Beyond Halo and Wedge: Visualizing out-of-view objects on head-mounted virtual and augmented reality devices

Head-mounted devices (HMDs) for Virtual and Augmented Reality (VR/AR) enable us to alter our visual perception of the world. However, current devices suffer from a limited field of view (FOV), which becomes problematic when users need to locate out of view objects (e.g., locating points-of-interest during sightseeing). To address this, we developed and evaluated in two studies HaloVR, WedgeVR, HaloAR and WedgeAR, which are inspired by usable 2D off-screen object visualization techniques (Halo, Wedge). While our techniques resulted in overall high usability, we found the choice of AR or VR impacts mean search time (VR: 2.25s, AR: 3.92s) and mean direction estimation error (VR: 21.85°, AR: 32.91°). Moreover, while adding more out-of-view objects significantly affects search time across VR and AR, direction estimation performance remains unaffected. We provide implications and discuss the challenges of designing for VR and AR HMDs

Realidade Aumentada Móvel: avaliação da distância em visualização Off-Screen

Tese de Mestrado, Engenharia Informática (Engenharia de Software), 2021, Universidade de Lisboa, Faculdade de CiênciasA Realidade Aumentada (RA) é uma tecnologia relativamente recente e o número de aplicações desenvolvidas nos últimos anos tem crescido de forma exponencial, abrangendo diversas áreas da indústria nomeadamente na publicidade, marketing e em especial na navegação de mapas. Porém com o desenvolvimento destas aplicações destinadas a vários dispositivos alvo, continua-se a deparar com várias limitações, nomeadamente o ecrã reduzido, e à falta de informação nos objetos de RA fora do ecrã (off-screen), como é o caso da distância desses elementos em relação ao utilizador (um dos aspetos que irá ser focado nesta tese e fundamental para a navegação e orientação do utilizador). Em trabalhos de mestrado anteriores foram desenvolvidos protótipos em dispositivos móveis com a concretização de técnicas de representação de objetos off-screen em RA, servindo estes de base para o trabalho a realizar no âmbito desta proposta. Este trabalho teve como objetivo continuar o projeto previamente desenvolvido, denominado ARWithMaps, que concretiza técnicas de visualização de pontos de interesse em Realidade Aumentada, mas incluindo pistas para pontos de interesse fora do campo de visão recorrendo ao uso da simbologia com ou sem indicação explicita de distância. Por um lado, pretende-se realizar uma comparação entre as diversas técnicas baseadas em setas e arcos, de modo a identificar as vantagens e desvantagens de cada uma delas. Por forma a concretizar este objetivo acrescentou-se à anterior aplicação a indicação de distância na técnica baseada em setas e mais três técnicas de visualização baseadas em arcos (sem indicação explicita de distância). Por fim realizaram-se testes com utilizadores para perceber quais as suas preferências e qual o seu desempenho durante os mesmos. Os testes revelaram preferência pelas técnicas de visualização off-screen, que incluem 3 arcos, por um lado e por outro, setas com indicação de distância (que revelaram melhores resultados no tempo de execução da tarefa) em detrimento da técnica que inclui 1 só arco para representar POIs off-screen.Augmented Reality (AR) is a relatively recent technology and the number of applications developed in recent years has grown exponentially, covering various areas of the industry, namely in advertising, marketing and especially in map navigation. However, with the development of these applications aimed at various target devices, there are still several limitations, namely the reduced screen, and the lack of information on the AR objects out of the screen (off-screen), related to the distance of these elements in relation to the user (one of the aspects that will be focused on this thesis and fundamental for navigation and user guidance). In previous master's works, prototypes were developed on mobile devices with the realization of off-screen object representation techniques in RA, serving as a basis for the work to be carried out under this proposal. This work aims to continue the previously developed project, called ARWithMaps, which implements techniques of visualization of points of interest in Augmented Reality, but including clues to points of interest outside the field of view, using symbology with or without explicit indication of distance. On the other hand, it is intended to carry out a comparison between the various techniques based on arrows and arcs, in order to identify the advantages and disadvantages of each one of them. In order to achieve this objective, the indication of distance in the technique based on arrows was added to the previous application, as well as three more visualization techniques based on arcs (without explicit indication of distance). Finally, tests were carried out with users to understand their preferences and their performance during them. The tests revealed a preference for off-screen visualization techniques, which include 3 arcs, on the one hand, and arrows with distance indication on the other hand (which revealed better results in task times) over the technique that includes only 1 arc to represent off-screen POIs

Visualização da relevância da informação geográfica em aplicações móveis

Tese de mestrado em Engenharia Informática (Sistemas de Informação), apresentada à Universidade de Lisboa, através da Faculdade de Ciências, 2011A utilização da informação geográfica a partir de dispositivos móveis é uma área em crescente expansão e, por conseguinte, na última década, tem-se assistido a um crescimento no desenvolvimento de serviços móveis utilizando a informação geográfica, tais como serviços baseados em localização (LBS – Location Based Services) ou serviços de geovisualização móvel. Apesar deste crescimento, existem ainda diversos desafios por investigar na área da visualização de informação em dispositivos móveis. A pequena dimensão do ecrã destes dispositivos conduz a uma necessidade de filtrar e disponibilizar apenas a informação mais relevante para o utilizador. Adicionalmente, essa informação está frequentemente localizada fora da área visível no ecrã, aumentando a carga cognitiva do utilizador na realização de tarefas de pesquisa e tornando complexa a tarefa de navegação. Para a resolução do primeiro problema, têm sido propostos mecanismos para seleccionar a informação relevante baseada em informação sobre o contexto e as preferências do utilizador. Contudo, não é dada qualquer informação sobre a relevância dos objectos de interesse que se encontrem fora da área visível. Relativamente à segunda problemática, têm sido propostas algumas técnicas para a sinalização de objectos fora do ecrã, mas nenhuma delas explora a relevância dos objectos. Este trabalho descreve e avalia a técnica de visualização, denominada HaloDot, que combina a sinalização e identificação de objectos fora da área visível no ecrã (off-screen) com visualização de relevância. Os atributos de relevância baseados na cor e na transparência foram ainda aplicados a outras técnicas de visualização off-screen e comparadas com o HaloDot. Os resultados das avaliações efectuadas sugerem que a utilização da combinação da cor com a transparência é eficiente para a representação da relevância. Adicionalmente, é necessário considerar, pelo menos, três factores na decisão de escolha da técnica de visualização off-screen, nomeadamente: o número de pontos de interesse existentes, a proximidade dos pontos de interesse da área visível no ecrã e a simbologia utilizada para a representação dos pontos de interesse.The use of the geographic information from mobile devices is an area that is becoming increasingly widespread and, therefore, in the last decade, there has been a growth on the development of mobile services using geographical information, like Location Based Services (LBS) or mobile geovisualization services. Despite this growth, there are still several challenges that are worth to investigate on the field of information visualization on mobile devices. The small dimension of these devices‟ screens requires filtering mechanisms to provide only the most relevant information to the user. This information is often located off-screen, increasing the user's cognitive workload to perform search tasks and making the navigational task complex. To solve the first problem several mechanisms have been proposed to select the relevant information, based on information about the context and the user's preferences. However, it does not provide any information about the relevance of points of interest located off-screen. To solve the second problem some techniques have been proposed for the signalization of off-screen objects. None of them, however, explores the relevance of those objects. This work describes and evaluates a visualization technique, called HaloDot, which combines the signalization and identification of off-screen objects with the visualization of their relevance. HaloDot uses color and transparency to express the relevance of off-screen objects. These graphical attributes were also used in other off-screen visualization techniques, which were compared with HaloDot. The results of the performed evaluation suggest that the use of the combination of colour and transparency is efficient for the representation of the relevance. Additionally, it is necessary to take into account three factors to select an off-screen visualization technique, namely: the number of existing points of interest, the proximity of the points of interest to the on-screen area and the simbology used for the representation of the points of interest

Simbologia em realidade aumentada móvel

Tese de mestrado, Engenharia Informática (Sistemas de Informação), Universidade de Lisboa, Faculdade de Ciências, 2016A Realidade Aumentada (RA) em dispositivos móveis é uma área em crescente expansão. Na última década, tem-se assistido a um desenvolvimento acentuado de aplicações que fazem uso desta tecnologia de modo a acrescentar informação útil ao utilizador relativamente ao ambiente que o rodeia. No entanto, a utilização da RA em dispositivos de pequenas dimensões coloca alguns desafios. Por exemplo, ao visualizar pontos de interesse, não existe controlo prévio sobre o seu número e localização, podendo ocorrer a sobreposição de vários símbolos. Por outro lado, a adição de informação à imagem real não tem que ficar confinada aos objetos presentes no campo de visão do utilizador. A inclusão de pistas sobre a existência de objetos relevantes fora do campo de visão (objetos off-screen) é um contributo importante para a navegação pelo espaço de informação. Outro aspecto a ter em conta é a capacidade de expressar a relevância da informação, ou seja, adaptar a representação de acordo com as preferências do utilizador. Este trabalho propõe soluções para os problemas mencionados, concretizadas no protótipo IAR. Este protótipo inclui técnicas para reduzir a sobreposição¸ ˜ao de simbologia, representar a relevância dos objetos e incluir pistas para objetos off-screen em ambientes de realidade aumentada móvel. A avaliação com utilizadores revelou que as técnicas propostas pelo IAR para sinalização off-screen, representação de relevância e tratamento de sobreposições tornaram a navegação dos utilizadores mais simples e eficiente. A técnica de visualização que usa todas as funcionalidades implementadas foi a preferida pelos utilizadores e revelou o melhor desempenho, enquanto que a técnica de visualização que faz apenas uso da RA sem qualquer funcionalidade foi a que obteve pior classificação e a que mostrou resultados mais ineficazes.Augmented Reality (AR) on mobile devices is an expanding area. In the last decade, we have seen a huge growth in the development of applications that use this technology to add useful information to the user concerning the environment that surrounds it. However, the use of AR in small devices is challenging. For example, when visualizing points of interest, there is no prior control over their number and location, thus, the symbols may overlap. On the other hand, the addition of information to the real image does not have to be confined to objects in the user’s field of view. The inclusion of clues about the existence of relevant objects outside the field of view (off-screen objects) is an important contribution for navigation through the space of information available to user. Another aspect to keep in mind is the ability to express the information’s relevance, that is, adapt the representation according to user’s preferences. This project proposes solutions for the mentioned problems, achieved in the IAR prototype. This prototype includes techniques to reduce symbols overlapping, represent relevance of objects and include clues for off-screen objects in mobile augmented reality environments. It was conducted an evaluation with users that revealed that the techniques proposed by the IAR for off-screen signalization, relevance representation and symbols overlapping treatment have made the navigation more simple and efficient. The visualization technique that uses all the features implemented was the preferred and presented a better performance, while the visualization technique that just makes use of AR without any added functionality was the one that presented more ineffective results

Konzepte und Guidelines für Applikationen in Cinematic Virtual Reality

Die meisten Menschen, die zum ersten Mal einen omnidirektionalen Film über ein Head-Mounted Display (HMD) sehen, sind fasziniert von der neuen Erlebniswelt. Das Gefühl, an einem anderen Ort zu sein, weit weg von der Realität, beeindruckt und lässt sie in eine andere Welt eintauchen. Die über Jahrzehnte entwickelte Filmsprache lässt sich nicht ohne Weiteres auf dieses neue Medium - Cinematic Virtual Reality (CVR) - übertragen. Der Betrachter kann die Blickrichtung und damit den sichtbaren Ausschnitt des Bildes frei wählen, und es ist deshalb nicht immer möglich, dem Zuschauer zu zeigen, was für die Geschichte wichtig ist. Herkömmliche Methoden für die Lenkung der Aufmerksamkeit - wie Nahaufnahmen oder Zooms - sind nicht ohne Weiteres verwendbar, andere – wie Bewegung und Farben – benötigen eine Evaluation und Anpassung. Um neue Konzepte und Methoden für CVR zu finden, sind neben den Forschungsergebnissen aus dem Filmbereich auch die anderer Forschungsgebiete, wie Virtual und Augmented Reality (VR und AR), relevant. Um geeignete Techniken der Aufmerksamkeitslenkung in CVR zu ergründen, werden in dieser Arbeit bekannte Methoden aus Film, VR und AR analysiert und eine einheitliche Taxonomie präsentiert. Dadurch ist es möglich, die verschiedenen Aspekte detaillierter zu untersuchen. Auch die Positionierung der Kamera kann nicht ohne Weiteres vom traditionellen Film auf CVR übertragen werden. Der Zuschauer nimmt bei der Betrachtung einer CVR-Anwendung in der virtuellen Welt die Position der Kamera ein. Dies kann zu Problemen führen, wenn die Kamerahöhe nicht seiner eigenen Körpergröße entspricht. Außerdem ist eine Auflösung einer Szene durch verschiedene Einstellungsgrößen nicht ohne Weiteres möglich, da dies für den Zuschauer ein Umherspringen in der virtuellen Welt bedeuten würde. In dieser Arbeit werden die Auswirkungen verschiedener Kamerapositionen auf den Zuschauer untersucht und Guidelines zur Kamerapositionierung vorgestellt. Die dazugewonnene Raumkomponente bietet neue Möglichkeiten. Schnitte müssen nicht unbedingt von der verstrichenen Zeit abhängen, sondern können auch auf der Blickrichtung des Betrachters basieren. In Übereinstimmung mit dem Begriff Timeline führen wir das Konzept der Spaceline für diese Methode der Story-Konstruktion ein. Während die Schnitte auf der Timeline vom Filmemacher festgelegt werden, bestimmt der Betrachter die Spaceline - innerhalb eines vom Filmemacher festgelegten Konstrukts. Durch diese individuelle Zuschauerführung ist es möglich, dass jeder seine eigene Geschichte in seinem eigenen Tempo und mit seinen eigenen Prioritäten entdeckt. Das Spaceline-Konzept bietet neue Interaktionsmöglichkeiten, die durch verschiedene Selektionstechniken umgesetzt werden können. Um Techniken zu finden, die für CVR geeignet sind, werden in dieser Arbeit blick- und kopfbasierte Ansätze untersucht. Auch wenn deren Wirksamkeit stark von den gewählten Parametern und physiologischen Faktoren abhängen, konnten wertvolle Erkenntnisse gewonnen werden, die in einen Design-Space für CVR-Konstrukte einfließen. Dieser Design-Space ermöglicht es beim Entwerfen einer CVR-Anwendung, die Attribute zu finden, die für die Anwendung am besten geeignet sind. Aber nicht nur die Entwicklung von CVR-Anwendungen stellt neue Herausforderungen. Durch das HMD ist ein Zuschauer von der restlichen Welt isoliert, und es bedarf neuer Methoden, um CVR als soziale Erfahrung erlebbar zu machen. Einige davon werden in dieser Arbeit vorgestellt und analysiert. Aus den gewonnenen Erfahrungen werden Empfehlungen für einen CVR-Movie-Player abgeleitet. Um die vorgestellten Konzepte und Guidelines zu entwickeln, wurden eine Reihe von Nutzerstudien durchgeführt, zum Teil mit Aufzeichnung der Kopf- und Blickrichtungen. Um diese Daten analysieren zu können, wurde ein Tool entwickelt, welches die Visualisierung der Daten auf dem Film ermöglicht. In dieser Arbeit werden Konzepte und Guidelines für verschiedene Felder in Cinematic Virtual Reality vorgestellt: Aufmerksamkeitslenkung, Kamerapositionierung, Montage, Zuschauererlebnis und Datenanalyse. Auf jedem dieser Gebiete konnten Erkenntnisse gewonnen werden, die auch für die andere Bereiche von Interesse sind. Oft hängen die Ergebnisse der einzelnen Fachgebiete zusammen und ergänzen sich gegenseitig. Ziel der Arbeit ist es, die verschiedenen Aspekte als Ganzes zu präsentieren.Most people who watch an omnidirectional film for the first time on a head-mounted display (HMD) are fascinated by the new world of experience. The feeling of being in a different place, right in the middle of the action, far from reality, impresses and gives the opportunity to immerse in another world. The film language developed over decades cannot simply be transferred to this new media, Cinematic Virtual Reality (CVR). The viewer can freely choose the direction of view and thus the visible section of the picture and it is therefore not always possible to show the viewer what is important for the story. Traditional methods for directing attention - such as close-ups or zooms - are not easy to use, others - such as movement and colors - needs to be assessed and adjusted. For finding new concepts and methods for CVR, in addition to the research results from the film area, other areas in the field of virtual and augmented reality (VR and AR) are relevant. In order to find suitable methods to draw attention in CVR, known methods from film, VR, and AR are analyzed in this work and a uniform taxonomy is presented. This makes it possible to investigate the various aspects of the methods in more detail. The positioning of the camera cannot simply be transferred from traditional film to CVR. When viewing a CVR application in the virtual world, the viewer takes the place of the camera in the real world. This can lead to problems if the camera height does not match the viewer’s height. In addition, a resolution of a scene due different setting sizes is not possible as this would mean that the viewer would jump around in the virtual world. In this work, the effects of different camera positions on the viewer are examined and guidelines for camera positioning are presented. The additional space component offers new possibilities. Cuts do not necessarily have to depend on the elapsed time, but can also be based on the viewer's gaze. In accordance with the term timeline, we introduce the concept of the spaceline for this method of story plot construction. While the cuts on the timeline are determined by the filmmaker, the viewer determines the spaceline - within a construct determined by the filmmaker. Through this individual guided tour, everyone can discover their own story at their own pace and with their own priorities. The spaceline concept offers new interaction options that can be implemented using various selection techniques. In order to find methods that are suitable for CVR, this work examines eye and head-based techniques. Even if the effectiveness of them strongly depends on the chosen parameters and physiological factors, valuable insights are gained, which are included in a design space for spaceline constructs. This design space allows one to find the attributes that best suits for the application when designing a CVR application. But not only the creation of CVR applications presents new challenges. The HMD isolates a viewer from the rest of the world and requires new techniques to experience CVR in a social way. Some of these are presented and analyzed in this work. Recommendations for a CVR movie player are derived from the experience gained. Several user studies were conducted to develop the concepts and guidelines, some of them by recording of the head and gaze directions. To be able to analyze this data, a tool was developed which enables us to visualize the data on the film. In this work, concepts and guidelines for various fields in Cinematic Virtual Reality are presented: attention guiding, camera positioning, montage, audience experience, and data analysis. In each of these areas, knowledge was gained that is also of interest to the other fields. The findings of the individual fields are often related and complement each other. This work aims to present the various aspects as a whole

Konzepte und Guidelines für Applikationen in Cinematic Virtual Reality

Die meisten Menschen, die zum ersten Mal einen omnidirektionalen Film über ein Head-Mounted Display (HMD) sehen, sind fasziniert von der neuen Erlebniswelt. Das Gefühl, an einem anderen Ort zu sein, weit weg von der Realität, beeindruckt und lässt sie in eine andere Welt eintauchen. Die über Jahrzehnte entwickelte Filmsprache lässt sich nicht ohne Weiteres auf dieses neue Medium - Cinematic Virtual Reality (CVR) - übertragen. Der Betrachter kann die Blickrichtung und damit den sichtbaren Ausschnitt des Bildes frei wählen, und es ist deshalb nicht immer möglich, dem Zuschauer zu zeigen, was für die Geschichte wichtig ist. Herkömmliche Methoden für die Lenkung der Aufmerksamkeit - wie Nahaufnahmen oder Zooms - sind nicht ohne Weiteres verwendbar, andere – wie Bewegung und Farben – benötigen eine Evaluation und Anpassung. Um neue Konzepte und Methoden für CVR zu finden, sind neben den Forschungsergebnissen aus dem Filmbereich auch die anderer Forschungsgebiete, wie Virtual und Augmented Reality (VR und AR), relevant. Um geeignete Techniken der Aufmerksamkeitslenkung in CVR zu ergründen, werden in dieser Arbeit bekannte Methoden aus Film, VR und AR analysiert und eine einheitliche Taxonomie präsentiert. Dadurch ist es möglich, die verschiedenen Aspekte detaillierter zu untersuchen. Auch die Positionierung der Kamera kann nicht ohne Weiteres vom traditionellen Film auf CVR übertragen werden. Der Zuschauer nimmt bei der Betrachtung einer CVR-Anwendung in der virtuellen Welt die Position der Kamera ein. Dies kann zu Problemen führen, wenn die Kamerahöhe nicht seiner eigenen Körpergröße entspricht. Außerdem ist eine Auflösung einer Szene durch verschiedene Einstellungsgrößen nicht ohne Weiteres möglich, da dies für den Zuschauer ein Umherspringen in der virtuellen Welt bedeuten würde. In dieser Arbeit werden die Auswirkungen verschiedener Kamerapositionen auf den Zuschauer untersucht und Guidelines zur Kamerapositionierung vorgestellt. Die dazugewonnene Raumkomponente bietet neue Möglichkeiten. Schnitte müssen nicht unbedingt von der verstrichenen Zeit abhängen, sondern können auch auf der Blickrichtung des Betrachters basieren. In Übereinstimmung mit dem Begriff Timeline führen wir das Konzept der Spaceline für diese Methode der Story-Konstruktion ein. Während die Schnitte auf der Timeline vom Filmemacher festgelegt werden, bestimmt der Betrachter die Spaceline - innerhalb eines vom Filmemacher festgelegten Konstrukts. Durch diese individuelle Zuschauerführung ist es möglich, dass jeder seine eigene Geschichte in seinem eigenen Tempo und mit seinen eigenen Prioritäten entdeckt. Das Spaceline-Konzept bietet neue Interaktionsmöglichkeiten, die durch verschiedene Selektionstechniken umgesetzt werden können. Um Techniken zu finden, die für CVR geeignet sind, werden in dieser Arbeit blick- und kopfbasierte Ansätze untersucht. Auch wenn deren Wirksamkeit stark von den gewählten Parametern und physiologischen Faktoren abhängen, konnten wertvolle Erkenntnisse gewonnen werden, die in einen Design-Space für CVR-Konstrukte einfließen. Dieser Design-Space ermöglicht es beim Entwerfen einer CVR-Anwendung, die Attribute zu finden, die für die Anwendung am besten geeignet sind. Aber nicht nur die Entwicklung von CVR-Anwendungen stellt neue Herausforderungen. Durch das HMD ist ein Zuschauer von der restlichen Welt isoliert, und es bedarf neuer Methoden, um CVR als soziale Erfahrung erlebbar zu machen. Einige davon werden in dieser Arbeit vorgestellt und analysiert. Aus den gewonnenen Erfahrungen werden Empfehlungen für einen CVR-Movie-Player abgeleitet. Um die vorgestellten Konzepte und Guidelines zu entwickeln, wurden eine Reihe von Nutzerstudien durchgeführt, zum Teil mit Aufzeichnung der Kopf- und Blickrichtungen. Um diese Daten analysieren zu können, wurde ein Tool entwickelt, welches die Visualisierung der Daten auf dem Film ermöglicht. In dieser Arbeit werden Konzepte und Guidelines für verschiedene Felder in Cinematic Virtual Reality vorgestellt: Aufmerksamkeitslenkung, Kamerapositionierung, Montage, Zuschauererlebnis und Datenanalyse. Auf jedem dieser Gebiete konnten Erkenntnisse gewonnen werden, die auch für die andere Bereiche von Interesse sind. Oft hängen die Ergebnisse der einzelnen Fachgebiete zusammen und ergänzen sich gegenseitig. Ziel der Arbeit ist es, die verschiedenen Aspekte als Ganzes zu präsentieren.Most people who watch an omnidirectional film for the first time on a head-mounted display (HMD) are fascinated by the new world of experience. The feeling of being in a different place, right in the middle of the action, far from reality, impresses and gives the opportunity to immerse in another world. The film language developed over decades cannot simply be transferred to this new media, Cinematic Virtual Reality (CVR). The viewer can freely choose the direction of view and thus the visible section of the picture and it is therefore not always possible to show the viewer what is important for the story. Traditional methods for directing attention - such as close-ups or zooms - are not easy to use, others - such as movement and colors - needs to be assessed and adjusted. For finding new concepts and methods for CVR, in addition to the research results from the film area, other areas in the field of virtual and augmented reality (VR and AR) are relevant. In order to find suitable methods to draw attention in CVR, known methods from film, VR, and AR are analyzed in this work and a uniform taxonomy is presented. This makes it possible to investigate the various aspects of the methods in more detail. The positioning of the camera cannot simply be transferred from traditional film to CVR. When viewing a CVR application in the virtual world, the viewer takes the place of the camera in the real world. This can lead to problems if the camera height does not match the viewer’s height. In addition, a resolution of a scene due different setting sizes is not possible as this would mean that the viewer would jump around in the virtual world. In this work, the effects of different camera positions on the viewer are examined and guidelines for camera positioning are presented. The additional space component offers new possibilities. Cuts do not necessarily have to depend on the elapsed time, but can also be based on the viewer's gaze. In accordance with the term timeline, we introduce the concept of the spaceline for this method of story plot construction. While the cuts on the timeline are determined by the filmmaker, the viewer determines the spaceline - within a construct determined by the filmmaker. Through this individual guided tour, everyone can discover their own story at their own pace and with their own priorities. The spaceline concept offers new interaction options that can be implemented using various selection techniques. In order to find methods that are suitable for CVR, this work examines eye and head-based techniques. Even if the effectiveness of them strongly depends on the chosen parameters and physiological factors, valuable insights are gained, which are included in a design space for spaceline constructs. This design space allows one to find the attributes that best suits for the application when designing a CVR application. But not only the creation of CVR applications presents new challenges. The HMD isolates a viewer from the rest of the world and requires new techniques to experience CVR in a social way. Some of these are presented and analyzed in this work. Recommendations for a CVR movie player are derived from the experience gained. Several user studies were conducted to develop the concepts and guidelines, some of them by recording of the head and gaze directions. To be able to analyze this data, a tool was developed which enables us to visualize the data on the film. In this work, concepts and guidelines for various fields in Cinematic Virtual Reality are presented: attention guiding, camera positioning, montage, audience experience, and data analysis. In each of these areas, knowledge was gained that is also of interest to the other fields. The findings of the individual fields are often related and complement each other. This work aims to present the various aspects as a whole