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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 paper presents a mobile approach of integrating tangible user feedback in today’s virtual TV studio productions. We describe a tangible multitouch planning system, enabling a single user to prepare and customize scene flow and settings. Users can view and interact with virtual objects by using a tangible user interface on a capacitive multitouch surface. In a 2D setting created TV scenes are simultaneously rendered as separate view using a production/target renderer in 3D. Thereby the user experiences a closer reproduction of a final production and set assets can be reused. Subsequently, a user can arrange scenes on a timeline while maintaining different versions/sequences. The system consists of a tablet and a workstation, which does all application processing and rendering. The tablet is just an interface connected via wireless LAN.
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.
Broader use of virtual reality environments and sophisticated animations spawn a need for spatial sound. Until now, spatial sound design has been based very much on experience and trial and error. Most effects are hand-crafted, because good design tools for spatial sound do not exist. This paper discusses spatial sound authoring and its applications, including shared virtual reality environments based on VRML. New utilities introduced by this research are an inspector for sound sources, an interactive resource manager, and a visual soundscape manipulator. The tools are part of a sound spatialization framework and allow a designer/author of multimedia content to monitor and debug sound events. Resource constraints like limited sound spatialization channels can also be simulated.
The PSFC, or Pioneer sound field control system, is a DSP-driven hemispherical 14-loudspeaker array, installed at the University of Aizu Multimedia Center. Collocated with a large screen rear-projection stereographic display the PSFC features realtime control of virtual room characteristics and direction of two separate sound channels, smoothly steering them around a configurable soundscape. The PSFC controls an entire sound field, including sound direction, virtual distance, and simulated environment (reverb level, room size and liveness) for each source. It can also configure a dry (DSP-less) switching matrix for direct directionalization. The PSFC speaker dome is about 14 m in diameter, allowing about twenty users at once to comfortably stand or sit near its sweet spot.
Auditory displays with the ability to dynamically spatialize virtual sound sources under real-time conditions enable advanced applications for art and music. A listener can be deeply immersed while interacting and participating in the experience. We review some of those applications while focusing on the Helical Keyboard project and discussing the required technology. Inspired by the cyclical nature of octaves and helical structure of a scale, a model of a piano-style keyboard was prepared, which was then geometrically warped into a helicoidal configuration, one octave/revolution, pitch mapped to height and chroma. It can be driven by MIDI events, real-time or sequenced, which stream is both synthesized and spatialized by a spatial sound display. The sound of the respective notes is spatialized with respect to sinks, avatars of the human user, by default in the tube of the helix. Alternative coloring schemes can be applied, including a color map compatible with chromastereoptic eyewear. The graphical display animates polygons, interpolating between the notes of a chord across the tube of the helix. Recognition of simple chords allows directionalization of all the notes of a major triad from the position of its musical root. The system is designed to allow, for instance, separate audition of harmony and melody, commonly played by the left and right hands, respectively, on a normal keyboard. Perhaps the most exotic feature of the interface is the ability to fork oneÃs presence, replicating subject instead of object by installing multiple sinks at arbitrary places around a virtual scene so that, for example, harmony and melody can be separately spatialized, using two heads to normalize the octave; such a technique effectively doubles the helix from the perspective of a single listener. Rather than a symmetric arrangement of the individual helices, they are perceptually superimposed in-phase, co-extensively, so that corresponding notes in different registers are at the same azimuth.
Multimediale Technologien werden in der Marktforschung immer stärker eingesetzt, um flexible und kostengünstige Studien durchzuführen. Im Innovationsprozess kann dabei auf die langjährigen Erfahrungen zurückgegriffen werden, die durch den Einsatz der Computersimulation in der technischen Produktentwicklung zustande gekommen sind. In sehr frühen Phasen des Innovationsprozesses können durch Einsatz der neuen Technologien die Markteinführungskonzepte für neue Produkte getestet werden. Die Applikationen der virtuellen Realität bieten ein einzigartiges Potential, neue Produkte einschlieï‚lich des Marketingkonzeptes zu testen, ohne dass dieses Produkt bereits physisch vorhanden sein muss. Am Beispiel eines Elementes des Marketingkonzeptes, der Preispolitik, zeigt die vorliegende Studie auf, welches Potential die virtuelle Kaufsituation von Produkten bietet. Der Fokus des Projektes liegt auf der interaktiven Produktpräsentation in einer virtuellen Umgebung, die in eine Online-Befragung mit zusätzlichen Werbefilmen eingebettet ist. Visuell hochwertige 3D-Produktpräsentationen versetzen den Probanden in eine virtuelle Einkaufsumgebung, die einem realen Szenario entspricht. Die virtuellen Produkte werden in mehreren Kaufentscheidungsrunden zu unterschiedlichen Preisen angeboten. Der Preisuntersuchung geht eine Präsentation ausgewählter Werbespots sowie eine produktbezogene Befragung voraus. Im Anschluss an die virtuellen Preisentscheidungen werden die Eindrücke sowie einige Kontrollgröen abgefragt. In weitergehenden Studien dieser Art können die Wirkungen mehrerer Marketing-Instrumente zu einem Zeitpunkt untersucht werden, in dem sich die Produkte noch im Entwicklungsprozess befinden. Auf diesem Weg lassen sich auch Wettbewerbsvorteile bestehender Produkte effizienter erkennen und nutzen. Mit den hoch entwickelten Computer- und Visualisierungstechnologien ist ein mächtiges Werkzeug entstanden, das bereits für kommerzielle Präsentationen und Produktstudien eingesetzt wird. Zukünftig kann es auch in Kombination mit Internetanwendungen und klassischen Methoden der Marktforschung zu einem sehr frühen Zeitpunkt umfassende Erkenntnisse über ein Produkt liefern.
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.