Exploring the impact of 360° movie cuts in users' attention

Virtual Reality (VR) has grown since the first devices for personal use became available on the market. However, the production of cinematographic content in this new medium is still in an early exploratory phase. The main reason is that cinematographic language in VR is still under development, and we still need to learn how to tell stories effectively. A key element in traditional film editing is the use of different cutting techniques, in order to transition seamlessly from one sequence to another. A fundamental aspect of these techniques is the placement and control over the camera. However, VR content creators do not have full control of the camera. Instead, users in VR can freely explore the 360° of the scene around them, which potentially leads to very different experiences. While this is desirable in certain applications such as VR games, it may hinder the experience in narrative VR. In this work, we perform a systematic analysis of users'' viewing behavior across cut boundaries while watching professionally edited, narrative 360° videos. We extend previous metrics for quantifying user behavior in order to support more complex and realistic footage, and we introduce two new metrics that allow us to measure users'' exploration in a variety of different complex scenarios. From this analysis, (i) we confirm that previous insights derived for simple content hold for professionally edited content, and (ii) we derive new insights that could potentially influence VR content creation, informing creators about the impact of different cuts in the audience's behavior

Evaluation of user response by using visual cues designed to direct the viewer's attention to the main scene in an immersive environment

Today the visualization of 360-degree videos has become a means to live immersive experiences.. However, an important challenge to overcome is how to guide the viewers attention to the video main scene, without interrupting the immersion experience and the narrative thread. To meet this challenge, we have developed a software prototype to assess three approaches: Arrows, Radar and Auto Focus. These are based on visual guidance cues used in first person shooter games such as: Radar-Sonar, Radar-Compass and Arrows. In the study a questionnaire was made to evaluate the comprehension of the narrative, the user's perspective with respect to the design of the visual cues and the usability of the system. In addition, data was collected on the movement of the user's head, in order to analyze the focus of attention. The study used statistical methods to perform the analysis, the results show that the participants who used some visual cue (any of these) showed significant improvements compared to the control group (without using visual cues) in finding the main scene. With respect to narrative compression, significant improvements were obtained in the user group that used Radar and Auto Focus compared to the control group

Augmented Reality Meets Computer Vision : Efficient Data Generation for Urban Driving Scenes

The success of deep learning in computer vision is based on availability of large annotated datasets. To lower the need for hand labeled images, virtually rendered 3D worlds have recently gained popularity. Creating realistic 3D content is challenging on its own and requires significant human effort. In this work, we propose an alternative paradigm which combines real and synthetic data for learning semantic instance segmentation and object detection models. Exploiting the fact that not all aspects of the scene are equally important for this task, we propose to augment real-world imagery with virtual objects of the target category. Capturing real-world images at large scale is easy and cheap, and directly provides real background appearances without the need for creating complex 3D models of the environment. We present an efficient procedure to augment real images with virtual objects. This allows us to create realistic composite images which exhibit both realistic background appearance and a large number of complex object arrangements. In contrast to modeling complete 3D environments, our augmentation approach requires only a few user interactions in combination with 3D shapes of the target object. Through extensive experimentation, we conclude the right set of parameters to produce augmented data which can maximally enhance the performance of instance segmentation models. Further, we demonstrate the utility of our approach on training standard deep models for semantic instance segmentation and object detection of cars in outdoor driving scenes. We test the models trained on our augmented data on the KITTI 2015 dataset, which we have annotated with pixel-accurate ground truth, and on Cityscapes dataset. Our experiments demonstrate that models trained on augmented imagery generalize better than those trained on synthetic data or models trained on limited amount of annotated real data

Mixed Reality’s Ability To Craft And Establish An Experience Of Space

Mixed Reality, when integrated into architecture, will enable open spaces and the perception of the built environment to change rapidly with little physical fabrication. As architects, we design with a desired experience of space in mind and don’t typically design with a rapidly changing built environment to meet a fluctuating programmatic demand. Theater Program however, often requires such rapid changes to the perceived environment, that is the stage, and is an activator of social interaction based on a shared experience of the performances. What would be the architectural implications if we were to integrate mixed reality as a factor of the built environment? Is mixed reality technology even able to create an altered experience of space? To help answer this question the research conducted thorough investigation of phenomenological relations and studies and testing using the Microsoft HoloLens was conducted to simulate or verify the relations and studies. As a final output, Theater with Mixed Reality integrated into the design process as a key deciding design factor will be the main programmatic research and output of this project postulating both a built environment and flexible use space as possible means to redefine the architectural definition as we currently know as a Theatre

Leveraging eXtented Reality & Human-Computer Interaction for User Experi- ence in 360◦ Video

EXtended Reality systems have resurged as a medium for work and entertainment. While 360o video has been characterized as less immersive than computer-generated VR, its realism, ease of use and affordability mean it is in widespread commercial use. Based on the prevalence and potential of the 360o video format, this research is focused on improving and augmenting the user experience of watching 360o video. By leveraging knowledge from Extented Reality (XR) systems and Human-Computer Interaction (HCI), this research addresses two issues affecting user experience in 360o video: Attention Guidance and Visually Induced Motion Sickness (VIMS). This research work relies on the construction of multiple artifacts to answer the de- fined research questions: (1) IVRUX, a tool for analysis of immersive VR narrative expe- riences; (2) Cue Control, a tool for creation of spatial audio soundtracks for 360o video, as well as enabling the collection and analysis of captured metrics emerging from the user experience; and (3) VIMS mitigation pipeline, a linear sequence of modules (including optical flow and visual SLAM among others) that control parameters for visual modi- fications such as a restricted Field of View (FoV). These artifacts are accompanied by evaluation studies targeting the defined research questions. Through Cue Control, this research shows that non-diegetic music can be spatialized to act as orientation for users. A partial spatialization of music was deemed ineffective when used for orientation. Addi- tionally, our results also demonstrate that diegetic sounds are used for notification rather than orientation. Through VIMS mitigation pipeline, this research shows that dynamic restricted FoV is statistically significant in mitigating VIMS, while mantaining desired levels of Presence. Both Cue Control and the VIMS mitigation pipeline emerged from a Research through Design (RtD) approach, where the IVRUX artifact is the product of de- sign knowledge and gave direction to research. The research presented in this thesis is of interest to practitioners and researchers working on 360o video and helps delineate future directions in making 360o video a rich design space for interaction and narrative.Sistemas de Realidade EXtendida ressurgiram como um meio de comunicação para o tra- balho e entretenimento. Enquanto que o vídeo 360o tem sido caracterizado como sendo menos imersivo que a Realidade Virtual gerada por computador, o seu realismo, facili- dade de uso e acessibilidade significa que tem uso comercial generalizado. Baseado na prevalência e potencial do formato de vídeo 360o, esta pesquisa está focada em melhorar e aumentar a experiência de utilizador ao ver vídeos 360o. Impulsionado por conhecimento de sistemas de Realidade eXtendida (XR) e Interacção Humano-Computador (HCI), esta pesquisa aborda dois problemas que afetam a experiência de utilizador em vídeo 360o: Orientação de Atenção e Enjoo de Movimento Induzido Visualmente (VIMS). Este trabalho de pesquisa é apoiado na construção de múltiplos artefactos para res- ponder as perguntas de pesquisa definidas: (1) IVRUX, uma ferramenta para análise de experiências narrativas imersivas em VR; (2) Cue Control, uma ferramenta para a criação de bandas sonoras de áudio espacial, enquanto permite a recolha e análise de métricas capturadas emergentes da experiencia de utilizador; e (3) canal para a mitigação de VIMS, uma sequência linear de módulos (incluindo fluxo ótico e SLAM visual entre outros) que controla parâmetros para modificações visuais como o campo de visão restringido. Estes artefactos estão acompanhados por estudos de avaliação direcionados para às perguntas de pesquisa definidas. Através do Cue Control, esta pesquisa mostra que música não- diegética pode ser espacializada para servir como orientação para os utilizadores. Uma espacialização parcial da música foi considerada ineficaz quando usada para a orientação. Adicionalmente, os nossos resultados demonstram que sons diegéticos são usados para notificação em vez de orientação. Através do canal para a mitigação de VIMS, esta pesquisa mostra que o campo de visão restrito e dinâmico é estatisticamente significante ao mitigar VIMS, enquanto mantem níveis desejados de Presença. Ambos Cue Control e o canal para a mitigação de VIMS emergiram de uma abordagem de Pesquisa através do Design (RtD), onde o artefacto IVRUX é o produto de conhecimento de design e deu direcção à pesquisa. A pesquisa apresentada nesta tese é de interesse para profissionais e investigadores tra- balhando em vídeo 360o e ajuda a delinear futuras direções em tornar o vídeo 360o um espaço de design rico para a interação e narrativa

Distributed Cinema: Interactive, Networked Spectatorship In The Age Of Digital Media

Digital media has changed much of how people watch, consume and interact with digital media. The loss of indexicality, or the potential infidelity between an image and its source, contributes to a distrust of images. The ubiquity of interactive media changes aesthetics of images, as viewers begin to expect interactivity. Networked media changes not only the ways in which viewers access media, but also how they communicate with each other about this media. The Tulse Luper Suitcases encapsulates all of these phenomena

Distributed Cinema: Interactive, Networked Spectatorship In The Age Of Digital Media

Digital media has changed much of how people watch, consume and interact with digital media. The loss of indexicality, or the potential infidelity between an image and its source, contributes to a distrust of images. The ubiquity of interactive media changes aesthetics of images, as viewers begin to expect interactivity. Networked media changes not only the ways in which viewers access media, but also how they communicate with each other about this media. The Tulse Luper Suitcases encapsulates all of these phenomena

Spectators’ aesthetic experiences of sound and movement in dance performance

In this paper we present a study of spectators’ aesthetic experiences of sound and movement in live dance performance. A multidisciplinary team comprising a choreographer, neuroscientists and qualitative researchers investigated the effects of different sound scores on dance spectators. What would be the impact of auditory stimulation on kinesthetic experience and/or aesthetic appreciation of the dance? What would be the effect of removing music altogether, so that spectators watched dance while hearing only the performers’ breathing and footfalls? We investigated audience experience through qualitative research, using post-performance focus groups, while a separately conducted functional brain imaging (fMRI) study measured the synchrony in brain activity across spectators when they watched dance with sound or breathing only. When audiences watched dance accompanied by music the fMRI data revealed evidence of greater intersubject synchronisation in a brain region consistent with complex auditory processing. The audience research found that some spectators derived pleasure from finding convergences between two complex stimuli (dance and music). The removal of music and the resulting audibility of the performers’ breathing had a significant impact on spectators’ aesthetic experience. The fMRI analysis showed increased synchronisation among observers, suggesting greater influence of the body when interpreting the dance stimuli. The audience research found evidence of similar corporeally focused experience. The paper discusses possible connections between the findings of our different approaches, and considers the implications of this study for interdisciplinary research collaborations between arts and sciences