News Stories

Kinect Can Finally See Sitting Gamers

Eurogamer is reporting that Microsoft has ironed out one of the kinks with Kinect, with its engineers making changes that will allow the peripheral to recognize players who are sitting. The problem stemmed from the method Microsoft used to create the skeletal models within the software. Kinect would set the base node for the skeletal model at the bottom of the spine, thus confusing the system when players were in a seating position with their knees in front of their pelvis. Microsoft recently changed the base node from its previous position to the back of the neck, thus alleviating the problem.

Blitz Games Studios, a developer well acquainted with the accessory, was on hand to explain the changes.

“It means that should the bottom of your torso get confused with the sofa, because your bum and your legs are enveloped inside the sofa, it doesn’t matter because your hands and arms are still working,” Blitz Games Studios CTO Andrew Oliver explained. “A few months ago they changed stuff around. A lot of developers were like, ‘Oh my God! Everything’s broken,’ because all the nodes were moved. But then it was like, ‘Oh, actually, this is more logical.'”

While previously, developers had to code specifically for the possibility of sitting gamers, this new functionality is now built into the system. Unfortunately these changes will miss most of the peripheral’s launch line-up.

Oliver revealed that Blitz had to code for a number of player positions on its own. These changes had to be made to accommodate Blitz’s The Biggest Loser, which required players to do push-ups and sit-ups.

“We were talking to them last February saying, ‘Are you ever going to fix the libraries so it will work on the floor?’ And they went, ‘Oh come on, that’s lying on the floor. That’s so rare. We’ve got other issues we’re dealing with.’ We said, ‘Okay, we’ll go write it ourselves.'”

by M.H. Williams

original post: http://www.industrygamers.com/news/kinect-can-finally-see-sitting-gamers/

NiCT Multi-Sensory Interaction System

The system has previously been used in a digital museum setting to display artifacts which cannot normally be touched. /

At CEATEC Japan 2010, NiCT displayed a prototype Multi-Sensory Interaction System, creating a natural and realistic way to interact with virtual objects. The object on display is called ‘Ginkunro’, it is a censer, or incense burner, and was made in Japan during the Nara period in the 8th Century for scenting clothing.

The interaction system is made up of four main parts, the 3D imaging device, which allows the object to be seen in 3D, the haptic device developed by American company, SensAble, which allows the object to be touched, the Contact Sound generator and the micro-aroma-shooter.

The contact sound device generates sound depending on where and how the user applies pressure to a specific material.

The micro-aroma-shooter releases aromas directly to the users nose without the smell spreading out.

The system has previously been used in a digital museum setting to display artifacts which cannot normally be touched, and NiCT is considering other future applications such as advanced medical diagnosis, training and surgical simulations, product design and for interacting with products in an online environment.

See the video here: http://www.diginfo.tv/2010/10/14/10-0218-d-en.php

original post: http://www.diginfo.tv/2010/10/14/10-0218-d-en.php

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Specification for Naming VFX Image Sequences Released

ETC’s VFX Working Group has published a specification for best practices naming image sequences such as plates and comps. File naming is an essential tool for organizing the multitude of frames that are inputs and outputs from the VFX process. Prior to the publication of this specification, each organization had its own naming scheme, requiring custom processes for each partner, which often resulted in confusion and miscommunication.

The new ETC@USC specification focuses primarily on sequences of individual images. The initial use case was VFX plates, typically delivered as OpenEXR or DPX files. However, the team soon realized that the same naming conventions can apply to virtually any image sequence. Consequently, the specification was written to handle a wide array of assets and use cases.

To ensure all requirements are represented, the working group included over 2 dozen participants representing studios, VFX houses, tool creators, creatives and others.  The ETC@USC also worked closely with MovieLabs to ensure that the specification could be integrated as part of their 2030 Vision.

A key design criteria for this specification is compatibility with existing practices.  Chair of the VFX working group, Horst Sarubin of Universal Pictures, said: “Our studio is committed to being at the forefront of designing best industry practices to modernize and simplify workflows, and we believe this white paper succeeded in building a new foundation for tools to transfer files in the most efficient manner.”

This specification is compatible with other initiatives such as the Visual Effects Society (VES) Transfer Specifications. “We wanted to make it as seamless as possible for everyone to adopt this specification,” said working group co-chair and ETC@USC’s Erik Weaver. “To ensure all perspectives were represented we created a team of industry experts familiar with the handling of these materials and collaborated with a number of industry groups.”

“Collaboration between MovieLabs and important industry groups like the ETC is critical to implementing the 2030 Vision,” said Craig Seidel, SVP of MovieLabs. “This specification is a key step in defining the foundations for better software-defined workflows. We look forward to continued partnership with the ETC on implementing other critical elements of the 2030 Vision.”

The specification is available online for anyone to use.

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