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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.
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.
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.
Virtual (tv) studios gain much more acceptance through improvements in computer graphics and camera tracking. Still commercial studios cannot have full interaction between actors and virtual scene because actors data are not completely digital available as well as the feedback for actors is still not sufficient. Markerless full body tracking might revolutionize virtual studio technology as it allows better interaction between real and virtual world. This article reports about using a markerless actor tracking in a virtual studio with a tracking volume of nearly 40 cubic meter enabling up to three actors within the green box. The tracking is used for resolving the occlusion between virtual objects and actors so that the Tenderer can output automatically a mask for virtual objects in the foreground in case the actor is behind. It is also used for triggering functions scripted within the Tenderer engine, which are attached to virtual objects, starting any kind of action (e.g., animation). Last but not least the system is used for controlling avatars within the virtual set. All tracking and rendering is done within a studio frame rate of 50 Hz with about 3 frames delay. The markerless actor tracking within virtual studios is evaluated by experts using an interview approach. The statistical evaluation is based on a questionnaire.
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.
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.
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.
A visual and spatial feedback system for orientation in virtual sets of virtual TV studios was developed and evaluated. It is based on a green proxy object, which moves around in the acting space by way of four transparent wires. A separate unit controls four winches and is connected to an engine, which renders the virtual set. A new developed plugin registers a virtual object’s position with the proxy object which imitates the virtual object’s movement on stage. This will allow actors to establish important eye contact with a virtual object and feel more comfortable in a virtual set. Furthermore, interaction with the virtual object and its proxy can be realised through a markerless actor tracking system. Several possible scenarios for user application were recorded and presented to experts in the broadcast industry, who evaluated the potential of SpiderFeedback in interviews and by questionnaires.
This paper presents an approach to integrate non-visual user feedback in today's virtual tv studio productions. Since recent studies showed that systems providing vibro-tactile feedback are not sufficient for replacing the common visual feedback, we developed an audio-based solution using an in ear headphone system, enabling a talent to move, avoid and point to virtual objects in a blue or green box. The system consists of an optical head tracking system, a wireless in ear monitor system and a workstation, which performs all application and audio processing. Using head related transfer functions, the talent gets directional and distance cues. Past research showed, that generating reflections of the sounds and simulating the acoustics of the virtual room helps the listener to conceive the acoustical feedback, we included this technique as well. In a user study with 15 participants the performance of the system was evaluated.
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.