound sources and in the second scenario the user memorizes the location of audio-visual objects. Our results reflect spatial audio performance within the application domain and show which technology pitfalls still exist. Finally, we provide design recommendations for spatial audio AR environments.
Two high dynamic range HDR environments maps based on video streams from fish-eye lens cameras are used for generating virtual lights in a virtual set renderer. The task of realistic virtual light setup of scenes using captured environment maps might be eased as well as visual quality improves. We discuss the light setting problem for virtual studio tv productions which have mixed scenes of real objects, actors, virtual objects and virtual backgrounds. Benefits of hdr interactive light control are that the real light in the studio does not have to be remodeled and the artistic impression by using the light in the studio is also captured. An analysis of system requirements identifies technical challenges. We discuss the properties of a prototype system including test production.
Virtual TV studios use actor tracking systems for resolving the occlusion of computer graphics and studio camera image. The actor tracking delivers the distance between actor and studio camera. We deploy a photonic mixing device, which captures a depth map and a luminance image at low resolution. The renderer engines gets one depth value per actor using the OSC protocol. We describe the actor recognition algorithm based on the luminance image and the depth value calculation. We discuss technical issues like noise and calibration.
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.
Vibrotactile feedback via body-worn vibrating belts is a common means of direction signalization - e.g. for navigational tasks. Consequently such feedback devices are used to guide blind or visually impaired people but can also be used to support other wayfinding tasks - for instance, guiding actors in virtual studio productions. Recent effort has been made to simplify this task by integrating vibrotactile feedback into virtual studio applications. In this work we evaluate the accuracy of an improved direction signalization technique, utilizing a body-worn vibrotactile belt with a limited number of tactors, and compare it to other work. The results from our user study indicate that it is possible to signalize different directions accurately, even with a small number of tactors spaced by 90°.
In this paper we describe the design of a virtual reality simulator for traditional intuitive archery. Traditional archers aim without a target figure. Good shooting results require an excellent body-eye coordination that allows the user to perform identical movements when drawing the bow. Our simulator provides a virtual archery experience and supports the user to learn and practice the motion sequence of traditional archery in a virtual environment. We use an infrared tracking system to capture the user’s movements in order to correct his movement. To provide a realistic haptic feedback a real bow is used as interaction device. Our system provides a believable user experience and supports the user to learn how to shoot in the traditional way. Following a user-centered iterative design approach we developed a number of prototypes and evaluated them for refinement in sequent iteration cycles. For illustration purposes we created a short video clip in our virtual studio about this project that presents the main ideas in an informative yet entertaining way.
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.
Shadows in computer graphics are an important rendering aspect for spatial objects. For realtime computer applications such as games, it is essential to represent shadows as accurate as possible. Also, various tv stations work with virtual studio systems instead of real studio sets. Especially for those systems, a realistic impression of the rendered and mixed scene is important. One challenge, hence, is the creation of a natural shadow impression. This paper presents the results of an empirical study to compare the performance and quality of different shadow mapping methods. For this test, a prototype studio renderer was developed. A percentage closer filter (pcf) with a number of specific resolutions is used to minimize the aliasing issue. More advanced algorithms which generate smooth shadows like the percentage closer soft shadow (pcss) method as well as the variance shadow maps (vsm) method are analysed. Different open source apis are used to develop the virtual studio renderer, giving the benefit of permanent enhancement. The Ogre 3D graphic engine is used to implement the rendering system, benefiting from various functions and plugins. The transmission of the tracking data is accomplished with the vrpn server/client and the Intersense api. The different shadow algorithms are compared in a virtual studio environment which also casts real shadows and thus gives a chance for a direct comparison throughout the empirical user study. The performance is measured in frames per secon
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.
In this paper we describe a prototypical system for live musical performance in a virtual studio environment. The performer stands in front of the studio camera and interacts with an infrared-laser-based multi-touch device. The final TV image shows the performer interacting with a virtual screen which is augmented in front of herself. To overcome the problem of the performer not seeing this virtual screen in reality, we use a special hexagonal grid to facilitate the performer's awareness of this novel Theremin-like virtual musical instrument.
This paper presents a tracking of parts of a human body in a virtual TV studio environment. The tracking is based on a depth camera and a HD studio camera and aims at a realistic interaction between the actor and the computer generated environment. Stereo calibration methods are used to match corresponding pixels of both cameras (HD color and depth image). Hence the images were rectified and column aligned. The disparity is used to correct the depth image pixel by pixel. This image registration results in row and column aligned images where ghost regions are in the depth image resulting from occlusion. Both images are used to generate foreground masks with chroma and depth keying. The color image is taken for skin color segmentation to determine and distinguish the actor’s hands and face. In the depth image the flesh colored regions were used to determine their spatial position. The extracted positions were augmented by virtual objects. The scene is rendered correctly with virtual camera parameters which were calculated from the camera calibration parameters. Generated computer graphics with alpha value are combined with the HD color images. This compositing shows interaction with augmented objects for verification. The additional depth information results in changing the size of objects next to the hands when the actor moves around.
In this paper we introduce a system for tracking persons walking or standing on a large planar surface and for using the acquired data to easily configure position based interactions for virtual studio productions. The tracking component of the system, radarTRACK, is based on a laser scanner device capable of delivering interaction points on a large configurable plane. By using the device on the floor it is possible to use the delivered data to detect feet positions and derive the position and orientation of one or more users in real time. The second component of the system, named OscCalibrator, allows for the easy creation of multidimensional linear mappings between input and output parameters and the routing of OSC messages within a single modular design environment. We demonstrate the use of our system to flexibly create position-based interactions in a virtual studio environment.