Interactive Cinematic Experience Supported by Real-time Simulation System: Technology, Methodology and Ideology Mark J. Chavez∗ Ina Conradi† Liu Linyi‡ Jamie Telford§ Nanyang Technological University, School of Art, Design and Media
Figure 1: Happiness and Fear.
Abstract
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Our research aims to create an active cinematic narrative generated in a 3D simulation engine, postulating the method and approach to addressing the emerging language of interactive cinematic experiences.
This project aims to create an interactive cinematic narrative generated by a 3D real-time simulation engine. Traditional watching experience in a cinema is mostly a passive involvement for the audience, which means no matter what the viewer thinks about the movie, their emotional state will influence the development and presentation of characters and plot. Interactive or Active Cinema, will be part of the final result of the research. Although the approach is not new, the intent of the research is to provide for an immersive engagement for the viewer beyond passive cinema. And thus finally, it should be supposed to improve audience’s satisfaction by implementing their anticipation of the movie.
Traditional watching experience in a cinema is mostly a passive involvement for the audience, which means no matter what the viewer thinks about the movie, he or she cannot influence the development and presentation of characters and plot even when they feel bored and dissatisfied at given session. Interactive cinema, the final production of whole project, although the name is not new, in this regard, could entirely provides a possibility for viewers to choose being engaged, or not to. And thus finally, it should be supposed to improve audience’s satisfaction by implementing their anticipation of the movie. This project is made possible through a grant funded by the National Research Foundation, Media Development Authority cospace initiative in Singapore and with the aid of the first graduating class of the Nanyang Technological University’s School of Art, Design and Media, current undergraduates in the school and university. CR Categories: J.1 [COMPUTERS IN OTHER SYSTEMS]: Real time—; K.8 [PERSONAL COMPUTING]: Games— [H.5.1]: INFORMATION INTERFACES AND PRESENTATION— Multimedia Information SystemsArtificial, augmented, and virtual realities; Keywords: interactive cinema, new media, animation, games ∗ e-mail:
mchavez@ntu.edu.sg
† e-mail:inaconradi@ntu.edu.sg ‡ liulinyi@pmail.ntu.edu.sg § JGTelford@ntu.edu.sg
Introduction
The project postulates the method and approach to addressing the emerging language of interactive cinematic experiences. Principle to the interactive experience three key areas are identified and presented in layered contextual order. As part of our intial deployment we will develop a proof of concept installation piece. The focus of the work will be on integrating computational intelligent agents designed as character archetypes within a dynamically changeable world. This world is created to adapt along a possibility of multiple narratives. Within this structure we plan to develop a method to use the emotive state of the viewer to drive the narrative, thereby authoring a Meta-plastic virtual world. [Mura 2008] In our research we define the plastic figure as composed of the following elements: • Rhythmic structure: structural equilibrium as composed by dynamic relations of form (including audio), distributed along various dimensional • Form Variations: are rhythmical balance relations between form weights. The form variations and sequences are the components of the Rhythmic form • Form Motion: details of character and behavior as understood by idiosyncratic motion. Motion is perceived and gener-