Building on a poster presentation at Siggraph 2018 , this article describes an investigation of interactive narrative in virtual reality (VR) through Samuel Beckett’s theatrical text Play. Actors are captured in a green screen environment using free-viewpoint video (FVV). Built in a game engine, the scene is complete with binaural spatial audio and six degrees of freedom of movement. The project explores how ludic qualities in the original text elicit the conversational and interactive specificities of the digital medium. The work affirms potential for interactive narrative in VR, opens new experiences of the text, and highlights the reorganisation of the author–audience dynamic.
We present a scalable pipeline for Free-Viewpoint Video (FVV) content creation, considering also visualisation in Augmented Reality (AR) and Virtual Reality (VR). We support a range of scenarios where there may be a limited number of handheld consumer cameras, but also demonstrate how our method can be applied in professional multi-camera setups. Our novel pipeline extends many state-of-the-art techniques (such as structure-from-motion, shape-from-silhouette and multi-view stereo) and incorporates bio-mechanical constraints through 3D skeletal information as well as efficient camera pose estimation algorithms. We introduce multi-source shape-from-silhouette (MS-SfS) combined with fusion of different geometry data as crucial components for accurate reconstruction in sparse camera settings. Our approach is highly flexible and our results indicate suitability either for affordable content creation for VR/AR or for interactive FVV visualisation where a user can choose an arbitrary viewpoint or sweep between known views using view synthesis.
Video surveillance always had a negative connotation, among others because of the loss of privacy and because it may not automatically increase public safety. If it was able to detect atypical (i.e. dangerous) situations in real time, autonomously and anonymously, this could change. A prerequisite for this is an automatic detection of possibly dangerous situations from video data. From the derived trajectories we then want to determine dangerous situations by detecting atypical trajectories. However, it is better to develop such a system without people being threatened or even harmed, plus with having them know that there is such a tracking system installed. In the artistic project leave a trace the tracked people become actor and thus part of the installation. Visualization in real-time allows interaction by these actors, which in turn creates many atypical interaction situations on which we could develop our situation detection.