Is immersive virtual reality the ultimate interface for 3D animators?

Creating computer animations is a labor-intensive task. Existing virtual reality (VR)-based animation solutions offer only heterogeneous subsets of traditional tools' functionalities. We present an add-on for the Blender animation suite that enables users to switch between native and immersive VR-based interfaces and employ the latter to perform a representative set of tasks

Propuesta para la elaboración de una plantilla técnica de dibujo de formato cúbico para la puesta en escena y puesta en cuadro en vídeos de 360 grados

Los vídeos 2D y su narrativa audiovisual tradicional se están modificando con la introducción de los vídeos esféricos, los cuales permiten modificar el punto de vista del espectador y la forma en que interactúa con este medio. Bajo un proceso de investigación en foros e Internet se evidencia la falta de recursos teóricos y bibliográficos en torno a metodologías de creación y producción de vídeos en 360 grados, además faltan los modelos y estructuras básicas de la preproducción como los son las plantillas de puesta en escena y puesta en cuadro. Se plantea la necesidad de desarrollar contenidos en un entorno profesional con planos de rodaje y estructuras con una narrativa acorde a una producción audiovisual. Este artículo presenta una propuesta de plantilla técnica para el dibujo en la preproducción de vídeos de 360 grados de personas en acción, dirigido a especialistas del guion gráfico y directores con el fin de unificar conceptos y estructuras que sirvan de base para desarrollar vídeos de 360 grados enfocados en la imagen de puesta en escena, en imagen y puesta en cuadro. Para el planteamiento de la plantilla se trabajó sobre una metodología de modelo cualitativo de experiencias y un marco inductivo de trabajo analítico de investigación y observación. Las conclusiones de este artículo abren las posibilidades para la realización de una plantilla de dibujo que proporciona una disposición visual correcta de objetos, personajes o acontecimientos presentes en una producción visual o cinematográfica en 360 grados

Immersive Virtual Reality-Based Interfaces for Character Animation

Virtual Reality (VR) has increasingly attracted the attention of the computer animation community in search of more intuitive and effective alternatives to the current sophisticated user interfaces. Previous works in the literature already demonstrated the higher affordances offered by VR interaction, as well as the enhanced spatial understanding that arises thanks to the strong sense of immersion guaranteed by virtual environments. These factors have the potential to improve the animators' job, which is tremendously skill-intensive and time-consuming. The present paper explores the opportunities provided by VR-based interfaces for the generation of 3D animations via armature deformation. To the best of the authors' knowledge, for the first time a tool is presented which allows users to manage a complete pipeline supporting the above animation method, by letting them execute key tasks such as rigging, skinning and posing within a well-known animation suite using a customizable interface. Moreover, it is the first work to validate, in both objective and subjective terms, character animation performance in the above tasks and under realistic work conditions involving different user categories. In our experiments, task completion time was reduced by 26%, on average, while maintaining almost the same levels of accuracy and precision for both novice and experienced users

A Composite Framework of Co-located Asymmetric Virtual Reality

As the variety of possible interactions with virtual reality (VR) continues to expand, researchers need a way to relate these interactions to users\u27 needs and goals in ways that advance understanding. Existing efforts have focused mainly on the symmetric use of technology, which excludes a rising form of interaction known as asymmetric VR, in which co-located participants use different interfaces to interact with a shared environment. There must be a clear path to creating asymmetric VR systems that are rooted in previous work from several fields, as these systems have use cases in education, hybrid reality teams (using VR and other technologies to interact online and face to face), accessibility, as well as entertainment. Currently, there is no systematic way to characterize 1) how a system may be asymmetric, 2) how the different mediation technology and affordances within asymmetric VR support (or do not support) users\u27 goals, and 3) the relationships and collaborative capabilities between users of these different technologies. In this paper, the authors use a scoping review to explore relevant conceptual frameworks for asymmetric interaction, mediation technology, and computer supported cooperative work to clarify the dimensions of asymmetry and synthesize the literature into a Composite framework for Asymmetric VR (CAVR). The paper concludes with suggestions of ways to test and expand the framework in order to guide future research as it identifies the most-beneficial interaction paradigms for co-located asymmetric VR

Multi-Device Storyboards for Cinematic Narratives in VR

International audienceVirtual Reality (VR) narratives have the unprecedented potential to connect with an audience through presence, placing viewers within the narrative. The onset of consumer VR has resulted in an explosion of interest in immersive storytelling. Planning narratives for VR, however, is a grand challenge due to its unique affordances, its evolving cinematic vocabulary, and most importantly the lack of supporting tools to explore the creative process in VR. In this paper, we distill key considerations with the planning process for VR stories, collected through a formative study conducted with film industry professionals. Based on these insights we propose a workflow, specific to the needs of professionals creating storyboards for VR film, and present a multi-device (tablet and head-mounted display) sto-ryboard tool supporting this workflow. We discuss our design and report on feedback received from interviews following demonstration of our tool to VR film professionals

O género suspense no audiovisual VR 360º

O crescente desenvolvimento das novas tecnologias permitiu uma maior preponderância por parte do espectador, no consumo de conteúdos audiovisuais. A partir desta visão, atualmente a realidade virtual cada vez mais é considerada uma opção tentadora para o mundo do entretenimento. Como tal, começam a surgir conteúdos audiovisuais VR 360º que possibilitam uma maior imersão no espectador. Esta dissertação incidiu sobre a criação de um conteúdo VR 360º de género suspense, na qual foram elaboradas as diversas fases do processo de produção que contribuíram para a análise dos desafios e problemas inerentes a este. Para além disso, nas vantagens imersivas existentes ao nível do espectador associadas a este tipo de projeto. Visto isto, para se efetuar a investigação empírica utilizou-se duas amostras independentes, uma com 48 participantes e outra com 36 participantes, uma vez que se efetuou dois questionários: um pré-sessão e outro pós-sessão. A amostra pós-sessão foi dividida em três grupos equitativos, que visualizaram o mesmo conteúdo audiovisual, mas em formatos distintos. A análise de resultados demonstrou que, como esperado, o VR cinematográfico intensifica a imersão ao nível percetivo e diminui a imersão ao nível narrativo, uma consequência da exploração 360º. Para além disso, foi possível concluir que existem diversos desafios e dificuldades inerentes a esta tecnologia.The increasing development of the new technologies allowed a greater preponderance on the part of the spectator in the consumption of audiovisual contents. From this view, virtual reality is increasingly considered a tempting option for the entertainment world. As such, VR 360º audiovisual contents begin to emerge that allow a greater immersion in the viewer. This dissertation focused on the creation of VR 360º content of suspense genre, in which the various phases of the production process were elaborated that contributed to the analysis of the challenges and problems inherent to it. In addition, the immersive advantages at the spectator level associated with this type of project. In order to carry out the empirical investigation, two independent samples were used, one with 48 participants and the other with 36 participants, since two questionnaires were performed: one pre-session and one postsession. The post-session sample was divided into three equitable groups, which viewed the same audiovisual content, but in different formats. The analysis of results showed that, as expected, the cinematographic VR intensifies the immersion at the perceptual level and diminishes the immersion at the narrative level, a consequence of the 360º exploration. In addition, it was possible to conclude that there are several challenges and difficulties inherent to this technology.Mestrado em Comunicação Multimédi

Interactive Fiction in Cinematic Virtual Reality: Epistemology, Creation and Evaluation

This dissertation presents the Interactive Fiction in Cinematic Virtual Reality (IFcVR), an interactive digital narrative (IDN) that brings together the cinematic virtual reality (cVR) and the creation of virtual environments through 360\ub0 video within an interactive fiction (IF) structure. This work is structured in three components: an epistemological approach to this kind of narrative and media hybrid; the creation process of IFcVR, from development to postproduction; and user evaluation of IFcVR. In order to set the foundations for the creation of interactive VR fiction films, I dissect the IFcVR by investigating the aesthetics, narratological and interactive notions that converge and diverge in it, proposing a medium-conscious narratology for this kind of artefact. This analysis led to the production of an IFcVR functional prototype: \u201cZENA\u201d, the first interactive VR film shot in Genoa. ZENA\u2019s creation process is reported proposing some guidelines for interactive and immersive film-makers. In order to evaluate the effectiveness of the IFcVR as an entertaining narrative form and a vehicle for diverse types of messages, this study also proposes a methodology to measure User Experience (UX) on IFcVR. The full evaluation protocol gathers both qualitative and quantitative data through ad hoc instruments. The proposed protocol is illustrated through its pilot application on ZENA. Findings show interactors' positive acceptance of IFcVR as an entertaining experience

Interfaces for human-centered production and use of computer graphics assets

L'abstract è presente nell'allegato / the abstract is in the attachmen