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Disasters, either natural and man-made, adversely affect humanity including human lives and tangible assets. Knowledge as the indisputable gold standard for growth and progress of civilization also destroyed during such disasters. This should not impediment the creation of knowledge. Instead, efforts should be made to find measures which can ensure the longevity of resources for posterity. In this paper, the authors have discussed tools after evaluation and comparison which can use by learners and educators for creation, dissemination and preservation of e-content, especially multimedia. The tools acknowledged for this motive are either cost-free or the basic version is free, or it offers educators & learners some extended free versions. This paper also highlights the resistance of Indian educators to this changing essence of learning from conventional to online., {"references":["Creative Commons. (2017, November 7). About The Licenses - Creative Commons. Retrieved June 22, 2020, from https://creativecommons.org/licenses/","Dead Simple Screen Sharing. (n.d.). Features. Retrieved June 20, 2020, fromhttps://deadsimplescreensharing.com/features","Edmodo. (2005). Edmodo: The World's Largest Learning Community. Retrieved June 24, 2020, from https://www.edmodo.com/","Field, C. B., Barros, V., Stocker, T. F., Dahe, Q., Dokken, D. J., Ebi, K. L., … Midgley, P. M. (Eds.). (2012). Managing the risks of extreme events and disasters to advance climate change adaption : special report of the Intergovernmental Panel on Climate Change. Cambridge: Cambridge University Press.","FlashBack Express. (n.d.). A free screen recorder with advanced features. Retrieved June 21, 2020, from https://www.flashbackrecorder.com/express/","Free Cam. (n.d.). Free Tool for Creating Screencasts. Retrieved June 21, 2020, from https://www.freescreenrecording.com/","FreeConferenceCall. (n.d.-a). Features | FreeConferenceCall.com. Retrieved June 23, 2020, from https://www.freeconferencecall.com/global/in/features","FreeConferenceCall. (n.d.-b). Free Online Meetings & Screen Sharing Software | FreeConferenceCall.com. Retrieved June 23, 2020, from https://www.freeconferencecall.com/global/in/online-meetings","Henney, K. (2020a). Students. Retrieved June 24, 2020, from https://go.edmodo.com/students/","Henney, K. (2020b). Teachers. Retrieved June 24, 2020, from https://go.edmodo.com/teachers/","Hoffmann, R., & Muttarak, R. (2017). Learn from the Past, Prepare for the Future: Impacts of Education and Experience on Disaster Preparedness in the Philippines and Thailand. World Development, 96, 32–51. https://doi.org/10.1016/j.worlddev.2017.02.016","Loom. (2020, March 12). Loom Pro Free for Students and Teachers. Retrieved June 20, 2020, from https://support.loom.com/hc/en-us/articles/360006579637-Loom-Pro-Free-for-Students-and-Teachers","Loom. (n.d.-a). About Us. Retrieved June 20, 2020, from https://www.loom.com/about-us","Loom. (n.d.-b). Choose the plan that's right for you or your team. Retrieved June 20, 2020, website: https://www.loom.com/pricing","Mason Publishing Group. (n.d.). About the Mason OER Metafinder (MOM) – Mason Publishing Group. Retrieved June 22, 2020, from https://publishing.gmu.edu/whos-using-the-mason-oer-metafinder/","MEGA. (n.d.-a). About MEGA - The Privacy Company. Retrieved June 24, 2020, from https://mega.nz/about/main","MEGA. (n.d.-b). MEGAsync. Retrieved June 24, 2020, from https://mega.nz/sync","MEGA. (n.d.-c). Mobile Apps. Retrieved June 24, 2020, from https://mega.nz/mobile","Nguyen, V. A. (2018, September 5). Benefits of Screencasting for Teachers and Students - Atomi Systems, Inc. Retrieved June 21, 2020, from https://atomisystems.com/screencasting/benefits-screencasting-for-teachers-and-students/","OER Commons. (n.d.). Frequently Asked Questions OER for K-12 Educators. Retrieved June 22, 2020, from https://www.oercommons.org/static/staticpages/documents/FAQ-OER-K-12.pdf?f923a5a5e335","Screenleap. (n.d.). Free Screen Sharing. Retrieved June 20, 2020, from https://www.screenleap.com/","Shenoy, V., Mahendher, S., & Vijay, N. (2020). COVID 19 Lockdown Technology Adaption, Teaching, Learning, Students Engagement and Faculty Experience. Mukt Shabd Journal, 9(4), 698–702. Retrieved from https://www.researchgate.net/publication/340609688"]}

An increasing number of companies, businesses and educational institutions are becoming familiar with the term gamification, which is about integrating game elements into a non-playful context. Gamification is becoming more important in various fields, such as e-learning, where a person needs to be motivated to be productive. The use of Virtual Reality (VR) is also being researched in various application areas. Authoring of VR content is a complex task that traditionally requires programming or design skills. However, there are authoring applications that do not require such skills but are still complex to use. In this paper, we explore how gamification concepts can be applied to VR authoring to help authors create VR experiences. Using an existing authoring tool for the concept of VR nuggets as an example, we investigate appropriate gamification mechanics to familiarize authors with the tool and motivate them to use it. The proposed concepts were implemented in a prototype and used in a user study. The study report shows that our participants were able to successfully use the gamified authoring prototype and that the participants felt motivated by various gamification aspects, especially visual rewards and story elements., Smart Tools and Apps for Graphics - Eurographics Italian Chapter Conference, Virtual Reality and Visualization, 131, 141, Ramtin Naraghi-Taghi-Off, Robin Horst, and Ralf Dörner, CCS Concepts: Human-centered computing --> Graphical user interfaces; Virtual reality;Information systems --> Multimedia content creation;Applied computing --> Computer games

We present GAZED- eye GAZ-guided EDiting for videos captured by a solitary, static, wide-angle and high-resolution camera. Eye-gaze has been effectively employed in computational applications as a cue to capture interesting scene content; we employ gaze as a proxy to select shots for inclusion in the edited video. Given the original video, scene content and user eye-gaze tracks are combined to generate an edited video comprising of cinematically valid actor shots and shot transitions to generate an aesthetic and vivid representation of the original narrative. We model cinematic video editing as an energy minimization problem over shot selection, whose constraints capture cinematographic editing conventions. Gazed scene locations primarily determine the shots constituting the edited video. Effectiveness of GAZED against multiple competing methods is demonstrated via a psychophysical study involving 12 users and twelve performance videos. Professional video recordings of stage performances are typically created by employing skilled camera operators, who record the performance from multiple viewpoints. These multi-camera feeds, termed rushes, are then edited together to portray an eloquent story intended to maximize viewer engagement. Generating professional edits of stage performances is both difficult and challenging. Firstly, maneuvering cameras during a live performance is difficult even for experts as there is no option of retake upon error, and camera viewpoints are limited as the use of large supporting equipment (trolley, crane .) is infeasible. Secondly, manual video editing is an extremely slow and tedious process and leverages the experience of skilled editors. Overall, the need for (i) a professional camera crew, (ii) multiple cameras and supporting equipment, and (iii) expert editors escalates the process complexity and costs. Consequently, most production houses employ a large field-of-view static camera, placed far enough to capture the entire stage. This approach is widespread as it is simple to implement, and also captures the entire scene. Such static visualizations are apt for archival purposes; however, they are often unsuccessful at captivating attention when presented to the target audience. While conveying the overall context, the distant camera feed fails to bring out vivid scene details like close-up faces, character emotions and actions, and ensuing interactions which are critical for cinematic storytelling. GAZED denotes an end-to-end pipeline to generate an aesthetically edited video from a single static, wide-angle stage recording. This is inspired by prior work [GRG14], which describes how a plural camera crew can be replaced by a single highresolution static camera, and multiple virtual camera shots or rushes generated by simulating several virtual pan/tilt/zoom cameras to focus on actors and actions within the original recording. In this work, we demonstrate that the multiple rushes can be automatically edited by leveraging user eye gaze information, by modeling (virtual) shot selection as a discrete optimization problem. Eye-gaze represents an inherent guiding factor for video editing, as eyes are sensitive to interesting scene events [RKH*09,SSSM14] that need to be vividly presented in the edited video. The objective critical for video editing and the key contribution of our work is to decide which shot (or rush) needs to be selected to describe each frame of the edited video. The shot selection problem is modeled as an optimization, which incorporates gaze information along with other cost terms that model cinematic editing principles. Gazed scene locations are utilized to define gaze potentials, which measure the importance of the different shots to choose from. Gaze potentials are then combined with other terms that model cinematic principles like avoiding jump cuts (which produce jarring shot transitions), rhythm (pace of shot transitioning), avoiding transient shots . The optimization is solved using dynamic programming. [MKSG20] refers to the detailed full article., Workshop on Intelligent Cinematography and Editing, Afternoon Session, 35, 36, K. L. Bhanu Moorthy, Moneish Kumar, Ramanathan Subramanian, and Vineet Gandhi, CCS Concepts: Information systems --> Multimedia content creation; Mathematics of computing --> Combinatorial optimization; Computing methodologies --> Computational photography; Human-centered computing --> User studies; Keywords: Eye gaze, Cinematic video editing, Stage performance, Static wide-angle recording, Gaze potential, Shot selection, Dynamic programming

This article presents the brief history of procedural content generation and clarifies the general meaning of this process. After the description of key events and developments in this field, several definitions of the term «procedural content generation» according to researchers are given. Based on these definitions, a variant of a single interpretation of the term is discussed in the paper. Данная статья представляет краткую историю процедурной генерации контента и разъясняет общее значение этого процесса. За описанием ключевых событий и разработок в данной сфере следуют определения термина «процедурная генерация контента», данные исследователями в данной области. На основе этих определений в конце статьи представлен возможный вариант формулировки термина, раскрывающий его значение в общем значении.

The work deals with a visual-auditory representation and an analysis of static and dynamic continuous scalar fields.We propose a general approach and give examples of dynamic and static objects representations related to molecular data simulations. We describe the practical application and demonstrate how the approach may help to track geometrical features., Eurographics 2019 - Posters, Posters, 25, 26, Evgeniya Malikova, Valery Adzhiev, Oleg Fryazinov, and Alexander Pasko, CCS Concepts: Mathematics of computing --> Continuous functions; Human-centered computing --> Scientific visualization; Computing methodologies --> Volumetric models; Information systems --> Multimedia content creation; Hardware --> Soundbased input / output

Refereed/Peer-reviewed We developed an Augmented Reality (AR) application that procedurally generates content which is programmatically placed on the floor. It uses its awareness of its spatial surroundings to generate and place virtual content. We created a prototype that can be used as the basis of a city simulation game that can be played on the floor of any room space, but the approach could also be used for many other applications.

Recent1 research efforts have reported findings on user Quality of Experience (QoE) of immersive virtual reality (VR) experiences. Truly immersive multimedia experiences also include multisensory components such as olfaction, tactile etc., in addition to audiovisual stimuli. In this context, this paper reports the results of a user QoE study of an olfaction-enhanced immersive VR environment. The results presented compare the user QoE between two groups (VR vs VR + Olfaction) and consider how the addition of olfaction affected user QoE levels (considering sense of enjoyment, immersion and discomfort). Self-reported measures via post-test questionnaire (10 questions) only revealed one statistically significant difference between the groups; in terms of how users felt with respect to their senses being stimulated. The presence of olfaction in the VR environment did not have a statistically significant effect in terms of user levels of enjoyment, immersion and discomfort.

Recently, the concept of olfaction-enhanced multimedia applications has gained traction as a step towards further enhancing user quality of experience. The next generation of rich media services will be immersive and multisensory, with olfaction playing a key role. This survey reviews current olfactory-related research from a number of perspectives. It introduces and explains relevant olfactory psychophysical terminology, a knowledge of which is necessary for working with olfaction as a media component. In addition, it reviews and highlights the use of, and potential for, olfaction across a number of application domains, namely health, tourism, education and training. A taxonomy of research and development of olfactory displays is provided in terms of display type, scent generation mechanism, application area and strengths/weaknesses. State of the art research works involving olfaction are discussed, and in addition, associated research challenges are proposed. yes

As a step towards enhancing users' perceived multimedia quality levels beyond the level offered by the classic audiovisual systems, the authors present the results of an experimental study which looked at user's perception of inter-stream synchronization between olfactory data (scent) and video (without relevant audio). The impact on user's quality of experience (by considering enjoyment, relevance and reality) comparing synchronous with asynchronous presentation of olfactory and video media is analyzed and discussed. The aim is to empirically define the temporal boundaries within which users perceive olfactory data and video to be synchronized. The key analysis compares the user detection and perception of synchronization error. State of the art works have investigated temporal boundaries for olfactory data with audiovisual media, but no works document the integration of olfactory data and video (with no related audio). The results of this work show that the temporal boundaries for olfactory and video only are significantly different from olfactory, video and audio. The authors conclude that the absence of contextual audio reduces considerably the acceptable temporal boundary between the scent and video. The results also indicate that olfaction before video is more noticeable to users than olfaction after video and that users are more tolerable of olfactory data after video rather than olfactory data before video. In addition the results show the presence of two main synchronization regions. This work is a step towards the definition of synchronization specifications for multimedia applications based on olfactory and video media. yes