Documentü

Clarke, R. J (2001) L213-06: 1

Multimedia in Organisations

BUSS 213

Lecture 6Creating New Media

Media under the Influence of Computation

Clarke, R. J (2001) L213-06: 2

Notices (1)General

Make sure you have downloaded a copy of the BUSS213 Assignment 2- Multimedia Presentation for a Concept, Service, Product or Place

BUSS213 website where you can find out the latest Notices and get Lecture Notes, Tutorial Sheets, Assignments etc is:

www.uow.edu.au/~rclarke/buss213/buss213.htm this week tutorial sheet is available on this site for

use in the laboratory (open up WORD or simply print it out)

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Notices (2)Marking Assignment 1

Assignment 1 is still being marked and will likely be available next lecture…

…however, if I complete these earlier then I will announce this under the Notices section of the BUSS213 Intranet

your marks will be available either on the notice board on my office door or on the Departments Notice Board adjacent to my office- marks will not be made available on the Intranet

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Notices (3)Download Assignment 2

Assignment 2 is due Week 9 (21/9): is a Director Version 5 assignment- any assignment

completed using other versions or multimedia systems will not be marked

you are required to inform me prior to the Lecture Week 7 by email of your selected topic- when composing the email to me please use exactly the following subject name of A2-213-01

you submit the assignment using the Microcomputer Laboratories Submit system- details will be provided nearer to the completion data and time

there are three compulsory options that each assignment must have- (1) splash screen, (2) credits screen, and an (3) exit option

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Agenda (1)

in the previous three lectures I have provided information on three of the most important groups of traditional media used in multimedia systems

Why bother? Because:(i) in order to create good media you need to understand the

processes by which media is gathered, manipulated and used- this is why we have concentrated on conventional techniques like framing in film, traditional cell animation and so on,

(ii) you cannot create good multimedia unless you understand the characteristics and potentials of media types you deal with, and

(iii) only when you understand individual media can you appreciate what adding computation can do to create a functional multimedia system

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Agenda (2)

in the first lecture we said that the major reason new forms of media can be created is that traditional digital media can be transformed from data to processes

we will see that ‘new’ media (or digital media) involves adding computation to existing forms of media by adding:

Selection- on event do this Repetition- repeat this until that to a specific State for static media or Sequence

for Time-ordered media

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Agenda (3)Transforming Traditional into New Media

transforming traditional media into new digital media can occur to even the most basic of media types- for example the use of computation to transform text into dimensional typography

we will illustrate that sequence, selection and repetition can work to create entirely new kinds of media (we consider Time Slice Imagery and QuickTime Virtual Reality)

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Agenda (4)Creating New Media

there are many forms of new digital media which are currently being created- many simply await an application for which they are suited this was in fact the case for Time Slice Imaging when

it was first described in a Scientific American magazine

if we can understand and define media we may be able to create entirely new kinds of passive and interactive experience for users! we can demonstrate how this is possible by

proposing a variation on Time Slice Imagery which we will call Space Time Imaging (STI)

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Dimensional Typography

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Dimensional Typography

typography is defined as the art of designing letters while dimensional typography adds a spatial and temporal aspect to traditional flat and static letters

developments in graphic design and multimedia have suggested two directions for dimensional typography: ‘normal’ letterforms used in increasingly complex

information layering (for example, the work of Muriel Cooper, MIT Media Labs), and

exploring the ‘sculptural’ and ‘three dimensional forms’ of individual letters (for example the work of J. Abbott Miller)

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Letters and Information LayeringVLW at MIT (Muriel Cooper & David Small)

the work of the Visible Language Workshop at MIT recreates an information landscape where clusters of text-based information objects are scattered throughout a three dimensional space on the computer display

the user flies through a textual three space which provides a kind of visual context so it is difficult to get lost

Overview at the Massachusetts Institute of Technology

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Letters and Information LayeringCoding Redundancy

this kind of work has inspired further developments

for example the kind of information presented in the table of contents for the MIT Bulletin by David Small and Suguru Ishizaki (left)

Note that different levels of abstraction (general versus specific) are coded according to size, colour and orientation- this kind of coding redundancy is extremely useful for human readers

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Letters and Information Layering‘Financial Viewpoints’ Lisa Strausfeld

a direct application of this kind of idea to organisational multimedia is the experimental, interactive information space called financial viewpoints- these kinds of displays will likely make their way very quickly into high-end executive information systems (EISs)

developed by Lisa Strausfeld to provide a volumetric representation of a sample portfolio of seven separate mutual funds

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Letterforms and Computation

obviously the kind of information layering occurring in these ‘information landscapes’ are the result of computation on a vast scale…

… but individual letterforms are also subject to computation- this simply the latest technological intervention in the design of letters and fonts and we now turn our attention to consider this less obvious aspect of the ‘sculptural forms of letters’

as we shall see, the design of letters and fonts has always been in response to technological opportunities and economic requirements…

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Sculptural Forms of LettersBased on J. Abbott Miller (1996)

there has been continuous experimentation with letterforms- leading to the development of new type faces readers and viewers are increasingly able and willing to navigate

texts and negotiate challenging textual and visual environments either in physical exhibitions or the virtual environments

designers accustomed to dealing with the flat, pictorial paradigms of print are now dealing with architectural, ergonomic, and cinematic paradigms of environmental, immersive media

two of the most common ways that are used to create new type faces and fonts are extrusion and rotation- we then describe several less frequently used approaches

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Sculptural Forms of LettersExtrusion

Most programs- including this one- automatically dimensionalise fonts by extruding them and rendering them in simulated stone, glass and other textures

Extrusion is the most common technique for converting a flat letter form into an object

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Sculptural Forms of LettersRotation…

like extrusion, rotation of letterforms produces classical forms spheres, columns and cones

by transforming the signature silhouette of a letter into a solid- and often closed form- it generates less recognisable letterforms and is therefore rarely seen

if it is attempted it is usually rotation along the horizontal rather than the vertical axis

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Sculptural Forms of LettersRotation…

shown below is the Univers font designed by Adrian Frutiger (1957)- a highly structured san serif font

in a homage to this most widely used fonts, Ji Byol Lee (1996) designed the vertical rotation of Univers called Univers Revolved see next slide…

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Sculptural Forms of LettersUnivers Revolved font (Ji Byol Lee, 1996)

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Sculptural Forms of LettersTubing, Shadowing…

there are many other types of transforms that are familiar and so generally go unrecognised, including: tubing which is related to extrusion and rotation but

the operation is limited to the stroke of the letter rather than the shape of the overall character

shadowing evokes three dimensionality through the use of implied light sources an example is the typeface called ‘Umbra’ (below)

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Sculptural Forms of Letters … Sewing, Bloating

Other types of deformation on letterforms that are used for creating new type faces include: sewing refers to two dimensional letters which

resemble ribbons- also those type faces that are created with reference to stitching, threading, and lacing

bloating refers to operations produce letters which Miller (1996, p. 7) describes as “… bulbous, organic, corpulent, inflated, and biomorphic in nature… reminiscent of both the way skin envelopes a skeleton understructure, and the shapes produced by the expansion and contraction of membranous materials”

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…Sculptural Forms of Letters Molecular & Modular Construction

also there are ways in which letters can be formed which rely directly on fabrication or construction metaphors: Molecular Construction involves building

individual letters from similar, smaller units (like using brick-like blocks to build a letter)

Modular Construction involves producing letters from a small set of interchangeable parts (eg. if we were to use special construction symbols to form to shapes of letters)

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Sculptural Forms of LettersRelationship to Economics & Technology…

the history of font and letterform design has been in response to: economic needs- the design of typefaces that are

best suited for the display of notices for use in advertising (eg. Ironwood, Juniper, Mesquite fonts are designed for exactly these purposes), and/or

modes of production- eg. the actual type of the above fonts was made of wood rather than iron- a cheaper material, and/or

inspired by and in some cases mimicking technological developments (eg. Rubberstamp, Bouchon, Magatama, LCD, and Synchro)

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Sculptural Forms of LettersRelationship to Economics & Technology…

Ironwood (1990)

Juniper (1990)

Mesquite (1990)

Letraset Rubber Stamp (1983) by British designer Alan Birch to simulate a stencil, branding or rubber stamp effect.

All of three of these fonts

have been designed by Kim Buker, Barbara Lind,

and Joy Redick (1990) as a revival of a wood decorative fonts popularly used during the industrial revolution

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Sculptural Forms of Letters… Relationship to Economics & Technology

Bouchon typeface designed by French husband and wife design team, Roselyne & Michel Besnard is influenced by bitmapped letter images

Designed by eminent Japanese designer, Hajime Kawakami, Letraset Magatama has a design influenced by computer

'LCD' typeface named after 'Liquid Crystal Display' technology inspired British designer Alan Birch (1991) to create this typeface

‘Synchro’ was designed by British Designer Alan Birch (1984) it uses a look that emulates dot matrix printers

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Sculptural Forms of LettersText under the influence of Computation …

therefore, it should not be surprising that the computer simply becomes yet another tool which: can be used to create new fonts and font families and/or can be used in a self-reflexive manner- to make text that

obviously looks like computer graphics for multimedia developers, these kinds of

explorations in the relationship between media and computation are very important- they provide us with insights into the nature and the function of media and also act as new exemplars for use in our own development work

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Sculptural Forms of Letters… Text under the influence of Computation …

the alphabet for a modern fancy font called Dr. No-b, developed by Ian Andersen (1992) is shown above

while these letters are reasonably legible when small they become a little confusing when enlarged

the lower case ‘a’ is shown on the left hand side

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Dr. No-b (above left) can be transformed into a connected dot structure (above right) and then displayed as a matrix of spheres in which individual letters are formed by viscous, lava-lamp-like linkages. The resulting effect on the right handside is called Mercury

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based on a 15th Century round gothic capital ‘S’ formed from a series of circles, the Tapeworm font, from which this example is taken, interprets the circle as a sphere on which the letter is wrapped

the computer graphics technique of wrapping textures or flat images onto solids is commonly used in advertising- here we see it in the service of typography

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Sculptural Forms of Letters… Text under the influence of Computation … in the next two slides we see fonts- possessing features

that could be the result of computation- themselves being transformed from two dimensional shapes to three dimensional objects

1. the first example uses a font called Modula Ribbed designed by Zuzana Licko (1995). The ‘ribbing’ looks like an iteration over the outline of the two dimensional letterform. Converted to three dimensions the font is referred to as Polymorphous

2. the second example uses a font called Jesus Loves You designed by Lucas de Groot (1995). The iteration over the outline of the two dimensional letterform is suggestive of the crown- of-thorns like spines from which the font derives its name. Converted to three dimensions the font is referred to as Rhizome after the writings of the French philosophers Deleuze and Guattari.

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Modula RibbedAlphabet

Modula Ribbed2D detail lowercase letter ‘f’

Polymorphous 3D detail lowercase letter ‘f’

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Jesus Loves YouAlphabet

Jesus Loves You2D detail lowercase letter ‘f’

Rhizome 3D detail lowercase letter ‘f’

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the next slide shows what are called ligatures- forms which are the result of welding two letters together

ligature is defined as: the act of binding or tying up- the ‘welding’ described above,

or alternatively a link, bond or tie- in these examples a possible tie is that they are consecutive letters in the alphabet

this term also has a meaning in traditional printing- it is a character of two or more joined letters such as fi, fl, ffi, ffl

designed by Bart Overly (1995) these forms were devised so that they could be ‘read’ from different orientations in three space- of course not all orientations provide an intelligible reading!

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the next and final example of the text under the influence of computation is the positional transformation and interpretation of a font which has thick and thin elements

the letter constructions (left of the next slide ) are based on the classic font Didot designed by François Ambroise Didot (1784)

the thick and thin variations of Didot are interpreted as functions of perspective and the position of planar elements (right of the next slide)

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Sculptural Forms of Letters… Text under the influence of Computation

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Dimensional TypographyMerging the ‘Spatial’ and ‘Sculptural’

these avenues of research within dimensional typography can and will merge into one another

spatial aspects of navigation (based on work like that of Muriel Cooper) merging together with the sculptural aspects of individual forms (based on work like that of J. Abbott Miller)

the goal is to create interfaces which blend, merge and evolve based in user interaction- a new design aesthetic with new functional possibilities!

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Time Slice Imaging

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Time Slice Imaging (1)

to capture a time slice image:use a special camera consisting of a

large number of still cameras (~120) and arranged them in a large arc

the optical configuration of each still camera is such that each image overlaps its predecessor and successor

connect the cameras so that they all take an image of the same subject simultaneously

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to create the time slice image:edit together each of the still images

either using linear film editing or by using non-linear digital editing, and

assemble the images onto a video tape ordering the images according to camera position- that is in a sequence from left-most camera to the right-most camera

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then play back the movie! the result is a captivating experience- a

frozen moment scene from a huge number of anglesit is so startling because we do not see

time this way and we are never able to get a view from multiple positions

truly a new media- technically identical to digital video but very different for users!

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Time Slice Imaging (4) Timeslice Camera

“This camera gives a five-metre long 90 degree circular tracking shot in time-slice, live-action, long exposure, high-speed shutter or any combination. The camera performs like a compact motion-control rig. The optics are multi-coated, allowing the camera to perform to wide screen feature film standards. Again the construction is robust, enabling the camera to travel to far flung locations and work under the harshest conditions (as has proven the case with natural history work).”

http://www.timeslicefilms.com/cameras_pc.html

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Time Slice Imaging (5)Examples

first mentioned in a small news item- Scientific American

Other Examples:Various Advertisements Lost in Space (1998)The Matrix (1999)

Lecture Video Example:BBC (1998) The Human Body- Part 2

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Time Slice ImagingCreating a New Media: STI

if you understand media you are in a better position to create entirely new kinds of passive and interactive experience for users,

a hypothetical image capture system is proposed here- a variation on Time Slice Imagery which we will call Space Time Imaging (STI)

for example: replacing the arc of still cameras with a sphere of digital video

cameras would produce on playback the kind of imagery that could freeze both space and time independent of each other

the observer of an STI sequence of a football player kicking a ball would be able to see the action from unusual points of view, eg. from the point of view of the ball, or footballers toe!

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Virtual RealitiesPartially Immersive

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Virtual RealitiesAn example of the relevance of new media

some new digital media are being used to solve organisational problems

for example Vitual Reality is being used by:Real Estate Agents who use it to describe

the interiors of expensive properties which are to be auctioned,

Queensland Police are using it to create a realistic reconstruction of the crime scene

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Virtual RealitiesTwo Major Classes

Cylindrical Virtual Reality- in which a set of images is stitched together to give on playback the user appears to sit in the centre of a cylindrical projection. Permits only a limited vertical field-of-view- in practice this is not a disadvantage

Cubic or Spherical Virtual Reality- in which either: (i) a fisheye lens is used to create a highly distorted view of an

image or (ii) a number of strips of images are stitched together to form a

sphere

in which on playback the user appears to sit in the middle of a sphere. They totally enclose space allowing the user to look straight up or down as well as around

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Virtual RealitiesImportance of QuickTime VR

we will concentrate on QuickTime VR which was the first partially immersive VR system QTVR is proprietary in that it must be

developed on a high-end Macintosh, but can be played on multiple platforms just

like QuickTime not a problem for multimedia developers who

often prefer this platform because of its continuous support of graphic arts and design markets

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Virtual RealitiesSpatial Classification of VRs

there are several types of VR that can be built using QuickTime VR:Object MoviesSingle Node Panoramic MoviesMulti-Node Movies

Sparse Multi-Node SceneContinuous Multi-Node Scene

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Virtual RealitiesSources of Object Movies

photography of real object/s from all views using film or video

model and render virtual object/s from all views digitally

each view becomes a distinct frame in a frame space formed by a QuickTime movie

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Virtual RealitiesFrame Order and Frame Space

the order of frames in the frame space is important:if the object is real then simply

photograph views in the corrct orderif the object is virtual then frames must

be rendered in the corrct orderFrame Access Function is used

identify which frames to display based on user interaction

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Frame Space & Access FunctionFrame Space

frame = f(,)

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Object MoviesDefinition...

two forms of object movies:a 360º series of images around the

‘equator’ of an object, or a series of images which form a number

of ‘latitude’ loops around an object including the ‘north and south poles’

assembled to form a continuous loop of images

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Object Movies...Definition

size of the object is a consideration when creating object movies:if the object for which an object movie

is to be created is small then the object is rotated,

otherwise the camera rig is moved around the object to simulate rotation of the object

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Object MoviesBackground Issues

object movie backgrounds are generally black and featureless

makes the transition from the embedding media (panoramic VR or video) less jarring

it is also extremely difficult to match up the photometric and geometric characteristics of different media (described latter)

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Object MoviesMedium...

photography- produces great resultsbut has many difficult steps which are

out of the control of the content creatordependent on Kodak who are the only

company that can create the necessary PhotoCDs

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Object MoviesMedium

analog video-must be digitised which will require very

expensive hardware and softwarevery noisy and will need image pre-

processing before making the Object Moviedigital video-

convenient I-link (Firewire) upload of images to VR development machine

expensive but worth it!

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Object MoviesCamera Requirements...

if using photography you will needa very good quality 35mm SLR camera-

could be an old manual high-end camera or a new state-of-the-art high end-camera

camera mount that can hold the camera in portrait orientation

camera head which can turn the camera in equal segments of a circle

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Object Movies…Camera Requirements

a wide angle lens- the wider it is the fewer the number of photographs are needed

lens characteristics (<15 mm is a very expensive fisheye lens; >28mm is approaching a normal lens- so forget it) 15mm 12 images 18mm 12 images 28mm 18 images

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Object MoviesSupports

any supports should not be visible in the completed object media

special supports for the items being photographed can be expensive- need special jigs to get a 360º series including the ‘poles’

can use an old record turntable if the objects are small

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Objects Movies Photographic Techniques & Tips

Backdrops: are required to create the illusion that the object is “floating in space” and that the user is picking up and manipulating the object, rather than just walking around it. A solid colour is selected that can be manipulated using an image-processing program like Adobe After Effects.

Object Support: the object should be supported during capture and should be sturdy enough to prevent jitter during capture- the unwanted motion of the object against its background in the final object movie

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Objects Movies Photographic Techniques & Tips

Camera Selection: use either digital still or video cameras for Object VR Photography. Video cameras so not have the resolution of a digital still camera. However, if the final Object VR movie files is for the web then resolution may not be a problem. Capture the highest resolution that you can both afford and deliver.

Ordering frames: the capture of images is done in order from the top to bottom (columns) of the object in repetitive bands (rows) of images. Select a name for each image that reflects the sequence in which the images will be viewed, which eliminates the need to reorder or rename frames afterward

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Object Movies Image Capture: Turntables

the Kaidon MDT-19 is a motorised turntable used to rotate objects being photographed for VR Object movies- the turntable is rotated under computer control

this particular device has a diameter of 19 inches and can support objects up to 75 lbs in weight- others available from the same company are large enough to rotate a motor bike

the green cloth is for use in post production to remove backgrounds

Kaidon Magellan Desktop Turntable

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Object Movies Image Capture: Object VR Rigs

real-world object movies can be captured with more elaborate setups

objects are shot as sequence of photos, using a turntable and object rig to ensure proper rotation of the camera to all possible viewpoints

opposite is an iMac computer mounted on a support that can be rotated while the camera is mounted on a motorized support that will rotate it around the object.

Kaidon Magellan 2500 Motorized Object Rig

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Object Movies Image Capture: Object VR Rigs

Object VR rigs can come in a variety of sizes- below a simple arrangement rotate the object but mount the camera on a stationary support, or use a full blow object rig like that seen on the right

Meridian Turntable TM-400 Kaidon Meridian C-60

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Object Movies Image Capture: Camera Arrangements

http://www.kaidan.com/index.shtml

Object VRsPanorama VRs

Single & Multinode

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Single-Node Panoramic Scene

allows a user to see a space or interior from a single point-of-view

does not allow the user to explore the interior

other types of QTVR objects (eg. Sparse and Continuous Multi-Node Scenes) are made by stitching multiple single node panoramic scenes together

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Sparse Multi-Node Scene

Users can jump between a set of key nodes located at points of interest in a space or interior

provides an experience which allows some limited navigational freedom

useful when there are only a few key points of interest and no need to show a continuous space

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Continuous Multi-Node Scene (1)

user has much more freedom to visit different locations in space

key nodes which lie at path intersections in front of interesting objects and displays

continuous space is created by positioning nodes between the key nodes- needed when everything is interesting

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Continuous Multi-node Scene (2)Example: MicroLabs, UOW c. 1995

Can be viewed or downloaded from the BUSS909 Intranethttp://www.uow.edu.au/~rclarke/buss213/labscene.mov

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Cubic or Spherical VRSingle Images

http://philohome.free.fr/tripod/sample.htm

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Cubic or Spherical VRFinal Panorama

http://philohome.free.fr/tripod/sample.htm

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Virtual Reality Production

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QTVR Production StepsTraditional Workflow

Node PlanNode

Photography

Photo- chemical

Processing

PhotoCD Mastering

Hot-spot Stitching

Registering Views

Single Node Stitching

Multi-node Stiching

1 2 3 4

5 6 7 8

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QTVR Production DifficultiesPhotometric Materials; Missing Frames

traditional photographic processing of VRs causes many problems for production- apart from the obvious fact that these are the only stages conducted outside the control of the VR production

a surprisingly large range of problems during VR production can occur as a result of the use of photographic source materials, photochemical processing and photo CD mastering stages

missing frames from a node can lead to the exclusion of an entire node

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QTVR Production DifficultiesPhotometric Problems with Film …

the need for additional pre-processing of individual frames is more likely if film is used to collect images for VRs

this pre-processing which is in the form of image processing operations (described in a previous lecture) forms an additional step in the tradition workflow

Node PlanNode

Photography

Photo- chemical

Processing

PhotoCD Mastering

Hot-spot Stitching

Registering Views


Multi-node Stiching

1 2 3 4

5 6 7 8

ImageProcessing

4.5

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QTVR Production Difficulties… Photometric Problems with Film …

an example of the kind of problem occurred with a particularly difficult VR shoot at the Computing Centre at BHP Port Kembla

as it turned out, it was in fact the largest continuous multi-node panorama VR ever attempted for an educational CD-ROM product

however, the film camera we were using was very old and

unbeknown to us its light metering was faulty this left every shot very dark (see next slide), you will

also note that the original image illustrates that it is close to reaching what is called its reciprocity failure

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in film photography, the reciprocity rule states that shutter speed can be traded for aperture, and vice-versa and still obtain a properly-exposed image

however, there are limits to this- the reciprocity rule only works for a limited range of exposure times and beyond that range, the emulsion's capacity to get a proper exposure using the reciprocity rule breaks down- reciprocity failure

with colour films, reciprocity failure is seen as a colour shift that can be corrected – if you know its occurring simply by compensating with a longer exposure- in our case the compensation had to be done in software

The image orientation is due to the fact that VR images are taken in Portrait mode, but PhotoCDs assume that images are taken using Landscape mode

An example of an original image at BHP’s Computing Centre, Port Kemba. The camera was suffering from various electrical problems which degraded the image quality.

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to correct this some test images were loaded up into Photoshop, and processed in order to make the image usable- the following procedure was found…

1. Rotate image 90 degrees (remove landscape view of Photo-CDs)2. Adjust Auto Levels (Photoshop’s own best guess at cleaning up the images)3. Adjust Hue/Saturation

Hue = -15 (remove green cast due to fluorescent lights)

4. Adjust Brightness/Contrast Brightness = +30 (correct for dim, washed images) Contrast = +70

5. Filter Gaussian Blur = 1.6 (smooths the noise in the PhotoCD image)

… then applied this to several adjacent images in the same node, and then ‘manually stitched’ them together using Photoshop’s Distort operation (and the result is shown on the next slide)

…then all Photo-CDs images were then batch processed using Photoshop

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Node 2 of BHPs Computer Centre trial stitch using Photoshop Distort ‚ ƒ „

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the vertical strips in the previous image are an effect of slight variations between consecutive (numbered) images these artifacts will not be apparent when these

images are stitched using the QuickTime VR Authoring software

this software can compensate for these relatively minor photometric differences (and also the slight geometrical differences that can’t be completely removed with Photoshop’s Distort filter

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QTVR Production Difficulties… Photometric Problems with Film

as you can see with the previous slide, the image looks perhaps a little to colourful and might require a further correction to hue

the image still looks ‘grainy’: but we have reduced this problem substantially

by using a Gaussian Blur filter to soften the look of the image

this problem will not even be seen because the resulting VR is only about ¼ of the screen- this reduction in display size will create the illusion of a greatly enhanced apparent resolution

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QTVR Production DifficultiesPhotometric & Optical Geometry Mismatches

similar mismatches occur between the photometric characteristics of photographic systems and video systems used to create VR and content sequences

mismatches between geometric characteristics of wide angle film lenses used in the production of VR and wide angle video lenses used in capturing ‘live action’ sequences that will be linked to the VR

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VR ProductionDigital Breakthrough

digital workflows are being developed with the advent of megapixel digital still camers (left), and affordable (almost, sigh!) digital video camera (right)

http://philohome.free.fr/bracket/bracket.htm

http://canondv.com/xl1/index2.html

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QTVR Production StepsDigital Workflow

Node PlanNode

Photography

Photo- chemical

Processing

PhotoCD Mastering

Hot-spot Stitching

Registering Views


Multi-node Stiching

1 2 3 4

5 6 7 8

Download to Computer

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QuickTime VR DeliveryDownloading a VR over the Web

Photography: David Wagner Studios

Hoberman Sphere at Liberty Science Centre, Jersey City, NJ

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References

Byers, S. (1992) The Electronic Type Catalog The Toronto: Bantam ITC Series

Miller, J. A. (1996) Dimensional Typography: Case Studies on the Shape of Letters in Virtual Environments A Kiosk Report Supported by the Friends of Gilbert Paper Program Distributed by Princeton Architectural Press

Wurman, R. S. (1996) Information Architects Zurich: Graphis Press Corp

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Miscellaneous LinksLetraset http://www.letraset.com/LetrasetUK/Templates/Letraset/mainscreen.asp

Media Cleaner Pro http://www.media100.com/cleaner/

Final Cut Pro http://www.apple.com/finalcutpro/

Adobe After Effects 5 http://www.adobe.com/products/aftereffects/main.html

Basic Photography Doswell, C. (2001) Some Basic Elements of Photography

http://webchat.chatsystems.com/~doswell/Outdoor_Images/Photo_Basics.html

Adobe Photoshop 6 http://www.adobe.com/products/photoshop/main.html

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Sample TechnologiesVR Soft/Hardware, Tripods, Examples

VR Software VR Software Products: http://www.kaidan.com/products/util-and-soft.html

VR Equipment Setup VR Heads: http://www.kaidan.com/index.shtml

Miscellaneous Examples Anonymous: http://www.worldserver.com/turk/quicktimevr/ Kaidan Pty. Ltd. http://www.kaiden.com/geebee.html

Tripods- Handheld (Virtual) Method: http://philohome.free.fr/tripod/shooting.htm Example: http://philohome.free.fr/tripod/sample.htm

Tripods- Actual Equipment: http://philohome.free.fr/lbracket/lbracket.htm

Plug-ins http://www.smoothmove.com/03products/03iMove_Viewer.asp

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Helmut Dersch's Panorama Tools (PTools) PTools http://www.fh-furtwangen.de/~dersch/ Ptgui http://www.ptgui.com/ (Joost Nieuwenhuijse)

PTools Related Tutorials Ben Kreunen http://www.bigbenpublishing.com.au/360/docs/tutorial/index.html Sascha Kerschhofer http://www.htu.at/~sascha/ptguide/

PTools Related Examples (Philippe Hurbain’s Site) Indoor Panoramas http://philohome.free.fr/panogallery/indoor.htm Outdoor panoramas http://philohome.free.fr/panogallery/outdoor.htm Kite Panoramas http://philohome.free.fr/kitephoto/kapp.htm

Sample TechnologiesSpherical Virtual Realities