Viewing the Future? Virtual Reality In Journalism

Journalism underwent a flurry of virtual reality content creation, production and distribution starting in the final months of 2015. The New York Times distributed more than 1 million cardboard virtual reality viewers and released an app showing a spherical video short about displaced refugees. The Los Angeles Times landed people next to a crater on Mars. USA TODAY took visitors on a ride-along in the "Back to the Future" car on the Universal Studios lot and on a spin through Old Havana in a bright pink '57 Ford. ABC News went to North Korea for a spherical view of a military parade and to Syria to see artifacts threatened by war. The Emblematic Group, a company that creates virtual reality content, followed a woman navigating a gauntlet of anti- abortion demonstrators at a family planning clinic and allowed people to witness a murder-suicide stemming from domestic violence.In short, the period from October 2015 through February 2016 was one of significant experimentation with virtual reality (VR) storytelling. These efforts are part of an initial foray into determining whether VR is a feasible way to present news. The year 2016 is shaping up as a period of further testing and careful monitoring of potential growth in the use of virtual reality among consumers

I'd hide you: performing live broadcasting in public

We present a study of a mixed reality game called 'I'd Hide You' that involves live video streaming from the city streets. We chart the significant challenges facing performers on the streets who must simultaneously engage in the game, stream compelling video footage featuring themselves, and interact with a remote online audience. We reveal how these street performers manage four key tensions: between their body and camera; between the demands of online audiences and what takes place on-the-street; between what appears 'frontstage' on camera versus what happens 'backstage'; and balancing being a player of the game with being a performer. By reflecting on how they achieve this, we are able to draw out wider lessons for future interfaces aimed at supporting people broadcasting video of themselves to online audiences while engaged in games, sports and other demanding real-world activities

Kingdom Rush Tribute: Porting a 2D Tower Defense Game to a 3D World using Unreal Engine 4

Video game remakes are a popular modern phenomenon in which an existing game is remade to target a different platform, a higher resolution, or simply a different audience. Seldom, however, are video games remade into a different genre altogether. In this paper, we describe the process of remaking Kingdom Rush, a popular top-down 2D tower defense game, into a 3D third-person shooter in Unreal Engine 4. In addition to recreating all visual components of the game in 3D, this process revealed several challenges that arose related to transferring the gameplay from a 2D screen to a 3D world. We describe these challenges and their solutions and describe the results of our work: a playable, single-level prototype that mimics the original game in aesthetics and functionality while also incorporating a controllable hero character

Deer: Creating a Realistic 3D Animal Using Photogrammetry

Creating a 3D animal using the process of photogrammetry can bring more realism to a user’s game experience. In the 3D world, there are various ways for creating animals in video games. Specifically, quadrupeds are known to be very challenging. Since technology is evolving every day, there are always newer ways of creating video game assets. It is challenging to have complex model details and also have smooth real-time rendering in a game engine. Photogrammetry can capture exact details of a real world animal and incorporate them into a 3D asset. The purpose for using this process is to create a realistic 3D animal for use in a game. Animals are often secondary characters in video games, but adding details to such characters adds to the overall experience for the user. The purpose of the project is to find a way to utilize photogrammetry so as to meet the wants of the target audience (gamers). To many, realism is important for not only the primary character in a game, but also the secondary characters

Living Dragons: Illustrating VFX Character Creation Techniques

Living Dragons is a 3D character design Master’s thesis project in which four visual special effects technologies (puppetry, stop motion, CGI, and motion capture) are represented with four different characters intended to represent the archetypes of those technologies. The goal is to foster curiosity in these topics and encourage its audience to explore their new interests further. The project itself is meant to be casual and fun, an inviting place to begin learning about a new topic. This project is also meant to explore how character design can be used to convey how technology works, and to utilize that design to educate an audience in a casual setting

Virtual Reality 3rd person camera behavior modes

We describe and evaluate five different level design independent modes of handling camera behavior in the 3rd person game LizzE – And the Light of Dreams in Virtual Reality. The behavior of the different modes will each be illustrated in detail. To evaluate the modes A: Fast circling, B: Lazy Circling, C: No Circling, D: Blink circling and E: Buffered pulling, an experimental study with 33 subjects was conducted. An analysis of the resulting data will show why Buffered pulling seems to be the most promising of the examined modes. We elaborate on the quantitative and qualitative hybrid experiment design and methodology. Eventually the advantages and disadvantages of the five tested modes are discussed in terms of supporting the gameplay, player enjoyment, in game performance and the tendency to induce nausea

Applications of Face Analysis and Modeling in Media Production

Facial expressions play an important role in day-by-day communication as well as media production. This article surveys automatic facial analysis and modeling methods using computer vision techniques and their applications for media production. The authors give a brief overview of the psychology of face perception and then describe some of the applications of computer vision and pattern recognition applied to face recognition in media production. This article also covers the automatic generation of face models, which are used in movie and TV productions for special effects in order to manipulate people's faces or combine real actors with computer graphics

As cinemáticas e narrativas de jogos digitais: implicações para o design de jogos

Game cinematics integrating filming techniques, cutscenes, and animations are likely to have a pivotal role in the player experience, emotional attachment, and relatedness to the game narrative content. In recent years, the avoidance of cuts to generate a seamless and connected game experience has challenged older patterns on storytelling in games and find new ways of intertwining gameplay with the narrative. However, a one-size-fits-all strategy may not be applied when considering different storytelling purposes, structures, and language used in diversified game genres. The purpose of this research is to examine the contributions of cinematics to affect game story comprehension, especially in young adults. A multi-stage development research method is applied, encompassing the following activities: (1) identification of requirements to develop game cinematics based on the literature review and interviews with 16 scholars and industry professionals in Game UX, and cinematic development; (2) Development of a Game Cinematics experiment for the game Mutation Madness, using first- and third- perspectives; and a (3) Comparative evaluation of game cinematics in terms of experience and narrative comprehension. The cinematics developed are tested with 46 young adults to assess the effect of the Point Of View (POV) camera on visual attention and story comprehension in Mutation Madness, using an eye- tracking experiment. The results suggest that third- perspective in game cinematics constitute omniscient knowledge of the story, evoking the sense of time and focusing on the story agents, while first- perspective visually guides the player to the game events happening in the time of gameplay. This research contributes to the Communication Sciences and Technologies field by presenting a set of best practices developing game cinematics.As cinemáticas de jogos que integram técnicas de filmagem, cutscenes, e animações, tendem a ter um papel central na experiência do jogador, envolvimento emocional, e relação com a narrativa. Nos últimos anos, os padrões mais antigos inerentes ao processo de contar histórias nos jogos têm sido desafiados pela ausência de cortes e interrupções na experiência, de modo a garantir a interconexão e o entrelaçar da jogabilidade com a narrativa. No entanto, a adoção de uma estratégia de dimensão única pode não atender a diferentes propósitos da narrativa, estruturas e linguagem utilizadas em diferentes géneros de jogos. O objetivo desta investigação é compreender o modo como as cinemáticas podem afetar a compreensão de histórias de jogos, especialmente em jovens adultos. O método de investigação de desenvolvimento é aplicado, subdividido nas seguintes etapas: (1) Identificação de requisitos para desenvolver cinemáticas de jogos com base na revisão da literatura e entrevista a 16 académicos e profissionais da indústria em experiência de jogo, e desenvolvimento de cinemáticas; (2) Desenvolvimento de cinemáticas do jogo Mutation Madness, com recurso à primeira e terceira perspetiva; e (3) Avaliação comparativa das cinemáticas de jogo em termos de experiência e compreensão da narrativa. As cinemáticas desenvolvidas são testadas por 46 jovens adultos, recorrendo à metodologia eye-tracking, para avaliar o efeito da perspetiva da câmara [Point Of View (POV)] na atenção visual e na compreensão da narrativa do jogo Mutation Madness. Os resultados sugerem que a cinemática em que é adotada a terceira perspetiva no jogo proposto contribui para um conhecimento omnisciente da história, evocando o sentido do tempo e concentrando-se nos agentes da história, enquanto a primeira perspetiva orienta visualmente o jogador para os eventos do jogo que acontecem no tempo da jogabilidade. Esta investigação contribui para a área das Ciências da Tecnologia da Comunicação ao apresentar um conjunto de melhores práticas para desenvolver as cinemáticas nos jogos.Mestrado em Comunicação Multimédi