Adaptive User Perspective Rendering for Handheld Augmented Reality

Handheld Augmented Reality commonly implements some variant of magic lens rendering, which turns only a fraction of the user's real environment into AR while the rest of the environment remains unaffected. Since handheld AR devices are commonly equipped with video see-through capabilities, AR magic lens applications often suffer from spatial distortions, because the AR environment is presented from the perspective of the camera of the mobile device. Recent approaches counteract this distortion based on estimations of the user's head position, rendering the scene from the user's perspective. To this end, approaches usually apply face-tracking algorithms on the front camera of the mobile device. However, this demands high computational resources and therefore commonly affects the performance of the application beyond the already high computational load of AR applications. In this paper, we present a method to reduce the computational demands for user perspective rendering by applying lightweight optical flow tracking and an estimation of the user's motion before head tracking is started. We demonstrate the suitability of our approach for computationally limited mobile devices and we compare it to device perspective rendering, to head tracked user perspective rendering, as well as to fixed point of view user perspective rendering

Designing mobile augmented reality art applications:addressing the views of the galleries and the artists

The utilization of mobile augmented reality to display gallery artworks or museum content in novel ways is a well-established concept in the augmented reality research community. However, the focus of these systems is generally technologically driven or only addresses the end user and not the views of the gallery or the original artist. In this paper we discuss the design and development of the mobile application ?Taking the Artwork Home?, which allows people to digitally curate their own augmented reality art exhibitions in their own homes by digitally ?replacing? the pictures they have on their walls with content from the Peter Scott Gallery in Lancaster. In particular, we present the insights gained from a research through design methodology that allowed us to consider how the views of the gallery and artists impacted on the system design and therefore the user experience. Thus the final artifact is the result of an iterative evaluation process with over 100 users representing a broad range of demographics and continues to be evaluated/enhanced by observing its operation ?in the wild?. Further, we consider the effect the project has had on gallery practices to enable both augmented reality designers, and galleries and museums to maximize the potential application of the technology when working together on such project