UX and Interaction in Virtual Reality
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The document discusses various topics related to user experience in virtual reality, including VR market sizes and hardware, interaction techniques, presence, comfort considerations, and the future of VR. It provides statistics on VR user bases, describes common input methods for different VR platforms, and lists factors that influence comfort as well as techniques to mitigate motion sickness.
UX and Interaction in Virtual Reality
- 4. Takeaway: Hints and ideas on how to create good user experience in VR, through the analysis of the solutions adopted by several VR games and apps. This talk is code-free
- 5. (be quick though, because we’re in November!)
- 6. • No market for it... • 85k-100k Vive owners 3 monts after launch • 40k+ Rift on Steam (how many devkits?) • 1M monthly users on GearVR (May 2016), 5M Cardboard app downloads • No standards... • No killer application… Source: http://www.roadtovr.com/htc-vive-sales-figures-data-100000-steamspy-data/ http://www.roadtovr.com/oculus-rift-growth-spurt-has-halted-htc-vive-market-share-growth/
- 12. Two-way flow of information, between the player and the game. The interactivity happens through the User Interface (UI) which, when put to action, defines the User Experience (UX). Source: the Art of Game Design by Jesse Schell
- 13. The User Interface is made-up of 3 parts: • The real-world physical input (controllers) and output (screen, audio) • The simulated game world • The in-game virtual interface (often called “UI”) The relationship between them is called mapping. When it works well, the player feels in control, the UI becomes intuitive and the resulting UX is great.
- 14. • Motion-controlled physical input (HMD and hand controllers) • Now we are inside the simulated game world • New complications to deal with • Motion sickness • Fatigue and session length • Locomotion in the game world
- 18. ”... a psychological state or subjective perception in which even though part or all of an individual’s current experience is generated by and/or filtered through human-made technology, part or all of the individual’s perception fails to accurate acknowledge the role of the technology in the experience.” Source: ISPR - https://ispr.info/about-presence-2/about-presence/ ”... a psychological state or subjective perception in which even though part or all of an individual’s current experience is generated by and/or filtered through human-made technology, part or all of the individual’s perception fails to accurate acknowledge the role of the technology in the experience.”
- 19. • Mobile (Cardboard, Daydream, Gear VR, other plastic shells) • Low processing power, less pixels on-screen • Simplified input • Tethered (Oculus, Vive, PlayStation VR) • High power, but high hardware requirements • Head tracking • More refined physical interactions
- 21. • One-button/touch controls • Cardboard, Gear VR, other plastic shells • Controllers, hand tracking or gestures • Oculus Rift, Daydream, PlayStation VR • Room-scale, full-body movements • HTC Vive
- 23. Visuals
- 24. • Same techniques on all platforms • Cubemaps, baking light, smokes and mirrors, • Reduce post-processing effects, but absolutely use AA • Different fidelity per platform • Even static images work wonders!
- 27. In order of importance: 1. Rotational acceleration 2. Rotational speed 3. Movement acceleration 4. Movement speed Roll being particularly bad
- 29. • Start slow to let the player get used to VR • Have a frame of reference
- 31. • Start slow to let the player get used to VR • Have a frame of reference • Shake that instead of the camera
- 33. • Start slow to let the player get used to VR • Have a frame of reference • Shake that instead of the camera • Prefer fast and short to long but slow
- 35. Audio
- 36. • Easy to do in Unity • Sounds positioned in the 3D scene • Spread over 2 audio channels depending on listener position • Reverberation filters • Doppler effect
- 37. Spatialisation is created mainly by 3 elements: • Interaural time difference • Interaural level difference • Spectral filtering done by outer ears Source: https://developers.google.com/vr/concepts/spatial-audio
- 38. • Direct sound • Early reflection • Late reverb Source: https://developers.google.com/vr/concepts/spatial-audio
- 39. They offer a lot more control over sound: • They create Spatial Audio • Alter levels, and time • Perform spectral filtering • They allow to define materials and size of the virtual environment • Often optimised (Google VR SDK for Daydream, which uses a diff. thread) Source: https://developers.google.com/vr/concepts/spatial-audio
- 40. • Use mono files with no pre-built reverb • Use recognisable sounds • Animate the sound source • Repeat the sound • Use complex sounds Source: https://developers.google.com/vr/concepts/spatial-audio
- 41. Input
- 42. • Most basic form of input • Very simple to implement • Applies to all types of VR • Sometimes the only choice
- 71. Source: Eelke Folmer - https://www.youtube.com/watch?v=lWqA_4crAEA
- 72. Source: Bumble - https://www.youtube.com/watch?v=p0YxzgQG2-E
- 73. Source: Frooxius - https://www.youtube.com/watch?v=oSP5sjg9TIs
- 75. Source: Yohei Yanase - https://www.youtube.com/watch?v=THk92rev1VA
- 76. Source: Yohei Yanase - https://www.youtube.com/watch?v=THk92rev1VA
- 77. Source: Yohei Yanase - https://www.youtube.com/watch?v=THk92rev1VA
- 83. Source: RE’FLEKT at Vision Summit - https://www.youtube.com/watch?v=At_Zac4Xezw
- 84. Comfort
- 86. Not all HMDs allow for the same degree of freedom in head movements.
- 88. We know the direction the player is facing, and the one he was facing before. The developer can try to prevent the player from entangling in the cable by using (audio) cues in the reverse direction. Not every gameplay can use this trick.
- 92. The future
- 93. Near future: • Larger install base on all platforms • Next-level mobile VR thanks to more powerful phones • More online VR • Tracked objects in room-scale VR
- 95. Near future: • Larger install base on all platforms • Next-level mobile VR thanks to more powerful phones • More online VR • Tracked objects in room-scale VR • VR as a social experience
- 101. Far future: • No cables on tracked HMDs • Reduced motion sickness thanks to higher resolutions and framerates • General audience will be used to interacting in VR • Hololens will bring new interest to AR and “Mixed Reality”
- 102. Source: Owlchemy Labs - http://owlchemylabs.com/owlchemyvr-mixed-reality-tech/
- 103. Thank you
Editor's Notes
- #6: Since last year, everyone has been saying that 2016 would have been the year of VR, and in part they were right. We have seen the launch of Oculus and Vive to the public, and soon PlayStation VR. Sadly, or luckily, it’s also almost over.
- #7: So, since it’s almost over, what are the takeaways of this 2016? One thing is sure, we know that the market is very small, with around 100 thousands Vive sold, probably 40 thousand active Rifts, and mobile VR that sits just in the tens of millions users. There’s no standard, like we have the controllers on consoles, which makes cross-headset development practically impossible. Finally, VR hasn’t got its killer application, yet.
- #8: The good news is, you can still be part of the VR revolution in 2017,
- #9: and possibly, create the first real VR killer application
- #20: When we look at the current VR platforms available, there’s a clear technological divide between the mobile ones, which include […]. Making content for these platforms requires less effort, but at the same time we have to optimise for phones, and try to maintain a consistent 60fps. Not easy. On the other side, we have the VR platforms that have a tethered HMD, [...], which have much more power but at the same time require expensive hardware to run. This greatly limits the potential audience, but on the other side they offer a more refined range of physical interactions.
- #33: SubLevel Zero
- #35: SubLevel Zero
- #67: The gallery
- #69: The gallery
- #71: The gallery
- #73: Cosmic Wandering
- #76: Yohei Yanase
- #81: Redirected walking
- #103: The gallery