Overview
ABSTRACT
This article is the third and last one of a series of three about immersive audio-visual systems. It first describes the formats and standards needed to encode and format immersive media (360° video, 3D audio) for distribution. Two case studies illustrate on the one hand the streaming or downloading of 360° content, and on the other hand the association of 360° content and live TV. Then, the article presents a panorama of applications and use cases and describes the user interfaces required to "consume" immersive audio-visual experiences. Finally, it explains the factors of video and audio quality, as well as thoses of the quality of experience.
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Read the articleAUTHOR
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Jean-Noël GOUYET: Training engineer and consultant in digital media techniques and management - Former researcher at INA's Research Department
INTRODUCTION
This article presents the distribution and use of immersive audiovisual systems. The term "immersive" is used in the case of digital media to describe a system's ability to absorb a user into an audiovisual scene. "Immersive media" can be related to natural and/or computer-generated content. In this article and the other two,
The Cinéorama, patented in 1897 by Raoul Brimoin-Sanson, with a circular screen swept by 10 synchronized cinematographic projectors arranged in a circle, was the first 360° image projection process... well before the professional and then consumer development of 360° video and video headsets in the late 20th and early 21st centuries. For 3D audio, if we consider stereo as an ancestor, we can recall Clément Ader's retransmission of an opera over telephone lines in 1881, with the Théâtrophone... until the emergence of 3D audio effects in the 1990s, in PCs and game consoles. As for one of the earliest immersive and interactive systems, we might mention the Sensorama, patented in 1962 by Morton Heilig, which was a simulator of a motorcycle ride through New York, complete with screen, sound, wind and smell generators... right up to the more recent airplane piloting simulators or the immersive Birdly "bird flight" simulator (2016).
The development of immersive media has been boosted by the digital boom, particularly in digital video compression formats and Internet distribution networks, as well as by the spread of video games and portable devices (headsets, tablets and smartphones).
Applications for 360° immersive media include event broadcasting (whether or not in parallel with a television stream), linear or interactive cinematography, educational applications, interpersonal and group communication (e.g. videoconferencing, or with online games, or in a virtual meeting place), guided tours, e-marketing, on-demand content viewing on visiocassette...
Beyond their interest in discovering a new technology, 360° video and 3D audio create a sensation of presence...
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KEYWORDS
quality | 360°-video | 3D audio | immersive audiovisual | immersive media | delivery | use cases
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Signal processing and its applications
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Immersive media and virtual reality: 360° video and 3D audio
Bibliography
- (1) - Report ITU-R BT.2420-0 - Collection of usage scenarios and current statuses of advanced ilmmersive audio-visual systems. - https://www.itu.int/dms_pub/itu-r/opb/rep/R-REP-BT.2420-2018-PDF-E.pdf (2018).
Standards and norms
- The relative timing of the sound and vision components of a television signal. https://tech.ebu.ch/docs/r/r037.pdf - EBU Rec. R37-2007 - February 2007
- Universal Mobile telecommunications System (UMTS); LTE; Codec for Enhanced Voice Services (EVS); Performance characterization https://www.etsi.org/deliver/etsi_TR/126900_126999/126952/12.00.00_60/tr_126952v120000p.pdf - ETSI TR 126 952 3GPP TR 26.952 - 2015-01 2019-06 ...
Directory
Organizations – Federations – Associations (non-exhaustive list)
- - EBU BPN 115 -
- - ITU-R BT.2420-0 -
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