This paper evaluates three distinct metaphors for exploration and virtual camera control in virtual environments using a six degree of freedom input device. The metaphors are "eyeball in hand", "scene in hand", and "flying vehicle control". These metaphors have been implemented and evaluated using an IRIS workstation and a Polhemus 3Space. The system has the capability to record the motion path followed during an exploration session and this can be recorded and played back to create a movie. Evaluation is through intensive structured interview sessions wherein subjects are required to complete a number of tasks involving three different "toy" environments. None of the metaphors is judged the best in all situations, rather the different metaphors each have advantages and disadvantages depending on the particular task. For example, "scene in hand" is judged to be good for manipulating closed objects, but is not good for moving through an interior; whereas "flying vehicle control" is judged the best for navigating through the interior, but is poor for moving around a closed object.

Exploration and virtual camera control in virtual three dimensional environments

Computer graphics hardware supporting real-time interactive 3D animation has the potential to support effective user interfaces by enabling virtual 3D workspaces. However, this potential requires development of viewpoint movement techniques that support rapid and controlled movement through workspaces. Rapid movement through large distances avoids wasted work time; controlled movement near target objects allows the user to examine and interact with objects in the workspace. Current techniques for viewpoint movement typically use high velocities to cover distances rapidly, but high velocities are hard to control near objects. This paper describes a new technique for targeted viewpoint movement that solves this problem. The key idea is to have the user indicate a point of interest (target) on a 3D object and use the distance to this target to move the viewpoint logarithmically, by moving the same relative percentage of distance to the target on every animation cycle. the result is rapid motion over distances that slows as the viewpoint approaches the target object. The technique can be used with 2D and multidimensional input devices. We also extend the technique to move objects in the workspace.

/pdf/rapid-controlled-movement-through-a-virtual-3d-workspace-1xxj2l0akl.pdf

Rapid controlled movement through a virtual 3D workspace

Volume visualization is a method of extracting information from volumetric datasets through interactive graphics and imaging, and is concerned with the representation, manipulation, and rendering of these datasets [Gallagher 1995; Kaufman 1991; Rosenblum 1994]. Volume data are 3D entities that may have information inside them, may not consist of surfaces and edges, or may be too voluminous to be represented geometrically. Volume visualization encompasses an array of techniques for peering inside the dataset and for interactively extracting meaningful information from it using transformations, cuts, segmentation, translucency, measurements, and the like. The primary sources of volume data are three: sampled data of real objects or phenomena, computed data produced by a computer simulation, and modeled data generated from a geometric model. Examples of applications generating sampled data are medical imaging (e.g., CT, MRI), biology (e.g., confocal microscopy), geoscience (e.g., seismic measurements), industry (e.g., nondestructive inspection), and chemistry (e.g., electron density maps) [Kaufman 1991]. Some examples of applications generating computed datasets, typically by running a simulation on a supercomputer, are meteorology (e.g., storm prediction), computational fluid dynamics (e.g., water flow), and materials science (e.g., new materials). Recently, many traditional computer graphics applications, such as computer-aided design and flight simulation [Cohen and Shaked 1993; Kaufman et al. 1993], have been exploiting the advantages of volumetric techniques for modeling, manipulation, and visualization, an approach called volume graphics [Kaufman et al. 1993]. Volumetric data is typically a set S of samples (x, y, z, v), representing the value v of some property of the data at a 3D location (x, y, z). If v is simply a 0 or a 1, with 0 indicating background and 1 indicating the object, the data is called binary data. The data may instead be multivalued, with v representing some measurable property of the data, such as density, color, heat, or pressure. The value v may even be a vector, representing, for example, velocity at each location. In general, the samples may be taken at random locations in space, but in many cases S is isotropic, containing samples taken at regularly spaced intervals along three orthogonal axes. Since S is defined on a regular grid, a 3D array (called volume buffer, cubic frame buffer, 3D raster) is typically used to store the values. S is therefore referred to as the array of values S(x, y, z), which is defined only at grid locations. A function may be defined to describe the value at any continuous location by approximating v at a location (x, y, z) using some interpolation function to S, such as zero-order (nearest-neighbor), piecewise function known as first-order (trilinear), or higher-order interpolation. The region of constant value that surrounds each sample in zero-order interpolation is known as a volume cell (voxel for short), with each voxel being a rectangular cuboid having six faces, twelve edges, and eight corners. The terms, voxel, grid location,

Volume Visualization

The invention provides a unique interactive play experience carried out utilizing a toy 'wand' (100) and/or other actuation/tracking device (321, 325). In one embodiment the wand (100) incorporates a wireless transmitter (150) and motion-sensitive circuitry (115) adapted to actuate the transmitter in response to particular learned wand motions. The wand allows play participants to electronically and 'magically' interact with their surrounding play environment simply by pointing, touching and/or using their wands (100) in a particular manner to achieve desired goals or produce desired effects (376, 377, 378). Various wireless receivers or actuators (362) are distributed throughout the play facility to support such wireless interaction and to facilitate full immersion in a fantasy experience in which participants can enjoy the realistic illusion of practicing, performing and mastering 'real' magic.

Magical wand and interactive play experience

In this paper we introduce through-the-lens camera control, a body of techniques that permit a user to manipulate a virtual camera by controlling and constraining features in the image seen through its lens. Rather than solving for camera parameters directly, constrained optimization is used to compute their time derivatives based on desired changes in user-defined controls. This effectively permits new controls to be defined independent of the underlying parameterization. The controls can also serve as constraints, maintaining their values as others are changed. We describe the techniques in general and work through a detailed example of a specific camera model. Our implementation demonstrates a gallery of useful controls and constraints and provides some examples of how these may be used in composing images and animations.

/pdf/through-the-lens-camera-control-c76dh3qc8r.pdf

Through-the-lens camera control

A six degree-of-freedom input device presents some novel possibilities for manipulating and positioning three-dimensional objects. Some experiments in using such a device in conjunction with a real-time display are described. A particular problem which arises in positioning an articulated figure is the solution of three-dimensional kinematics subject to multiple joint position goals. A method using such an input device to interactively determine positions and a constraint satisfaction algorithm which simultaneously achieves those constraints is described. Examples which show the power and efficiency of this method for key-frame animation positioning are demonstrated.

Multi-dimensional input techniques and articulated figure positioning by multiple constraints.

A general framework for real-time manipulation-of 3D objects from-medical data sets promises physicians a powerful new tool.

Physician's Workstation with Real-Time Performance

A six degree-of-freedom input device presents some novel possibilities for manipulating and positioning three-dimensional objects Some experiments in using such a device in conjunction with a real-time display are described A particular problem which arises in positioning an articulated figure is the solution of three-dimensional kinematics subject to multiple joint position goals A method using such an input device to interactively determine positions and a constraint satisfaction algorithm which simultaneously achieves those constraints is described Examples which show the power and efficiency of this method for key-frame animation positioning are demonstrated

/pdf/multi-dimensional-input-techniques-and-articulated-figure-2iujolry1c.pdf

Multi-dimensional input techniques and articulated figure positioning by multiple constraints

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Multi-dimensional input techniques and articulated figure positioning by multiple constraints.

Physician's Workstation with Real-Time Performance

Multi-dimensional input techniques and articulated figure positioning by multiple constraints