Augmented Reality, Virtual Reality, and Computer Graphics: by Lucio Tommaso De Paolis, Antonio Mongelli

By Lucio Tommaso De Paolis, Antonio Mongelli

The 2-volume set LNCS 9768 and 9769 constitutes the refereed lawsuits of the 3rd foreign convention on Augmented truth, digital truth and special effects, AVR 2016, held in Lecce, Italy, in June 2016.
The forty complete papers and 29 brief papers offered werde rigorously reviewed and chosen from 131 submissions. The SALENTO AVR 2016 convention meant to compile researchers, scientists, and practitioners to debate key matters, techniques, rules, open difficulties, leading edge functions and tendencies on digital and augmented fact, 3D visualization and special effects within the parts of drugs, cultural history, arts, schooling, leisure, business andmilitary sectors.

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Additional info for Augmented Reality, Virtual Reality, and Computer Graphics: Third International Conference, AVR 2016, Lecce, Italy, June 15-18, 2016. Proceedings, Part II

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Presence: Teleoperators Virtual Environ. 6, 413–432 (1997) 7. : A comparison of optical and video see-through head-mounted displays. Telemanipulator Telepresence Technol. 2351, 293–307 (1994) 8. : Geometric calibration of head-mounted displays and its effects on distance estimation. IEEE Trans. Visual Comput. Graph. 18, 589–596 (2012) 9. : Optical see-through HMD calibration: a stereo method validated with a video see-through system. In: Proceedings of the IEEE and ACM International Symposium on Augmented Reality, pp.

Once the keyframing of the action was ready, the final renders were generated, before moving on to the postproduction stage. 3 Post-production At this stage Premiere and After Effects software were used. The different frames were joined regardless of the technique: real recorded video, 2D animation and 3D animation. Then, the sound effects, the voices, and the music were included in the short film. Finally, some minor effects were included: the presence of Susto in real video scenes (using the chroma effect) or brightness on some objects in the 3D animation scenes when necessary to improve the visual quality of the final product.

3, a procedural noise texture for Normal Mapping was subsequently applied to give the avatar the appearance of a stuffed toy and, therefore, to attenuate the negative feelings that this character might arouse in the children. The second strategy was followed for the rest of the 3D meshes: only one-color materials without specular shaders were created. This technique simplified the shading step and was accepted because child spectators usually overlook this lack of realism. Only metal objects and the eyes 18 B.

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