3D, 3D Movies, computer games, simulation, virtual reality, web 2

When Avatar (2009) became the highest grossing movie of all time, it marked a high point in 3D cinema's turbulent history. Although 3D cinema draws in box-office takings that surpass 2D cinema, it continuously emerges and disappears as a passing fad. Experiments with 3D moving-images have been with us since the birth of cinema, and it is a form of visual expression already seen by billions of twenty-first century viewers, yet there is little understanding of how 3D cinema operates as an art form. We know that it simultaneously uses depth modes to approximate our visual reality and spectacular effects that go beyond traditional perception, but we do not have an appropriate grasp of its creative function. This book examines 3D cinema's unique visual regime in order to understand the optical illusions and tactile experiences that it presents.

This paper reviews mediation of the Chelyabinsk (Russia) meteor explosion of February 2013 with particular reference to YouTube. It uses Chelyabinsk as a case study of the emerging role social media devices and platforms play in distributing spectacular citizen-generated disaster texts. It evaluates these texts as examples of either 'sublime art' or 'disaster porn' at reception. It considers the science outreach community's attempts to improve science literacy via social media engagement of similar events. It finally asks whether fundamental attributes of personhood and reality construction in web 2.0 environments might problematize the use of social media to improve STEM (science, technology, engineering and mathematics) outcomes

기술이 빠르게 변화하고 있는 오늘날 복잡한 사회 문제해결을 위한 방안으로 학제간 융합 연구의 관심과 필요성이 커지고 있다. 하지만 융합연구단의 시너지를 통한 혁신적 연구 결과에 대한 기대를 보여주기 보다는, 연구자들은 연구를 수행하는 과정에서 여러가지 현실적 어려움을 겪고 있다. 여러 어려움 중 가장 큰 문제점은 다른 학문 분야 간의 “의사소통”의 차이에 기인한다고 볼 수 있다. 본 논문은 가상현실 시뮬레이션 개발을 하는 과정에서 경험하는 “의사소통”의 어려움과 문제점을 개발자 인터뷰를 통해 분석해 보았다. 또한, 이러한 구체적 사례를 통해서, 의사소통을 개선하기 위한 방안에 대한 고찰을 해 보았다.

Computer games are bright example of the evolution of digital media and modern audiovisual technologies. Extremely popular now, computer games have come a long way from the primitive arcade games to full virtual worlds like "Fallout 3" with millions details and moral dilemmas. This paper devoted to the research of ethical issues of modern computer games. In terms of methodology, we can identify two main problematic aspects in the study of the ethical dimension of computer games: external and internal. First, the external aspect include the problem of computer game addiction. It traditionally marked negatively both in secular ethical systems (game addiction as a form of drug addiction), and in religious ethics (computer games distract from the spiritual life). Second, the problem of the influence of game violence on human behavior in society (direct connection between game violence and asocial actions is not proven). The inner aspect of ethical research methodologically more linked with the phenomenology of computer games. Here, in the view of heterogeneity and genre differentiation of computer games ethical issues are considered within the virtual worlds of computer games. In simple arcade and action genres (shooters, slashers, fightings) there are no complicated ethical dilemmas, because the main task of the player is to perform a specific mission. The more complicated role-playing games involve not only the creation of the "character" and his internal and external development, but also exploration of the virtual world, where the player constantly faced a variety of ambiguous situations that suggests moral choices. Despite the widespread representation of the elements of religious ethics (such as Christian charity) in role-playing games prevail ethical systems of pseudo-pagan cults ("Cults of Tamriel" in the "The Elder Scrolls") or even anti-Christian motives ("Diablo" , "Dungeon Keeper"). The historical strategies represent specific historical elements of religious ethics (jihad or auto de fe). The real-time or turn-based strategies use the concept of morality as a fixed level of combat readiness of virtual forces. If the majority of simulators are ethically neutral (as their opposite, arcade games), the economic simulators actualize moral dilemmas and concept of responsibility in making of decisions ("SimCity ).

In this paper, a procedural model has been developed for synthesizing cyclic horse motion through trigonometric functions. The system has been developed and implemented using mathematical model derived from trigonometric cyclic equations, along with forward and inverse kinematics to produce absolute gait control over the locomotion of horse character. The dynamic motion is calculated independently for each body part with user interaction and control over the speed, frequency and oscillation during runtime, for high divergence control of the simulation. The user can manipulate the simulation parameters for motion speed, body oscillation, leg impact phases and duration at runtime and our system will automatically adjust the motion of horse and gait transition according to the user input. At preprocessing level a template based horse skeletal rig is generated automatically with Inverse Kinematics (IK) controllers for the spine, neck and all four legs. The head, tail, and feet's are controlled with Forward Kinematics (FK), along with scapula and sternum joints of the legs. Motion cycle is generated using the stance time and leg cycle time. Our procedural model for horse simulation can currently generate various gaits of motion with variable speed and body oscillation with controllable behavior and transition of gaits at runtime.

Though there is an explosion of cloud services in recent years, cloud gaming industry is still way behind in making a strong breakthrough. Despite many benefits of cloud gaming (video or pixel streaming of rendered game scenes), the primary factor that hinders the growth is response latency, a well known issue. In this paper, we introduce a novel predictive paradigm of cloud gaming in order to mitigate latency that is inherent in cloud gaming systems. The main idea of the predictive paradigm is to pre-generate and send future outcome frames in advance to the thin-client so that the thin-client can respond immediately to any user input. The approach in this work seeks to exploit the near unlimited processing power of the cloud and ever increasing network bandwidth. The paper provides a generic and comprehensive theoretical model that shows the relationship between various parameters (network bandwidth, round-trip-time and processing time for game logic, predicting future outcomes, rendering , capturing, encoding and decoding) of predictive cloud gaming and response latency. The theocratical model design is started with an ideal server with unlimited resources for ease of understanding and then it is enhanced with resource constraints of a practically feasible non-ideal server. The model demonstrates significant amount of response latency reduction in predictive cloud gaming when compared to conventional cloud gaming. The model is analysed further to estimate the resource requirements for predictive cloud gaming. A simple game is built to demonstrate key aspects of the model and to conduct subjective evaluation of quality of experience (QoE) of the game play. The evaluations show significant gain in QoE. The resource requirements of the predictive cloud gaming gaming system grows exponentially with respect to prediction period of future frames. The paper illustrates some optimisation methods to reduce exponential growth and discusses directions for further works in this area.

Simulation video games (SVGs) are extremely wide category of modern video games, which provide innovative educational possibilities for personal and professional development. SVGs represent practically all forms of human activities, which in turn may raise sophisticated ethical issues. In terms of methodology, most of the educational vehicle SVGs can be studied within the framework of ludology. The typological features of hybrid social SVGs can be investigated by means of narratological methodology and non-reductionist approach (I. Bogost). It is possible to identify two problematic ethical aspects of SVGs: "internal" and "external". The "internal" aspect investigates ethical issues within the virtual worlds of SVGs. The "external" aspect focuses on the problem the use of SVGs experience for the violation of moral and legal norms in society. The main objective of the paper is to identify key educational possibilities of SVGs and reveal their ethical dimension. Civil vehicle SVGs (car, bus, truck, train, racing games) provide outstanding educational possibilities for training driver skills, but may provoke traffic offense. Flight SVGs allow training pilots of civil airlines, but can be used by terrorists. Military aviation, tank, navy and submarine SVGs train combat vehicles control and raise ethical issues of violence against virtual/real civilians. Sports SVGs allow skills training and actualize the problem of cheating/doping. More complicated social SVGs represent the models of social behaviour as well as the problems of deviant behavior and virtual harassment. Business simulators are relevant in the context of gamification, but raise the ethical issues of capitalist exploitation. Medical SVGs can help to rehearse a surgical operation and at the same time represent medical errors. Educational combat SVGs actualize the problems of the virtual violence and its influence on social behavior. Construction and management SVGs raise moral dilemmas in city management ("SimCity"). Government SVGs besides the educational aspects of public administration may represent the violation of legal norms. God games actualize the problems of moral choices in the discourse of religious ethics. The findings of the paper can be useful for the study of game based learning and modern ethical research.

Will the first movie in the Final Fantasy series developed exclusively by Square Enix rock the animation world to the same extent as the studio’s previous breakthroughs in videogaming? The CG community (and a few
million die-hard Final Fantasy fans) are about to fi nd out.

La communication proposée rend compte des premiers résultats d’une recherche en cours, menée dans le cadre d’un projet labellisé par Cap Digital, retenu par le ministère de l’Education Nationale et financé au titre du programme national « Investissements d’avenir », le projet EAST. Cette recherche vise à répondre aux questions suivantes : Quelle méthodologie employer pour concevoir des scénarios d’apprentissage d’une activité (SAA) ? Existe-t-il des langages formels permettant de décrire ces SAA ? Si oui, ces langages formels sont-ils traduisibles en langage machine, et permettent-ils facilement d’agir sur et dans un environnement virtuel ? La communication proposée présentera la méthodologie développée, le langage formel retenu et le processus d’intégration de celui-ci à l’environnement virtuel. Elle discutera, pour finir, des questions posées par la méthode de conception retenue pour les environnements virtuels d’apprentissage de l’activité.

In this paper, we present an approach to create assets using procedural algorithms in maps generation and dynamic adaptation of characters for a MOBA video game, preserving the balancing feature to players. Maps are created based on offering equal chances of winning or losing for both teams. Also, a character adaptation system is developed which allows changing the attributes of players in real-time according to their behaviour, always maintaining the game balanced. Our tests show the effectiveness of the proposed algorithms to establish the adequate values in a MOBA video game.

MSC:68U05
PACS:89.20.Ff

This analysis paper provides a brief survey of the sector of computer game, application domains, technological demand and presently accessible resolution. It additionally presents the background and motivation of virtual surroundings analysis and identifies typical application domains. It additionally surveys current input/output devices of computer game.

Scope of the book:
This book focusses on the technical concepts of deep learning and its associated branch Neural Networks for the various dimensions of image processing applications. The proposed volume intends to bring together researchers to report the latest results or progress in the development of the above-mentioned areas. Since there is a deficit of books on this specific subject matter, the editors aim to provide a common platform for researchers working in this area to exhibit their novel findings.
Topics of Interest:
This book solicits contributions, which include the fundamentals in the field of Deep Artificial Neural Networks and Image Processing supported by case studies and practical examples. Each chapter is expected to be self-contained and to cover an in-depth analysis of real life applications of neural networks to image analysis.

This paper debates the necessity of implementing Virtual Reality Technology as a training tool within Lean Manufacturing Environments. The topic for discussion surrounding this area is the need for a user friendly package that utilizes game and Advanced Virtual Reality (VR) Technology to encompass the principles of the Lean approach to manufacturing.

Fundamental principles adopted by video game developers in attempts immerse the user; could provide a key, by allowing for a fully immersive manufacturing simulation software package. The implementation of Virtual Reality and training software that will not only teach, but to showcase new technology and its relevance in a manufacturing system. The use of Lean philosophy acts as a conduit in the implementation of the VR software in adaptable modern manufacturing.

Literature reviews from authors in both fields of Lean Manufacturing and Video Game Development Immersion Methodologies allow for a juxtaposition between the two, in promoting the validity of novel simulation training techniques. Evaluating case studies of Lean Manufacturing applications will ascertain the need for innovative adaptations, by determining whether solutions could be further improved by latest technological advancements. A critical appraisal is described in moving the adoption of gaming technology and its evolution towards sophisticated design solutions.

Learning theories adopted through gaming reveal new approaches to motivational drivers in developing necessary skillsets for modern workforces. Studies surrounding objective based instructional learning highlight rarely acknowledged fields in manufacturing simulation testing.

Project Sponsor: Nottingham Trent University & PepsiCo 
The simulation software is built using Unity3D with scripting in C# and Java Script which emulates running of a manufacturing cell within a Lean environment. The purpose is to train and educate personnel through simulating a functioning manufacturing cell.  The software displays potential Lean wastes and problems such as bottle necking.

It is imperative to the development of modern manufacturing environments to embrace new simulation techniques in educating a workforce, creating prototypes and testing. Currently only the latter two developments are predominantly created in unison; in Lean, this is wasteful in terms of transport and skill if these are not performed in-house. The need for a more user friendly and intuitive simulation experience requires clarity for potential manufacturers to adopt this methodology.  Not enough varied Lean Manufacturing Companies embody Lean principles on a computational Software level and as a result will leave entire generations without modern manufacturing skillsets.

The concept of Virtual Reality used in modern Manufacturing Simulation Software can be utilised to dispel any belief that VR is solely an entertainment medium. Through the examination of Lean Principles and Video Game Development immersion strategies this research highlights the little recognized area of an Immersive Manufacturing Training and Design Testing Application. Modern manufacturing environments need to become aware of Lean philosophies of adaptability. There is a requirement to inform companies about utilisation of the latest technologies to educate workforces in an efficient and Lean manner. The software runs a simulation on a Zspace 3D display screen in a 3D VR format.

Famed for its sumptuous hand-drawn animation, Japan’s Studio Ghibli is increasingly turning to 3D in its work. We went to visit the Oscar-winning facility to discuss its working practices, its design philosophy – and the monstrous, mechanical, all-3D star of its latest movie, the breathtaking Howl’s Moving Castle.

These articles on 3DTV and 3D movies were written over the last two decades of the 43 year period since I began. They are illustrated with original photos and historical materials resulting from thousands of hours researching the technical and patent literature and attending and exhibiting at trade shows. I decided to publish them in a book as they have only existed in scattered locations and they have proven quite popular when I recently posted some of them on the net. They present information and viewpoints difficult or impossible to find that nicely supplement what is available elsewhere.

This book has now been published in a revised version in ebook and printed versions  https://www.amazon.com/3DTV-3D-Movie-Technology-1996-2017-ebook/dp/B0723GVVJ9 .

As with all sites, the archives of 3DTV Corporation may be viewed on the wayback machine at https://web.archive.org/web/*/http://3dmagic.com and it’s mirror https://web.archive.org/web/*/http://3dtv.jp

These articles on 3DTV and 3D movies were written over the last two decades of the 44year period since I began. They are illustrated with original photos and historical materials resulting from thousands of hours researching the technical and patent literature and attending and exhibiting at trade shows. I decided to publish them in a book as they have only existed in scattered locations and they have proven quite popular when I recently posted some of them on the net. They present information and viewpoints difficult or impossible to find that nicely supplement what is available elsewhere.

The comprehensive coverage of various trade shows held at the peak of the 3D frenzy (ca 2009-11) are a unique record of what was actually available in the market place at major international shows. To attend one of them would cost the average participant over $1000 and a week’s time, with many hours a day walking the floor, fighting the crowds and exhaustion, and very few would see or understand most of what was on display. This was easier for me as I had already spent 36 years studying 3D full time. I exerted the most effort at NAB (the National Association of Broadcasters) where I trudged the aisles about 8 hours a day for 5 days visiting most of the 3D relevant booths twice, and then spent several weeks reading and researching to put them into context. The patent and technical literature searches however occupied four decades. I also include several practical articles on making and viewing 3D video that include numerous tips not present in the many books and articles I have seen. I make no attempt to repeat the material in the many excellent books and countless articles that have appeared recently. Those who want a fairly comprehensive coverage of 3D technology should get the SPIE CD with many hundreds of articles from 1977 to 2009 ISBN-10: 0819476595 and subsequent proceedings, and of course for the diligent there is no substitute for the patent literature.

As I comment in several places, though thousands (or millions) have contributed to the technology that gave rise to the rebirth of 3D films and television, if I had to pick out just two, then I think Larry Hornbeck of Texas Instruments, who invented the DLP micromirror technology used for projection, and Brian Critchley of projector maker Digital Projection, who took the lead in researching and developing it into a workable cinema projector, deserve top honors. I continue to sell 3D hardware as a hobby and greatly enjoy hunting down obscure 3D films on the net (many of them never released theatrically in 3D and only distributed on 3D blu-ray in one part of the world, and so only seen in 3D by a tiny minority of the viewing public).

The term Big Data is being used widely by companies and researchers who consider your relevant functionalities or applications to create value and business innovation. However, some questions arise about what is this phenomenon and, more precisely, how it occurs and under what conditions it can create value and innovation in business. In our view, the lack of depth related to the principles involved in Big Data and the very absence of a conceptual definition, made it difficult to answer these questions that have been the basis for our research. To answer these questions we did a bibliometric study and extensive literature review. The bibliometric studies were realized based in articles and citation of Web of Knowledge database. The main result of our research is the providing a conceptual definition for the term Big Data. Also, we propose which principles discovered can contribute with other researches that intend value creation by Big Data. Finally we propose see the value creation through Big Data using the Resource Based View as the main theory used for discuss that theme.

Call for chapters

Book "Virtual Reality and Augmented Reality Healthcare and Medicine Applications"

Topics:
- VR/AR applications and technologies for Healthcare and Medicine training and education,
- VR/AR applications in combination with Artificial Intelligence (AI) and the Internet of Things (IoT) for Healthcare and Medicine improvements.
- Empirical studies of VR/AR applications in Healthcare and Medicine use-cases.
- Evaluations of the design of VR/AR application interfaces and best-practice for interface design.
- Psychological studies of the patient experience of VR/AR applications for health treatments.
- Ergonomic studies of the VR/AR applications and equipment for long-term use in Healthcare,
Longitudinal studies of the impact of VR/AR applications for Healthcare and Medical training,
Reviews of the implications of VR/AR health care applications in terms of organizational and societal change.

Abstract submission: April 2, 2018
Notification of Acceptance: April 9, 2018
Full chapters submission: May 31, 2018

Nobel laureate Niko Tinbergen coined the term ‘supernormal stimulus’ after discovering that birds who lay small, pale blue eggs speckled with grey prefer to sit on larger, bright blue eggs with black polka-dots. He found that he could exaggerate the key qualities of any natural stimulus to produce a stronger reaction yet--be it nurturance, courtship, fear or aggression.
    Animals encounter supernormal stimuli mostly when experimenters build them.  Humans can generate their own and media are awash with them: friendly smiling faces more consistently welcoming than ones own friends, animated cartoon characters with wider eyes than any real child’s, seductive bodies exceeding any proportions found in nature, and a huge array of supernatural menaces.
    This chapter examines film, television, spectator sports, video games, and social websites as well as more traditional media such as print and musical performance in terms of the concept of supernormal stimuli.

El videojuego ha convertido al lector o espectador tradicional en un jugador que explora el texto de forma no lineal, y que no sólo debe interpretar una historia y atribuirla una serie de significados, sino que también es necesario que intervenga sobre la misma. Los
mundos ficcionales que recrean los videojuegos a partir de la imagen sintética, donde las posibilidades de creación y representación van más allá de lo que se puede reproducir por medio de la imagen real, son cada vez más complejos y ofrecen mayores posibilidades de interacción. Ejemplo de ello es la proliferación del videojuego tridimensional, especialmente en los géneros de acción y shooter. A partir de un análisis de contenido de tipo cualitativo sobre una muestra de videojuegos actuales, el presente artículo pretende ofrecer una reflexión acerca de cómo se articula el lenguaje visual en el diseño de los videojuegos, y cómo el texto visual del mismo, dependiente de un sistema de reglas y de unos principios de jugabilidad, permite guiar la acción del jugador. Si bien tradicionalmente la información visual que se proporcionaba al jugador procedía principalmente de los elementos Head Up Display, se puede decir que en la actualidad, gracias en parte al avance de la tecnología, ciertos elementos visuales expresivos, como la iluminación, los encuadres móviles no controlados por el jugador, el color y la profundidad de campo, no están únicamente a merced de la representación, sino que, además, son una herramienta potencial para favorecer la experiencia  interactiva del jugador.

Ever since the centenary of cinema there have been intense discussions in the field of film studies about the imminent demise of the cinematic medium, endless articles championing the spirit of genuine cinephilia have proclaimed the death of classical cinema and mourned the end of an era, while new currents in media studies introduced such buzzwords into the discussions as “remediation” (Bolter and Grusin), “media convergence” (Jenkins), “post-media aesthetics” (Manovich) or “the virtual life of film” (Rodowick). By the turn of the millennium, the whole “ecosystem” of media had been radically altered through processes of hybridization and media convergence. Some theorists even claim that now that the term “medium” has triumphed in the discussions around contemporary art and culture, the actual media have already deceased, as digitized imagery absorbs all media. Moving images have entered the art galleries and new forms of inter-art relationships have been forged. They have also moved into the streets and our everyday life as a domesticated medium at everybody’s reach, into new private and public environments (and into a fusion of both via the Internet). Consequently, should we speak of an all pervasive “cinematic experience” instead of a cinematic medium? What really happens to film once its traditional medium has shape shifted into various digital forms and once its traditional locations, institutions and usages have been uprooted? What do these re-locations and re-configurations really entail? What are the most important new genres in post-media moving pictures? Is it the web video, is it 3D cinema, is it the computer game that operates with moving image narratives, is it the new “vernacular” database, the DVD, or the good old television adjusted to all these new forms? How does theatrical cinema itself adapt to or reflect on these new image forms and technologies? How can we interpret the convergence of older cinematic forms with an emerging digital aesthetics traceable in typical post-media “hosts” of moving images? These are only some of the major questions that the theoretical investigation and in-depth analyses in this volume try to answer in an attempt at exploring not the disappearance of cinema but the blooming post-media life of film.

'Art' still needs a practical, useful definition, not of the academic variety, but rather of the plain and simple sort that you can usefully take with you into a gallery, and apply directly to what you see. People want to know, with a basic clarity, what it is they are looking at, and how to judge the good from the bad. Because if you don't know what 'art' is, and you think it's all about 'classical fine crafting', then you are missing out on a very special type of experience, and an entire realm of imaginative possibilities. As it turns out, the best way to think of 'art' – taking a huge hint from the concept of 'arthouse cinema'-is not about delighting in solemn, stolid museum pieces, and developing a deferential love of the classical: it is all about an exploration-through various available media-of the strange, the disturbing, and the darkly fascinating. The great thing about art is that it offers a safe and enjoyable environment in which to contemplate all kinds of darkness, without having to submit to this negativity in life itself.

This survey studied the past and current computing arena to predict the census of future trends in computing and glimpse into what the next era of computing might be. The survey appliance was developed and validated from reported and observed influence of various technologies, Internet use, product manufacture, software evolution, the technology exodus, Data in Transit, Data at Rest, Data in Use, the security technology and the performance evaluation and technology evolution. The survey instrument mainly was used to attain prophecy evidence about what's next in computing In addition to the advanced computing technology components starting to be found in elementary and forth.

Spatial illusion and immersion was achieved in Renaissance painting through the manipulation of linear perspective’s pictorial conventions and painterly technique. The perceptual success of a painted trompe l’œil, its ability to fool the observer into believing they were viewing a real three-dimensional scene, was constrained by the limited immersive capacity of the two-dimensional painted canvas. During the baroque period however, artists began to experiment with the amalgamation of the ‘real’ space occupied by the observer together with the pictorial space enveloped by the painting’s picture plane: real and pictorial space combined into one pictorial composition resulting in a hybridised ‘mixed-reality’. Today, the way architects, and designers generally, use the QuickTime Virtual Reality panorama to represent spaces of increasing visual density have much to learn from the way in which Renaissance and baroque artists manipulated the three-dimensional characteristics of the picture plane in order to offer more convincing spatial illusions. This paper outlines the conceptual development of the QuickTime VR panorama by Ken Turkowski and the Apple Advanced Technology Group during the late 1980s. Further, it charts the technical methods of the Virtual Reality panorama’s creation in order to reflect upon the VR panorama’s geometric construction and range and effectiveness of spatial illusion. Finally, through a brief analysis of Hans Holbein’s Ambassadors [1533] and Andrea Pozzo’s nave painting in Sant ‘Ignazio [1691-94] this paper proposes an alternative conceptual model for the pictorial construction of the VR panorama that is innovatively based upon an anamorphic ‘mixed-reality’.

"Si bien los videojuegos actuales se caracterizan en su mayoría por su gran riqueza
visual (texturas en alta definición, iluminación dinámica, etc), ésta no siempre tiene
un fin meramente estético o decorativo, sino que puede adoptar un papel funcional
al guiar visualmente al jugador en las diferentes interacciones que debe realizar en
el juego. El propósito de este trabajo es explorar el papel la iluminación como recurso
expresivo empleado para condicionar los movimientos y las acciones del jugador en los
videojuegos. De acuerdo a ello, se ha desarrollado un análisis de contenido sobre una
muestra de videojuegos comerciales actuales. El trabajo concluye con una descripción
de las principales propiedades de la luz empleadas en el videojuego como forma de
facilitar al jugador el acceso interactivo en los entornos tridimensionales."

Weather forecasts are nearly always portrayed from either a satellite view perspective, a numerical or symbol based representation. None of these methods actually portray weather visually from the point of view of the observer, that is, they do not represent our experience of weather. This problem presents a challenge to displaying weather using real-time 3D computer graphics. 3D Weather is a proposed method to solve this problem, to create more believable representations of the weather using real weather data. By employing computer graphic techniques and computer game concepts the project intends to create a localized display of weather using mapping and weather data. Started in 2010, the project has been exploring existing techniques, scoping out the needs of stakeholders (such as the Met Office), and creating a prototype to explore the issues. The paper concludes that the quest for realism with computer graphics can be a double-edged sword. It can lead to expectations of accuracy in the data its meant to represent, which can be desired, but in the case of the weather forecast the representation is not necessary what the weather will be, its what the weather might be. The continuing project will explore the balance of issues when representing the weather for past events as well as for forecasts.

In this paper, we present a new neural network (NN) for three-dimensional (3D) shape reconstruction. This NN provides an analytic mapping of an initial 3D polyhedral model into its projection depth images. Through this analytic mapping, the NN can analytically refine vertices position of the model using error back-propagation learning. This learning is based on shape-from-shading (SFS) depth maps taken from multiple views. The depth maps are obtained by Tsai–Shah SFS algorithm. They are considered as partial 3D shapes of the object to be reconstructed. The task is to reconstruct an accurate and complete representation of a given object relying only on a limited number of views and erroneous SFS depth maps. Through hierarchical reconstruction and annealing reinforcement strategies, our reconstruction system gives more exact and stable results. In addition, it corrects and smoothly fuses the erroneous SFS depth maps. The implementation of this neural network algorithm used in this paper is available at http://kumazawa-www.cs.titech.ac.jp/~fanany/MV-SPRNN/mv-sprnn.html.

The genoese Atheneum possesses a vast and important patrimony to manage, safeguard and preserve. In recent years its activity has been focused on both scientific research and divulging and presenting this heritage to the general public. In the historical and artistic context there already have been studies and experimentations on reconstructing the
rich collections of the paintings that were once in the University’s palaces.
Through virtual 3D reconstruction techniques pictorial and sculptural artefacts, now lost or outplaced in other museums, have been put back in their original sites. This experiment, which in the future will be further expanded, will allow the public to understand the unity and complexity of the ambient’s decorations and focus on the presence of important artefacts (eg: Tiziano, Caravaggio, Van Dyck ) and frescos through the use of state-of-the-art technology

It is the aim of most work with graphics, photography, and video to create vivid and compelling images. Though telepresence and virtual reality are new terms, there exists a vast body of research in stereoscopic vido and other fields with similar objectives. Most of this work has appeared in patent documents or obscure publications and is rarely cited. In order to stimulate research, a number of areas of interest are briefly reviewed and accompanied by extensive bibliographies. These include single camera and dual camera stereoscopy, corn-patible 3D recording and transmission, helmet mounted displays, field sequential stereo and head and eyetracking devices.

These comments apply to all types of displays, but especially to CRT’s (tube type TV’s and monitors), DLP TV’s and projectors and to the new LED Backlit LCD 3DTV’s and Plasma TV’s appearing in 2010, especially when operated at 50 or 60hz with field sequential 3D input from standard definition DVD’s or PC’s or with a downconverter from 3D BluRay or broadcast.

This article has now been published in a revised version in ebook and printed versions  https://www.amazon.com/3DTV-3D-Movie-Technology-1996-2017-ebook/dp/B0723GVVJ9 .

As with all sites, the archives of 3DTV Corporation may be viewed on the wayback machine at https://web.archive.org/web/*/http://3dmagic.com and it’s mirror https://web.archive.org/web/*/http://3dtv.jp

Telerobotics refers to a branch of technology that deals with controlling a robot from a distance. It is commonly used to access difficult environments, reduce operating costs, and to improve comfort and safety. However, difficulties have emerged in telerobotics development. Effective telerobotics requires maximising operator performance and previous research has identified issues which reduce operator performance, such as operator attention being divided across the numerous custom built interfaces and continuous operator involvement in a high workload situation potentially causing exhaustion and subsequent operator error.
This thesis evaluates mixed reality and human supervisory control concepts in a gaming engine environment for telerobotics. This concept is proposed in order to improve the effectiveness of current technology in telerobotic interfaces. Four experiments are reported in this thesis which covers virtual gaming environments, mixed reality interfaces, and human supervisory control and aims to advance telerobotics technology.
This thesis argues that gaming environments are useful for building telerobotic interfaces and examines the properties required for telerobotics. A useful feature provided by gaming environments is that of overlying video on virtual objects to support mixed reality interfaces. Experiments in this thesis show that mixed reality interfaces provide useful information without distracting the operator from the task.
This thesis introduces two response models based on the planning process of human supervisory control: Adaptation and Queue response models. The experimental results show superior user performance under these two response models compared to direct/manual control. In the final experiment a large number of novice users, with a diversity of backgrounds, used a robot arm to push blocks into a hole by using these two response models. Further analyses on evaluating the user performance on the interfaces with two response models were found to be well fitted by a Weibull distribution. Operators preferred the interface with the Queue response model over the interface with the Adaptation response model, and human supervisory control over direct/manual control.
It is expected that the increased sophistication of control commands in a production system will usually be greater than those that were tested in this thesis, where limited time was available for automation development. Where that is the case the increases in human productivity using human supervisory control found in this experiment can be expected to be greater.
The research conducted here has shown that mixed reality in gaming environments, when combined with human supervisory control, offers a good route for overcoming limitations in current telerobotics technology. Practical applications would benefit by the application of these methods, making it possible for the operator to have the necessary information available in a convenient and non-distracting form, considerably improving productivity.

In this paper, we address the challenges of applying three-dimensional virtual worlds for learning. Despite the numerous positive conclusions, this technology is far from becoming mainstream in education. The most common problems with applying it in everyday teaching and learning are steep learning curve and demand for computational and network resources. In order to address these problems, we developed a stream processors texture generation model for displaying educational content in 3D virtual worlds. The model suggests conducting image-processing tasks on stream processors in order to reduce the load on CPU. It allows designing convenient and sophisticated tools for collaborative work with graphics inside a 3D environment. Such tools simplify the use of a 3D virtual environment, and therefore, improve the negative learning curve effect. We present the methods of generating images based on the suggested model, the design and implementation of a set of tools for collaborative work with 2D graphical content in vAcademia virtual world. In addition, we provide the evaluation of the suggested model based on a series of tests which we applied to the whole system and specific algorithms. We also present the initial result of user evaluation.

This research paper addresses the problem of generating involuntary and precise animation of quadrupeds with automatic rigging system of various character types. The technique proposed through this research is based on a two tier animation control curve with base simulation being driven through dynamic mathematical model using procedural algorithm and the top layer with a custom user controlled animation provided with intuitive Graphical User Interface (GUI). The character rig is based on forward and inverse kinematics driven through trigonometric based motion equations. The User is provided with various manipulators and attributes to control and handle the locomotion gaits of the characters and choose between various types of simulated motions from walking, running, trotting, ambling and galloping with complete custom controls to easily extend the base simulation as per requirements.

Parkinson's disease (PD) is a progressive neurodegenerative movement disorder where motor dysfunction gradually increases as the disease progress. In addition to administering dopaminergic PD-specific drugs, attending neurologists strongly recommend regular exercise combined with physiotherapy. However, because of the long-term nature of the disease, patients following traditional rehabilitation programs may get bored, lose interest and eventually drop out as a direct result of the repeatability and predictability of the prescribed exercises. Technology supported opportunities to liven up a daily exercise schedule have appeared in the form of character-based, virtual reality games which promote physical training in a non-linear and looser fashion and provide an experience that varies from one game loop the next. Such " exergames " , a word that results from the amalgamation of the words " exercise " and " game " challenge patients into performing movements of varying complexity in a playful and immersive virtual environment. Today's game consoles such as Nintendo's Wii, Sony PlayStation Eye and Microsoft's Kinect sensor present new opportunities to infuse motivation and variety to an otherwise mundane physiotherapy routine. In this paper we present some of these approaches, discuss their suitability for these PD patients, mainly on the basis of demands made on balance, agility and gesture precision, and present design principles that exergame platforms must comply with in order to be suitable for PD patients.

Three studies were conducted to examine the effect of audio on people's experience in a virtual world. The first study showed that people could distinguish between mono, stereo, Dolby surround and 3D audio of a wasp. The second study found significant effects for audio techniques on people's self-reported anxiety, presence, and spatial perception. The third study found that adding sound to a visual virtual world had a significant effect on people's experience (including heart rate), while it found no difference in experience between stereo and 3D audio.

This paper focuses on manners of filling the gaps in existing standards that are used in tridimensional web technologies. One of the aspects is coding and uploading the 3D huge data sets using alternative formats with an emphasis on architectural models.We have developed a technique for storing data about 3D geometry saved in PNG file, because of small size and lossless compression.

"This article explores the cultural contexts in which three-dimensional imaging has been developed, disseminated and used. It surveys the diverse technologies and intellectual domains that have contributed to spatial imaging, and argues that it is an important example of an interdisciplinary subject. Over the past century-and-a-half, specialists from distinct fields have devised explanations and systems for the experience of 3-D imagery. Successive audiences have found these visual experiences compelling, adapting quickly to new technical possibilities and seeking new ones. These complementary interests, and their distinct perspectives, have co-evolved in lock-step. A driver for this evolution is visual culture, which has grown to value and demand the spectacular. As a result, professional and popular engagements with 3-D have had periods of both popularity and indifference, and cultural consensus has proven to be ephemeral.
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