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The visual and auditory quality of computer-mediated stimuli for virtual and extended reality (VR/XR) is rapidly improving. Still, it remains challenging to provide a fully embodied sensation and awareness of objects surrounding, approaching, or touching us in a 3D environment, though it can greatly aid task performance in a 3D user interface. For example, feedback can provide warning signals for potential collisions (e.g., bumping into an obstacle while navigating) or pinpointing areas where one’s attention should be directed to (e.g., points of interest or danger). These events inform our motor behaviour and are often associated with perception mechanisms associated with our so-called peripersonal and extrapersonal space models that relate our body to object distance, direction, and contact point/impact. We will discuss these references spaces to explain the role of different cues in our motor action responses that underlie 3D interaction tasks. However, providing proximity and collision cues can be challenging. Various full-body vibration systems have been developed that stimulate body parts other than the hands, but can have limitations in their applicability and feasibility due to their cost and effort to operate, as well as hygienic considerations associated with e.g., Covid-19. Informed by results of a prior study using low-frequencies for collision feedback, in this paper we look at an unobtrusive way to provide spatial, proximal and collision cues. Specifically, we assess the potential of foot sole stimulation to provide cues about object direction and relative distance, as well as collision direction and force of impact. Results indicate that in particular vibration-based stimuli could be useful within the frame of peripersonal and extrapersonal space perception that support 3DUI tasks. Current results favor the feedback combination of continuous vibrotactor cues for proximity, and bass-shaker cues for body collision. Results show that users could rather easily judge the different cues at a reasonably high granularity. This granularity may be sufficient to support common navigation tasks in a 3DUI.

Content creators have been trying to produce engaging and enjoyable Cinematic Virtual Reality (CVR) experiences using immersive media such as 360-degree videos. However, a complete and flexible framework, like the filmmaking grammar toolbox for film directors, is missing for creators working on CVR, especially those working on CVR storytelling with viewer interactions. Researchers and creators widely acknowledge that a viewer-centered story design and a viewer’s intention to interact are two intrinsic characteristics of CVR storytelling. In this paper, we stand on that common ground and propose Adaptive Playback Control (APC) as a set of guidelines to assist content creators in making design decisions about the story structure and viewer interaction implementation during production. Instead of looking at everything CVR covers, we set constraints to focus only at cultural heritage oriented content using a guided-tour style. We further choose two vital elements for interactive CVR: the narrative progression (director vs. viewer control) and visibility of viewer interaction (implicit vs. explicit) as the main topics at this stage. We conducted a user study to evaluate four variants by combining these two elements, and measured the levels of engagement, enjoyment, usability, and memory performance. One of our findings is that there were no differences in the objective results. Combining objective data with observations of the participants’ behavior we provide guidelines as a starting point for the application of the APC framework. Creators need to choose if the viewer will have control over narrative progression and the visibility of interaction based on whether the purpose of a piece is to invoke emotional resonance or promote efficient transfer of knowledge. Also, creators need to consider the viewer’s natural tendency to explore and provide extra incentives to invoke exploratory behaviors in viewers when adding interactive elements. We recommend more viewer control for projects aiming at viewer’s participation and agency, but more director control for projects focusing on education and training. Explicit (vs. implicit) control will also yield higher levels of engagement and enjoyment if the viewer’s uncertainty of interaction consequences can be relieved.

Fidelity of games as a concept describes the level of representation of, or accordance with reality. The level of fidelity has influence on the interaction between player and game. Our study discusses the outcomes of a literature study and three cases with the goal to propose a comprehensive framework of game fidelity. This framework could help game designers and researchers to adopt the ‘right’ or sufficient level of fidelity to achieve the intended objectives related to applied games. Our results show that functional and psychological fidelity have a higher impact on the experience and effects of applied games than their physical fidelity. Social and ethical fidelity are proposed as new dimensions of game fidelity that still have to be explored. In literature, both low and high levels of fidelity are described as effective in applied games, while a medium level seems not to be beneficial for the player.

Free-Viewpoint Video (FVV) is a type of volumetric content in which an animated, video-textured 3D mesh of a character performance is constructed using data from an array of cameras. Previous work has demonstrated excellent results when creating motion graphs from FVV content, but these techniques are often prohibitively expensive in practice. We propose the use of skeletons to identify cut points between FVV clips, allowing a minimal set of frames to be processed into a 3D mesh. While our method performed with 2.8% poorer accuracy than the state-of-the-art for our synthetic dataset, cost and processing time requirements are dramatically reduced.

Technology for older people is typically concerned either with health care or accessibility of existing systems. In this paper we take a more 'entertainment-oriented' approach to developing experiences aimed at older users. We describe here the design, development and a user study of the V-Armchair, a virtual reality and motion platform based roller coaster experience. The V-Armchair constitutes a blueprint for the digital archiving of physical ride experiences through the simultaneous capture of 360 video, sound and motion. It gives access to thrill experiences to those who may not be able to go on real thrill rides, such as older riders, and it can be considered as a class of technology that could help to support 'active aging' as defined by the World Health Organisation. We discuss strategies for capturing and then 'toning down' motion experiences to make them accessible for older users. We present a study which explores the user experience of the V-Armchair with an older group (median age 63) using a DK2 headset, and a younger group (median age 25) using a CV1 headset, via thematic analysis of semi-structured interviews and a modified version of the Game Experience Questionnaire, and discuss emergent themes such as the role of the presenter, reminiscence, presence and immersion.

Eye tracking technology in a head-mounted display has undergone rapid advancement in recent years, making it possible for researchers to explore new interaction techniques using natural eye movements. This paper explores three novel eye-gaze-based interaction techniques: (1) Duo-Reticles, eye-gaze selection based on eye-gaze and inertial reticles, (2) Radial Pursuit, cluttered-object selection that takes advantage of smooth pursuit, and (3) Nod and Roll, head-gesture-based interaction based on the vestibulo-ocular reflex. In an initial user study, we compare each technique against a baseline condition in a scenario that demonstrates its strengths and weaknesses. Refereed/Peer-reviewed

Multi-sensory feedback can potentially improve user experience and performance in virtual environments. As it is complicated to study the effect of multi-sensory feedback as a single factor, we created a design space with these diverse cues, categorizing them into an appropriate granularity based on their origin and use cases. To examine the effects of tactile cues during non-fatiguing walking in immersive virtual environments, we selected certain tactile cues from the design space, movement wind, directional wind and footstep vibration, and another cue, footstep sounds, and investigated their influence and interaction with each other in more detail. We developed a virtual reality system with non-fatiguing walking interaction and low-latency, multi-sensory feedback, and then used it to conduct two successive experiments measuring user experience and performance through a triangle-completion task. We noticed some effects due to the addition of footstep vibration on task performance, and saw significant improvement due to the added tactile cues in reported user experience. Refereed/Peer-reviewed