Virtual Reality and Its Application for Producing TV Programs (original) (raw)
Related papers
11 - Using Virtual Reality Techniques in the Animation Process
1993
This paper tries to find the various functions involved in an animation system and how virtual reality techniques and multimedia input could play a role. A classification of VR-based methods is proposed: real-time rotoscopy methods, real-time direct metaphors and real-time recognitionbased metaphors. Several examples are presented: 3D shape creation, camera motion, body motion control, hand animation, facial animation. The hardware and software architecture of our animation system is also described.
The Future of Utilizing Virtual Reality and Augmented Reality in TV Broadcasting
ARTESH, 2018
Nowadays TV industry is shifting into digital media landscape such as YouTube, Netflix, and Facebook, not only the medium is changing, but the technology also advancing. The behavior of TV viewers also demands to be entertained. recently, technological advancement is allowing viewers to immerse themselves even deeper into the stories they see on the screen, and technology such augmented reality (AR) and Virtual Reality (VR) are increasingly playing a part in the way content is crafted. In this study, Augmented Reality and Virtual reality system introduced to make a complex story more enjoyable to watch and offer a different solution for tv producer to present the story. The ultimate goal of this study is to engage broadcaster and graphic designer in the multimedia industry to make interesting visual information presentation for TV average viewers in the future.
COMPUTER BASED TELEVISION PRODUCTIONS: IMAGES and EFFECTS
Technology presented people many facilities to communicate and for entertainment. Television is the most attractive media of 21. century and assembling is the base of television productions. Television constitutes enormous fantacy worlds and takes the spec tator to its fantastic world by its artifical attractions. Spectators are affected by attractions of images which are revealed by technichs of assembling in a film or a in television production. Technology is the most enormous component of 21.th century an d most of people can not avoid technology because of their businesses or because of their life styles. Computer is an unavoidable part of many people’s lives and computer is used a miraculous device in the world. Contemporary computer technichs present tel evision producers and to directors many facilities to assemble different images by the help of attactive technics of computer. Assembling is a kind of magic because of associating different images in a fantastic story and it provides the spectators to trav ell to a fictional world. Computer technics help this travell and ease to emerge a rationalist story from a fantastic story. Television productions sometimes use special shootings and these shootings include difficulties to apply. But contemporary computer technics help difficulties to apply them and affect people as they want to live in those fantastic images. Computer technology adoptes many attractive artifices and help television productions by revealing colorful attractions for television spectators. y .
Using Intelligent 3D Animated Character as the Interface for Interactive Digital TV System
Lecture Notes in Computer Science, 2011
In this research, we propose to incorporate intelligent 3D character into interface design to enhance the user experience on the interactive digital TV system. Based on the smart interactive digital TV system, call SITV, developed in our previous work, we consider several interactive scenarios in the design of the intelligent 3D animated character. We propose to design our intelligent 3D character with the concepts of mobility and expressiveness on body motion such that appropriate emotions can be presented according to TV watching scenarios and character configurations. We have designed experiments to evaluate different types of user interface design for various scenarios. We have found that although the interface with animated character can attract the attention of the user and enhance interactivity, the text-based dialog box interface is still the easiest to understand. We also have found that when the freshness of the new interface with animated character decays after some time of use, it is crucial for an animated character to have expressive motions.
2001
BIFS: coding audiovisual objects and scenes MPEG-4 specifies a binary format for scenes (BIFS) that is used to describe scene composition information. Elements of the scene and the relationships among them form the scene graph that must be coded for transmission. The nuclear graph elements are the nodes that describe audiovisual primitives and their attribute. It can be thought as a superset of VRML. Although it does not provide some of VRML's capabilities, MPEG-4 provides better means for animation than VRML. As a main difference we point out that BIFS is a binary format whereas VRML is a textual format. BIFS encodes scene components, it is used as a scene updating mechanism and it allows scene components to be animated. BIFS and VRML scenes are both composed of a collection of nodes arranged in hierarchical tree. Each node represents a group or transforms an object in the scene and consists of a list of fields that define the node's behavior. All nodes have labels to be recognized. An important feature of the node is that node fields have default values; this way we can avoid the sending of non-useful information. We can also find the ROUTEs, which are connections that assign the value of one field to another field. Some nodes can contain other nodes as fields. MPEG-4 has a rigidly typed collection of nodes that specifies exactly which ither nodes can be contained inside other ones. Nodes can be reused without having to be redefined.
A Realistic Video Avatar System for Networked Virtual Environments
2002
With the advancements in collaborative virtual reality applications there is a need for representing users with a higher degree of realism for better immersion. Representing users with facial animation in an interactive collaborative virtual environment is a daunting task. This paper proposes an avatar system for a realistic representation of users. In working towards this goal, this paper will present a technique for head model reconstruction in tracked environments, which is rendered by view dependent texture mapping of video. The key feature of the proposed system is that it takes advantage of the tracking information available in a VR system for the entire process.
Master Thesis Abstract (Modern Techniques and Cinematic Picture Form (The Virtual Reality Technique)
Helwan University, Faculty of Fine Arts, 2017
For further/full reading please visit: http://isaa.aaciaegypt.com/xmlui/handle/123456789/3192 Computer added amazing facilities in filming production process which let filmmakers add nonsexist creatures in nature, to play important roles in the action, sharing real actors and representing with them, and maybe chases and clashes happening between them, also the computer lets the real actors done supernaturally and exciting works which didn't happen in the real world, and can't be happened as well. The film is as a form of expression as the other artistic Multimedia, because of the essential characteristics of this multimedia's broadloom in the core of his comfortable fabric. As the film employed the developmental elements of visual arts like line, shape, messiness, volume, and composition. The film is like oil drawing and photographing uses the accurate interaction between shade and light, also is like sculpture manipulates the place with its three dimensions, but it is also like the Pantomime representation concentrates on motion pictures, and this motion pictures have a balanced rhythm, also the composed rhythms which are in the film is like rhythms on music and poetry. However, the film expresses visually and verbally, first visually through action and sign, and second verbally through the dialog. Finally, the film is like the story, because the film simplifies or presses the time and the place, by moving forward and rewinding freely in the zone of their wide edges. Despite the prevalence of the term Virtual Reality, It is rare to find users who agree with the same meaning for this term, Maybe the closest to the correct definition is: The Virtual Reality is a world made by the computer So that the human could interact with it in the real-time, In the same way, that it interacts with the real world.
COMPUTER GENERATED CONTENT FOR 3D TV DISPLAYS
The development of 3D TV systems and displays for public use require that several important criteria be satisfied. The criteria include the perceived resolution, full colour presentation, compatibility with current 2D systems in terms of frame rate and transmission data, human-factors acceptability and seamless autostereoscopic viewing. There are several candidate 3D technologies, for example stereoscopic multiview, holographic and integral imaging that endeavour to satisfy the technological conditions. Although cost is an important parameter it is difficult at the early stages of the development cycle to make more than general judgements on the advantages of a particular arrangement.
Interactive Virtual View Video (IVVV) - The Bridge Between Immersive TV and 3D-TV
SPIE Proceedings, 2002
Depth perception in images and video has been a relevant research issue for years, with the main focus on the basic idea of "stereoscopic" viewing. However, it is well known from the literature that stereovision is only one of the relevant depth cues and that motion parallax, as well as color, brightness and geometric appearance of video objects are at least of the same importance-with the individual influence being mainly dependent on the object distance. Thus, for depth perception it may sometimes be sufficient to watch pictures or movies on large screens with brilliant quality or to provide head-motion parallax viewing on conventional 2D displays. Based on this observation we introduce an open, flexible and modular immersive TV system that is backwards-compatible to today's 2D digital television and that is able to support a wide range of different 2D and 3D displays. The system is based on a three-stage concept and aims to add more and more depth cues at each additional layer.