Textbook Advances in Computer Entertainment Technology 14Th International Conference Ace 2017 London Uk December 14 16 2017 Proceedings 1St Edition Adrian David Cheok Ebook All Chapter PDF
Textbook Advances in Computer Entertainment Technology 14Th International Conference Ace 2017 London Uk December 14 16 2017 Proceedings 1St Edition Adrian David Cheok Ebook All Chapter PDF
https://textbookfull.com/product/advances-in-intelligent-data-
analysis-xvi-16th-international-symposium-ida-2017-london-uk-
october-26-28-2017-proceedings-1st-edition-niall-adams/
https://textbookfull.com/product/advances-in-computer-
entertainment-10th-international-conference-ace-2013-boekelo-the-
netherlands-november-12-15-2013-proceedings-1st-edition-mathew-
burns/
https://textbookfull.com/product/data-analytics-31st-british-
international-conference-on-databases-bicod-2017-london-uk-
july-10-12-2017-proceedings-1st-edition-andrea-cali/
Wireless and Satellite Systems 9th International
Conference WiSATS 2017 Oxford UK September 14 15 2017
Proceedings 1st Edition Prashant Pillai
https://textbookfull.com/product/wireless-and-satellite-
systems-9th-international-conference-wisats-2017-oxford-uk-
september-14-15-2017-proceedings-1st-edition-prashant-pillai/
https://textbookfull.com/product/security-standardisation-
research-first-international-conference-ssr-2014-london-uk-
december-16-17-2014-proceedings-1st-edition-liqun-chen/
https://textbookfull.com/product/intelligent-human-computer-
interaction-9th-international-conference-ihci-2017-evry-france-
december-11-13-2017-proceedings-1st-edition-patrick-horain/
Advances in Computer
Entertainment Technology
14th International Conference, ACE 2017
London, UK, December 14–16, 2017
Proceedings
123
Lecture Notes in Computer Science 10714
Commenced Publication in 1973
Founding and Former Series Editors:
Gerhard Goos, Juris Hartmanis, and Jan van Leeuwen
Editorial Board
David Hutchison
Lancaster University, Lancaster, UK
Takeo Kanade
Carnegie Mellon University, Pittsburgh, PA, USA
Josef Kittler
University of Surrey, Guildford, UK
Jon M. Kleinberg
Cornell University, Ithaca, NY, USA
Friedemann Mattern
ETH Zurich, Zurich, Switzerland
John C. Mitchell
Stanford University, Stanford, CA, USA
Moni Naor
Weizmann Institute of Science, Rehovot, Israel
C. Pandu Rangan
Indian Institute of Technology, Madras, India
Bernhard Steffen
TU Dortmund University, Dortmund, Germany
Demetri Terzopoulos
University of California, Los Angeles, CA, USA
Doug Tygar
University of California, Berkeley, CA, USA
Gerhard Weikum
Max Planck Institute for Informatics, Saarbrücken, Germany
More information about this series at http://www.springer.com/series/7409
Adrian David Cheok Masahiko Inami
•
Advances in Computer
Entertainment Technology
14th International Conference, ACE 2017
London, UK, December 14–16, 2017
Proceedings
123
Editors
Adrian David Cheok Masahiko Inami
City, University of London University of Tokyo
London Tokyo
UK Japan
and Teresa Romão
NOVA University of Lisbon
Imagineering Institute Lisbon
Iskandar Puteri Portugal
Malaysia
LNCS Sublibrary: SL3 – Information Systems and Applications, incl. Internet/Web, and HCI
we also accept and invite discussions of the somewhat controversial topics of computer
science.
Lastly, we hope all delegates enjoyed the new experiences at ACE 2017 in one
of the world’s most exciting cities. We also hope you enjoy reading these proceedings
and find the papers helpful in your research.
Steering Committee
Adrian David Cheok City, University of London, UK,
Imagineering Institute, Malaysia
Masahiko Inami University of Tokyo, Japan
Teresa Ramão Universidade NOVA de Lisboa, Portugal
General Chair
Adrian David Cheok City, University of London, UK,
Imagineering Institute, Malaysia
Program Chair
Saša Arsovski Imagineering Institute, Malaysia
Demo Chair
Masahiko Inami University of Tokyo, Japan
Organizing Chair
Emma Yann Zhang Imagineering Institute, Malaysia
Program Committee
Sponsoring Institutions
David Levy
15 December 2017
This talk gives a guided tour of the advances achieved by researchers in cell biology
and biorobotics, which prompted the question whether it is possible for humans and
robots to make babies together. Until the birth of the first test tube baby, it was believed
that a human baby could only be conceived by the means of sexual intercourse between
a man and a woman. A series of breakthroughs in stem cell research, such as the frog
experiments done by John Gurdon, the ability to reprogram cells, the creation of
embryos from skin cells, as well as the TNT technology, has proven once and again
that life can be created by the genetic engineering of human cells. This talk also looks
into the genetic robot, created from a set of computerized DNA codes that determine its
personality. It is possible for such genetic codes from a robot to be combined with
human cells to create a baby that has genetic information from both a human and a
robot. The talk concludes by discussing the ethical implications related to the genetic
engineering of human embryos.
Contents
Cheer Me!: A Video Game System Using Live Streaming Text Messages . . . 311
Yu Matsuura and Sachiko Kodama
Building Virtual World for a Project Management Game – A Case Study . . . 746
Akash Mohan, Pranalika Arya, and Sandeep Athavale
Using a Serious Game to Assess Spatial Memory in Children and Adults . . . 809
Mauricio Loachamín-Valencia, M.-Carmen Juan,
Magdalena Méndez-López, and Elena Pérez-Hernández
1
Department of Cultural Technology and Communication, University of the Aegean,
Lesvos, Mytilene, Greece
v.kasapakis@aegean.gr
2
Department of Product and Systems Design Engineering, University of the Aegean,
Syros, Hermoupolis, Greece
{dgavalas,lena}@aegean.gr
1 Introduction
Virtual Reality (VR) refers to interactive synthetic worlds which often mimic the prop‐
erties of real-world environments and allow user immersion. Notwithstanding, these
synthetic worlds may exceed the limitations of physical reality, since any law, which
naturally governs space, time, mechanics, material properties and so on, can be tempered
with [1]. A related field of immersive technologies, which involves mixing of real and
virtual elements, is referred to as Mixed Reality (MR) [1]. Intensive research has allowed
the implementation of MR in fields such us gaming [2], education [3], industrial design
[4] and medicine [5].
Recent advances in VR-related technology generated affordable and compact
systems, such as Head Mounted Displays (HMDs), resulting to the commercial breach
of VR systems since 2015. These developments have triggered various VR and MR
expansions, especially by independent developers and small laboratories. According to
ongoing research reports, it appears that the use of real objects in MR worlds, has a
positive impact on users [6]. However, studies specifically addressing real-object usage
in MR are scarce, whereas the techniques used to incorporate real objects in virtual
worlds do not take advantage of recent technological standards, which greatly increase
user comfort and quality of experience.
In this paper, we showcase the design and development of a room-scale MR envi‐
ronment which will provide a testbed for future experiments. More importantly, several
critical aspects related to MR implementation are addressed such as free user movement,
accurate real-to-virtual object representation in the VR environment, as well as inter‐
activity between real and virtual objects. Therefore, this study supports future developers
by providing a detailed report of the steps involved in creating a room-scale MR world
with the use of widespread, off-the-shelf technologies. More specifically, in this paper
we showcase the development process of a dungeon- themed MR world which incor‐
porates:
– registration of user movement, performed in the real world, into the VR environment,
– accurate representation of texturally rich real objects (i.e. a rock and a wooden stick)
in the VR environment,
– registration of accurate user-interaction with real objects into the VR environment,
and
– interactivity between real and virtual objects.
The remainder of the paper is structured as follows: Sect. 2 discusses some seminal
conceptual issues regarding VR and MR, as well as examples of MR applications;
Sect. 3 presents the process followed to generate accurate virtual representations of real
objects; Sect. 4 presents the process followed to materialize the MR world along with a
number of emerging issues and finally, Sect. 5 concludes our work and draws directions
for future research.
2 Related Research
MR worlds, deals with challenges on two fronts and by default, presents higher tech‐
nological challenges as well [11].
Examples of MR, specifically Augmented Reality (AR) applications, can be traced
back to Ivan Sutherland and the emergence of prototype, see-through displays projecting
3D graphics [11]. To date, several MR systems have been designed, providing users
with high quality immersive experiences [12, 13].
For instance, one of such interactive MR systems is the eXperience Induction
Machine (XIM), which is mostly used in psychology and human-artifact interaction
related experiments. XIM consists of a physical room equipped with peripherally placed
projector screens, a luminous floor, interactive sound systems, and several sensors (e.g.
pressure sensors, microphones, cameras), allowing multi-user interaction, with both
physical and virtual worlds, in real-time [14].
Another example is MR MOUT (Mixed Reality Military Operations in Urban Terrain),
providing training simulation with the use of a video see-through HMD and re-creation of
urban landscape. Using a combination of bluescreen technology and occlusion models,
MR MOUT allows the trainees to move around a courtyard and hide behind objects, whilst
real and virtual players emerge from portals and engage in close-combat battle [15].
Touch-Space is an ubiquitous, tangible, and social MR game-space, which, whilst
using the physical and social aspects of traditional game-play, incorporates the real-
world environment as an intrinsic and essential game element [16]. Touch-Space
provides a full spectrum of game interaction as well as an embodied experience that
starts off in the real, physical surroundings (human to human and human to physical
world interaction) and gradually transcends through augmented reality (AR) towards
the virtual environment [16].
Several other MR systems, developed by widespread technology providers, blend
the real world with virtual ones. The accelerating emergence of such systems is indica‐
tive of the field’s industrial and marketing appeal. Real Virtuality1 for instance, is a
multi-user immersive platform, combining a 3D environment which can be seen and
heard through a VR headset, with a real-life stage set. Users are tracked by a motion
capture system, whilst being able to see their own bodies, move physically in the virtual
environment and interact with physical objects. Whereas, VIRTSIM2 is a highly immer‐
sive virtual reality system which can pit squads of players against each other in a realistic
virtual reality combat environment. The system utilizes full-motion body capture, VR
headsets, gun props, and even shock-feedback.
Even though MR systems like Real Virtuality and VIRTISM are not yet commer‐
cially available, room-scale VR experiences are; Oculus room-scale solution3 allows
users to freely move in a room with the use of Oculus Rift.
Research and development of MR systems, that allow simultaneous interaction with
a real object and its virtual representation, a process termed as passive haptics, are
already being carried out [17]. Such a case is the creation of a virtual world on top of
the physical one with the use of Tango enabled smartphone devices whilst users’ full
1
http://www.artanim.ch/blog/tag/siggraph/.
2
https://www.roadtovr.com/virtsim-virtual-reality-platform/.
3
https://www.oculus.com/blog/oculus-roomscale-tips-for-setting-up-a-killer-vr-room/.
4 V. Kasapakis et al.
body locomotion is tracked with Microsoft Kinect sensors allowing free movement. In
this MR system real objects and their virtual representations differ in appearance, yet
maintain some tactile characteristics (e.g. size and weight), to secure coherence in some
sensory feedback. For example, the system allows users to touch two real, paper boxes,
assigned with markers, in the physical world and interact with their virtual representa‐
tions in the virtual world. Again however, boxes are easy to recreate in 3D and the system
does not offer solutions for complex objects in regards of texture and morphology.
The technological advances presented above reveal a promising future for MR, where
users will be able to freely move around real and virtual spaces simultaneously, while
interacting with both real and virtual objects. However, the development of room-scale
MR worlds like Real Virtuality and VIRTISM is a challenging process, especially since
there are no guidelines in regards of technical setup, cost-effective solutions, or suggested
methods of development. In addition, the aforementioned MR systems do not in fact
include texturally rich objects and thus, there are no paradigms of complex real-object
representations into MR worlds. As already mentioned, when users interact with a real-
object’s virtual representation, tactile augmentation through touch and grasp increases the
realism of the virtual environment in MR systems [6]. Thus, the ability to incorporate any
object, regardless of texture and morphology, is critical for MR development.
When designing an interactive MR world, one of the most crucial components is accurate
real-to-virtual object representation. Dimensions of the virtual object should of course be
identical to the original, but also, its virtual ‘physiology’, simulated via appropriate textures
and materials, should also be in accordance with the original object. Immersed users who
are meant to touch a real object, virtually represented in the VR environment, should not
experience inconsistencies regarding tactile-to-visual correlating information.
Therefore, realistic correlation of characteristics is a requirement which can be met via
conventional 3D modelling methods (e.g. polygonal modelling) only for simple objects, in
regards of geometry and texture. Otherwise, the modelling process is strenuous and time
consuming, especially for complex objects like the rock used for the present development
of a MR experience. To address this issue, the 3D modelling techniques of Photogram‐
metry and 3D object Scanning were used, using low-cost methods and equipment.
3.1 Photogrammetry
Photogrammetry, with the use of image measurement and interpretation, delivers the
form and location of an object by using one or more photographs of that object [18].
Nowadays, various accessible software solutions simplify the process of creating 3D
models via photogrammetry. In this work Autodesk Remake4 was used.
In order to create an interactive 3D object with the use of digital imaging, a sequence
of photographs is required, circling the perimeter of the object and alternating the capture
4
https://remake.autodesk.com.
Creating Room-Scale Interactive Mixed-Reality Worlds 5
angle at about 5° to 10° between each shot so that the resulting photographic sequence
has approximately 70% of overlapping information [19]. Moreover, all photographs
need to be sharp and overall capture all possible angles of the object. Finally, the room/
space, where the Photogrammetry process is taking place, needs to have proper lighting
conditions to achieve diffused illumination of the object, whilst high contrast, intense
shadows and the use of a flash light are prohibited.
For the purposes of the present study the 3D model of a rock was generated using
photogrammetry, to be later incorporated in a MR experience within a dungeon themed
VR environment. Figure 1a shows the preparation of the room where the sequential
photographing of the rock took place. The rock was elevated with the use of a tripod to
expose the maximum number of visible angles, whereas artificial lighting ensured
diffused lighting conditions.
(a) (b)
(c) (d)
Fig. 1. (a) Photoshoot preparation (b) Initial photogrammetry results; (c) Final 3D model; (d)
Photos positions.
The resulting sequence of photographs was imported into Autodesk Remake and the
primitive 3D model was created. However, 3D objects, modelled via photogrammetry,
often require additional tweaking, since surrounding objects may interfere with the
extraction of object information through digital imaging (see Fig. 1b). Autodesk Remake
offers a set of tools which allow alterations of the object and removal of excess infor‐
mation. The final 3D model representing the rock object is presented in Fig. 1c, while
Fig. 1d shows the positions wherefrom the photos of the object were taken.
3.2 3D Scanning
The second method utilized to create 3D models for the purposes of the present study,
was the 3D scanning of real objects, with the use of relevant technologies, such as
6 V. Kasapakis et al.
structured light or laser scanners, to create detailed 3D models of real objects [20]. To
perform 3D scanning in this work, the low-cost, 3D depth camera-enabled, Microsoft
Kinect sensor was used. The Microsoft Kinect sensor is based on an infrared light (IR)
projector and an IR camera which allows the capture of changes on an IR pattern (see
Fig. 2a). The Microsoft Kinect sensor utilizes the abovementioned process to produce
depth images (see Fig. 2b). Finally, an RGB camera allows the capture of color [21].
(a) (b)
(c) (d)
Fig. 2. (a) Microsoft Kinect sensor IR image; (b) Microsoft Kinect Sensor depth image; (c) 3D
Scanning of object using Microsoft Kinect sensor; (d) 3D Scanning result (3D model on the left)
and texture replacement into Cinema 4D (3D model on the right).
Having installed the Microsoft Kinect sensor using the Kinect SDK5, the Skanect6
software has been used to 3D scan objects. The object chosen to be 3D scanned was a
wooden stick, also placed on a tripod to ease the scanning process. After feeding the
dimensions of the object into Skanect, the 3D scanning process began, moving the
Microsoft Kinect sensor around the wooden stick to capture as much geometry as
possible (see Fig. 2c). Then, the colorize function of the Skanect software was used to
analyze data captured by the RGB camera of the Microsoft Kinect sensor, creating a
texture to be applied on the 3D model.
Finally, the 3D model was exported from Skanect to the 3D graphics creation soft‐
ware, Cinema 4D7, where the additional unwanted geometry caused by surrounding
objects was removed, finally producing the desired 3D model. However, the colorize
function of Skanect produced low quality textures. Therefore, the wooden stick texture
was replaced with one of higher quality, also representing a wood interface, created in
Cinema 4D (see Fig. 2d).
5
www.microsoft.com/en-us/kinectforwindows.
6
http://skanect.occipital.com/.
7
https://www.maxon.net/en/products/cinema-4d/overview/.
Creating Room-Scale Interactive Mixed-Reality Worlds 7
It should be noted that, based on the software available to this study, the 3D models
produced with the process of photogrammetry were better suited for a MR experience,
in terms of texture quality and lower number of polygons. However, using photogram‐
metry to create 3D models of objects with slim parts, such as the wooden stick, resulted
in inaccurate models, thus dictating 3D scanning as a preferred option.
Therefore, the choice of modelling method depends on various parameters and
combination of software is mandatory for accurate real-to-virtual representation of
objects, especially for MR worlds.
4 MR World Materialization
Vicon’s motion capture system, along with its complementary software, Blade, were
the crucial components of the present study8. The Vicon motion capture system is built
upon infrared cameras (see Fig. 3a), commonly placed along the perimeter of a room’s
ceiling, allowing the tracking of retroreflective markers in real space (see Fig. 3b).
(a) (b)
(c) (d)
Fig. 3. (a) Infrared camera; (b) Retroreflective marker; (c) Retroreflective markers assignment;
(d) Prop creation in Vicon Blade.
Apart from full-body human motion capture, which is Vicon’s main purpose,
tracking of prop objects is also possible by placing retroreflective markers around an
object. To be able to track the position of the rock and the wooden stick objects in the
real space, both were assigned with at least five (5) retroreflective markers (Fig. 3c) to
ensure smooth tracking. Moreover, retroreflective markers were also assigned to an
8
https://www.vicon.com/products/software/blade.
8 V. Kasapakis et al.
Oculus Rift Head Mounted Display (HMD), which was used by the user to navigate and
experience the MR world (Fig. 3c).
Following the marker assignment, the objects were placed on the floor and a data
sample, including location and rotation of markers, was recorded using Blade. After
reconstructing the data sample, the retroreflective markers’ positions appear in Blade,
wherefrom they can be selected in groups. Finally, each retroreflective markers-group
can be converted into a prop object, by assigning a prop name and then calibrating the
prop using Blade’s built-in prop creation tool (see Fig. 3d).
The process described above allows the real-time registration (i.e. solving) of the
position and rotation of the real objects to the props through Blade (see Fig. 4a and b).
It must be noted that Blade calculates the position of a prop using a bone object, with
the first marker selected during prop creation serving as the root of the bone and the
second marker selected to represent the end-point of the bone. Figure 4a, presents the
rock item assigned with markers, while Fig. 4b shows the root, end-point and bone of
the respective prop in Blade.
(a) (b)
Fig. 4. (a) Objects location in the real world; (b) Solving of real object location to the props in
Blade.
Next, to successfully materialize the MR world created in this work, the Unity 3D
engine has been used9. Unity 3D allows the creation of 3D interactive virtual worlds,
whilst also allowing incorporation of Oculus Rift supported VR applications develop‐
ment. Firstly, a VR space representing a dungeon cell has been created, having the same
square dimensions as the real room where the user was whilst experiencing the MR
world. Then, the 3D objects, created using photogrammetry and 3D scanning, have been
imported in the VR space (see Fig. 5a). 3D objects are often affected by the software
used when creating or processing them. Therefore, once they are imported into Unity
3D, their scale factor may require adjustment to secure proper dimensions in relation to
the real objects.
9
https://unity3d.com/.
Creating Room-Scale Interactive Mixed-Reality Worlds 9
(a) (b)
Fig. 5. (a) Objects location in the virtual world; (b) Objects location in the real world.
The next step refers to the data flow between Blade and Unity 3D; a process which
is typically handled by Vicon’s Tracker10 or the Pegasus11 software. Since those however
were unavailable, a cost-effective solution was implemented using Vicon’s Datastream
SDK12, along with a custom script created for Unity 3D. The custom script was based
on the script used to enable interaction between Unity 3D and Vicon Pegasus13. More
specifically, the script collected information sent through Blade’s data stream function
and used the names of the props to match the 3D objects’ and real objects’ location and
rotation14.
The Oculus Rift Core Package for Unity 3D15 allowed preparation and application
of the Oculus Rift HMD in the MR world. This package includes tools which enable the
integration of Oculus Rift HMD as part of a Unity 3D project, using simple drag and
drop functions. Also, the Oculus Rift HMD comes with a separate sensor which tracks
the HMD location up to a certain distance. However, the tracking process only works
when the HMD is directly in front of the sensor, thus limiting the user’s range of move‐
ment whilst in the MR world. In addition, whilst trying to track the Oculus Rift prop
location and rotation, the Oculus sensor interfered with the ones provided by Vicon, and
therefore had to be disabled. Even though Oculus Rift comes with official instructions
on how to implement a room scale solution, it is not suitable for real-time object tracking.
The processes described above results to an MR world wherein the user, in real-time,
is free to move around, interact with real objects and their accurate virtual representa‐
tions, and apply interaction/collision between real and virtual objects16.
10
https://www.vicon.com/products/software/tracker.
11
https://www.vicon.com/products/software/pegasus.
12
https://www.vicon.com/products/software/datastream-sdk.
13
https://docs.vicon.com/display/Pegasus12/Using+Vicon+Pegasus#UsingViconPegasus-
UnrealIntegration.
14
The script used to register 3D objects location and rotation to the virtual space based on the
props positions can be found at: http://zarcrash.x10.mx/Program.cs.
15
https://developer.oculus.com/downloads/unity/.
16
An example of the MR world created in this work can be found at https://www.youtube.com/
watch?v=Hy_wCD1LJYk.
10 V. Kasapakis et al.
When developing MR worlds with technologies such as the ones proposed in this paper,
another issue to consider is proper adjustment of the 3D object’s pivot points (the center
of the object’s rotational system), in order to enable accurate representation of real
objects in the virtual world.
The pivot point of every 3D object should be adjusted at the same location as its
respective prop’s root point, to increase the tracking precision and also avoid incidents
such as rotation and location offsets during user interaction with the real objects.
To test the precision of this process we designed (using Cinema 4D) and 3D Printed
a 10 × 10 cube, assigned it with retroreflective markers and finally registered it as a prop
in Blade (see Fig. 7a and b). Moreover, the pivot point of the 3D model of the cube was
assigned to the root of the prop item (see Fig. 7b and c). Finally, a coded script which
acquired the markers positions from Blade and visualized them into Unity 3D, thus
17
https://www.leapmotion.com/.
18
An example of the LeapMotion performance can be found in https://www.youtube.com/watch?
v=MoY7R02_ShE.
19
https://manus-vr.com/.
Creating Room-Scale Interactive Mixed-Reality Worlds 11
testing in detail the prop markers’ location both in real and virtual world (see Fig. 7d).
This way we could accurately move and rotate the cube object20 (see Fig. 7e).
(e) (f)
(g)
Fig. 7. (a) 3D Printed cube assigned with retroreflective markers; (b) 3D Printed cube prop in
Blade; (c) Pivot point adjustment; (d) Markers visualization in Unity 3D; (e) 3D Printed cube
registration in VR; (f) Accurate hand interaction with the 3D Printed cube in VR; (g) Accurate
hand interaction with the rock object in VR.
To test accuracy of user touch on real objects and their virtual representations, we
used a 3D hand model which represented a user’s real hand tracked by Blade in the
virtual world (see Fig. 7f). The 3D hand had the same dimensions as the user’s hand.
Tests examining interactivity of the virtual hand with both the cube21 and the rock22
object showed successful levels of accuracy, since the user was able to touch each detail
of the objects, both in real and virtual world.
20
An example of the interaction between the user and the cube item can be found at https://
www.youtube.com/watch?v=p-f7z2oUk7s.
21
An example of the interaction between the user hand and the cube item can be found at: https://
youtu.be/nwnU8BiJX00.
22
An example of the interaction between the user hand and the rock item can be found at: https://
www.youtube.com/watch?v=4b3QDFap2Ok.
12 V. Kasapakis et al.
This paper presented the process followed and challenges faced whilst creating an inter‐
active MR world using off-the-shelf technologies. The MR world generated for the
purposes of this paper, along with the implementation process, will serve as a testbed
for further experimentation. However, the development process of the MR world, which
can assist future developers, revealed useful directions such as:
• photogrammetry and 3D Scanning can be used to accurately represent real objects
in the virtual world,
• object tracking accuracy is highly affected by the tracking method adopted; therefore,
the pivot points and object scaling should be carefully treated as the tiniest offsets
may greatly affect user experience,
• hand tracking accuracy is important and Leap Motion is incompatible with systems
using retroreflective markers, therefore other solutions, such as ManusVR gloves,
should be used.
Our future research plans involve the development of a prototype using Arduino23
and Flex Sensors24, which will allow finger interaction with virtual objects. We also
intend to investigate the impact of real object usage (also incorporating 3D printed
objects) as part of a MR experience and study its potential effect on users’ co-ordination
and perceived level of immersion.
References
1. Milgram, P., Kishino, F.: A taxonomy of mixed reality visual displays. Trans. Inf. Syst.
77(12), 1321–1329 (1994)
2. Cheok, A.D., Sreekumar, A., Lei, C., Thang, L.N.: Capture the flag: mixed-reality social
gaming with smart phones. Pervasive Comput. 5(2), 62–69 (2006)
3. Pan, Z., Cheok, A.D., Yang, H., Zhu, J., Shi, J.: Virtual reality and mixed reality for virtual
learning environments. Comput. Graphics 30(1), 20–28 (2006)
4. Fiorentino, M., de Amicis, R., Monno, G., Stork, A: Spacedesign: a mixed reality workspace
for aesthetic industrial design. In: Proceedings of the 1st International Symposium on Mixed
and Augmented Reality, p. 86. IEEE, Darmstadt (2002)
5. Ferrari, V., Megali, G., Troia, E., Pietrabissa, A., Mosca, F.: A 3-D mixed-reality system for
stereoscopic visualization of medical dataset. Trans. Biomed. Eng. 56(11), 2627–2633 (2009)
6. Hoffman, H.G.: Physically touching virtual objects using tactile augmentation enhances the
realism of virtual environments. In: Proceedings of the Virtual Reality Annual International
Symposium, pp. 59–63. IEEE, Atlanta (1998)
7. Sutherland, I.E.: The ultimate display. Int. Fed. Inf. Process. 2, 506–508 (1965)
8. Usoh, M., Slater, M.: An exploration of immersive virtual environments. Endeavour 19(1),
34–38 (1995)
23
https://www.arduino.cc/.
24
https://learn.sparkfun.com/tutorials/flex-sensor-hookup-guide.
Creating Room-Scale Interactive Mixed-Reality Worlds 13
9. Milgram, P., Takemura, H., Utsumi, A., Kishino, F.: Augmented reality: a class of displays
on the reality-virtuality continuum. Telemanipulator Telepresence Technol. 2351, 282–292
(1994)
10. Biocca, F., Levy, M.R.: Communication in the Age of Virtual Reality. Routledge, London
(2013)
11. Van Krevelen, D., Poelman, R.: A survey of augmented reality technologies, applications and
limitations. Int. J. Virtual Reality 9(2), 1 (2010)
12. Davies, M., Callaghan., V.: iWorlds: building mixed reality intelligent environments using
customisable 3D virtual worlds. In: Proceedings of the 6th International Conference on
Intelligent Environments, pp. 311–314. IEEE, Kuala Lumpur (2010)
13. Tecchia, F., Avveduto, G., Brondi, R., Carrozzino, M., Bergamasco, M., Alem, L.: I’m in
VR!: using your own hands in a fully immersive MR system. In: Proceedings of the 20th
Symposium on Virtual Reality Software and Technology, pp. 73–76. ACM, Edinburg (2014)
14. Bernardet, U., Bermúdez, S., Duff, A., Inderbitzin. M., Groux, S., Manzolli, J., Mathews, Z.,
Mura, A., Väljamäe, A., Verschure, P.: The eXperience induction machine: a new paradigm
for mixed-reality interaction design and psychological experimentation. In: Dubois, E., Gray,
P., Nigay, L. (eds.) The Engineering of Mixed Reality Systems. Human-Computer Interaction
Series, pp. 357–379. Springer, London (2010). https://doi.org/10.1007/978-1-84882-
733-2_18
15. Hughes, C.E., Stapleton, C.B., Hughes, D.E., Smith, E.M.: Mixed reality in education,
entertainment, and training. Comput. Graph. Appl. 25(6), 24–30 (2005)
16. Cheok, A.D., Yang, X., Ying, Z.Z., Billinghurst, M., Kato, H.: Touch-space: mixed reality
game space based on ubiquitous, tangible, and social computing. Pers. Ubiquit. Comput. 6(5–
6), 430–442 (2002)
17. Sra, M., Schmandt, S.: Bringing real objects, spaces, actions, and interactions into social VR.
In: Proceedings of the 3rd VR International Workshop on Collaborative Virtual
Environments, pp. 16–17. IEEE, Greenville (2016)
18. Luhmann, T., Robson, S., Kyle, S.A., Harley, I.A.: Close Range Photogrammetry: Principles,
Techniques and Applications. Whittles, Dunbeath (2006)
19. Santagati, C., Inzerillo, L., Di Paola, F.: Image-based modeling techniques for architectural
heritage 3D digitalization: limits and potentialities. Int. Arch. Photogrammetry, Remote Sens.
Spatial Inf. Sci. 5(w2), 555–560 (2013)
20. Tong, J., Zhou, J., Liu, L., Pan, Z., Yan, H.: Scanning 3D full human bodies using kinects.
Trans. Vis. Comput. Graph. 18(4), 643–650 (2012)
21. Zhang, Z.: Microsoft kinect sensor and its effect. Multimedia 19(2), 4–10 (2012)
Another random document with
no related content on Scribd:
CHAPTER XXVI
EDMONTON—THE GATEWAY TO THE
NORTHWEST
I’ll dream again of fields of grain that stretch from sky to sky,
And the little prairie hamlets where the cars go roaring by,
Wooden hamlets as I saw them—noble cities still to be——
To girdle stately Canada with gems from sea to sea.
* * * * *
I shall hear the roar of waters where the rapids foam and tear;
I shall smell the virgin upland with its balsam-laden air,
And shall dream that I am riding down the winding woody
vale,
With the packer and the pack horse on the Athabaska Trail.
CHAPTER XXVII
THE PASSING OF THE CATTLE RANGE