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Die Visualisierung von Produkten in Echtzeit ist in vielen Bereichen ein hilfreicher Schritt, um potentiellen Kunden eine Vorstellung vom Einsatzgebiet und einen Überblick über die finale Anwendung zu erlauben. In den letzten Jahren haben neue Technologien in der Grafikkartenindustrie dazu geführt, dass früher nur auf teuren Grafikworkstations verfügbare Möglichkeiten nun auch mit relativ kostengünstigen Karten, welche für den Einsatz in Standard-PCs konzipiert wurden, realisierbar sind.
Es wird an einem Modellentwurf des Innenraums des People Cargo Movers gezeigt, wie die Beleuchtung innerhalb einer Echtzeitvisualisierung durch Shader realisiert werden kann. Als Lichtquelle wird dabei eine Landschaftsaufnahme herangezogen, welche als eine von mehreren Videotexturen eingebunden wurde. Außerdem werden real im virtuellen Studio gefilmte Personen im Innenraum gleichermaï‚en über Videotexturen dargestellt und ebenfalls durch die Landschaft beleuchtet.
In today’s market research mechanisms multi modal technologies are significant tools to perform flexible and price efficient studies for not only consumer products but also consumer goods. Current appraisal mechanisms in combination with applied computer graphics can improve the assessment of a product’s launch in the very early design phase or an innovation process. The combination of online questionnaires, Virtual Reality (VR) applications and a database management system offers a powerful tool to let a consumer judge products as well as innovated goods even without having produced a single article. In this paper we present an approach of consumer good studies consisting of common as well as interactive VR product presentations and online questionnaires bases on a bidirectional database management solution to configure and manage numerous studies, virtual sets, goods and participants in an effective way to support the estimation of the received data. Non-programmers can create their test environment including a VR scenario very quickly without any effort. Within the extensive knowledge of consumer goods, marketing instruments can be defined to shorten and improve the rollout process in the early product stages.
We report about several experiments on applying mixed reality technology in the context of accessing collective memories from atomic bombs, Holocaust and Second World War. We discuss the impact of Virtual Reality, Augmented Virtuality and Augmented Reality for specific memorial locations. We show how to use a virtual studio for demonstrating an augmented reality application for a specific location in a remote session within a video conference. Augmented Virtuality is used to recreate the local environment, thus providing a context and helping the participants recollect emotions related to a certain place. This technique demonstrates the advantages of using virtual (VR) and augmented (AR) reality environments for rapid prototyping and pitching project ideas in a live remote setting.
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
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.
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.
Virtual environments can create a realistic impression of an architectural space during the architectural design process, providing a powerful tool for evaluation and promotion during a project’s early stages. In comparison to pre-rendered animations,
such as walkthroughs based on CAD models, virtual environments can offer intuitive interaction and a more life like experience. Advanced virtual environments allow users to change realtime rendering features with a few manipulations, switching between different versions while still maintaining sensory immersion. This paper reports on an experimental project in which architectural models are being integrated into interactive virtual environments, and includes demonstrations of both the possibilities and limitations of such applications in evaluating, presenting and promoting architectural designs.
The audio design for virtual environments includes simulation of acoustical room properties besides specifing sound sources and sinks and their behavior. Virtual environments supporting room reverberation not only gain realism but also provide additional information to the user about surrounding space. Catching the different sound properties by the different spaces requires partitioning the space by the properties of aural spaces. We define soundscape and aural attributes as an application and multimedia content interface. Calculated data on an abstract level is sent to spatialization backends. Part of this research was the implementation of a device driver for the Roland Sound Space Processor. This device not only directionalizes sound sources, but also controls room effects like reverberation.
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.
Digital broadcasting enables interactive \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.
In a virtual reality environment, users are immersed in a scene with objects which might produce sound. The responsibility of a VR environment is to present these objects, but a practical system has only limited resources, including spatialization channels (mixels), MIDI/audio channels, and processing power. A sound spatialization resource manager, introduced in this thesis, controls sound resources and optimizes fidelity (presence) under given conditions, using a priority scheme based on psychoacoustics. Objects which are spatially close together can be coalesced by a novel clustering algorithm, which considers listener localization errors. Application programmers and VR scene designers are freed from the burden of assigning mixels and predicting sound source locations. The framework includes an abstract interface for sound spatialization backends, an API for the VR environments, and multimedia authoring tools.
Level-of-detail is a concept well-known in computer graphics to reduce the number of rendered polygons. Depending on the distance to the subject (viewer), the objects’ representation is changed. A similar concept is the clustering of sound sources for sound spatialization. Clusters can be used to hierarchically organize mixels and to optimize the use of resources, by grouping multiple sources together into a single representative ource. Such a clustering process should minimize the error of position allocation of
elements, perceived as angle and distance, and also differences between velocity relative to the sink (i.e., Doppler shift). Objects with similar direction of motion and speed (relative to sink) in the same acoustic resolution cone and with similar distance to a sink can be grouped together.
Level-of-detail is a concept well-known in computer graphics to reduce the number of rendered polygons. Depending on the distance to the subject (viewer), the objects’ representation is changed. A similar concept is the clustering of sound sources for sound spatialization. Clusters can be used to hierarchically organize mixelsand to optimize the use of resources, by grouping multiple sources together into a single representative source. Such a clustering process should minimize the error of position allocation of elements, perceived as angle and distance, and also differences between velocity relative to the sink (i.e., Doppler shift). Objects with similar direction of motion and speed (relative to sink) in the same acoustic resolution cone and with similar distance to a sink can be grouped together.
Sound spatialization is a technology which puts sound into the three dimensional space, so that it has a perceivable direction and distance. Interactive means mutually or reciprocally active. Interaction is when one action (e.g., user moves mouse) has direct or immediate influence to other actions (e.g., processing by a computer: graphics change in size). Based on this definition an introduction to sound reproduction using DVD and virtual environments is given and illustrated by applications (e.g., virtual converts).
A module for soundscape monitoring and visualizing resource management processes was extended for presenting clusters, generated by a novel sound source clustering algorithm. This algorithm groups multiple sound sources together into a single representative source, considering localization errors depending on listener orientation. Localization errors are visualized for each cluster using resolution cones. Visualization is done in runtime and allows understanding and evaluation of the clustering algorithm.