BEGIN:VCALENDAR VERSION:2.0 PRODID:-//swoogo.com//NONSGML kigkonsult.se iCalcreator 2.41.90// CALSCALE:GREGORIAN UID:35613239-3666-4135-b433-333835303838 BEGIN:VEVENT UID:f2b6bbe60407f3a2d56b716fdc5fe72eed6982ab@swoogo.com DTSTAMP:20260618T135627Z DESCRIPTION:Broadcasting stage events such as theater\, music\, or circus p erformances expands the potential audience to those unable to attend live\ , and allows re-experiencing the event at home. However\, traditional medi a like television or cinema often fail to convey the immersive feeling of participation\, making the broadcasted experience less thrilling. Head-mou nted displays for virtual reality offer a promising solution to bridge thi s gap by surrounding the spectator with a complete and realistic environme nt\, enhancing the sense of presence compared to 2D screens. While 360° vi deo is commonly used\, it lacks parallax\, which can lead to motion sickne ss due to the absence of depth and occlusion information. Alternatively\, modeling the event location in a 3D game engine can reproduce parallax eff ectively\, but integrating live actors remains challenging. Often\, green- screen or volumetric capture is used\, or actors are replaced by avatars\, diminishing naturalness. To address these issues\, we developed a workflo w for integrating live actors into a 3D environment\, offering a fully imm ersive experience. Our approach balances realism and complexity by compari ng full light-field rendering with stereo projection. Although stereo proj ection does not perfectly reproduce parallax\, it provides convincing dept h cues if the spectator is at a reasonable distance from the performance. Additionally\, stereo content aligns closely with traditional broadcast me dia\, allowing the reuse of existing infrastructure. However\, this approa ch necessitates a distinct production methodology. Actors’ performances ar e transmitted via a stereo signal\, while surrounding environments are rec reated from digitized 3D models. New production and rendering guidelines a re essential to maintain visual quality. This paper summarizes the lessons learned and the developed workflow to advance immersive media in stage ev ents. DTSTART:20241021T193000Z DTEND:20241021T200000Z LAST-MODIFIED:20260618T135627Z LOCATION:Session Room 2 SEQUENCE:0 STATUS:CONFIRMED SUMMARY:Bringing stage events with real actors to your home in VR – A low c omplexity solution for immersive media streaming TRANSP:OPAQUE X-ALT-DESC;FMTTYPE=text/html:

Broadcasting stage events such as theater\, music\, or circus performances expands the potential audience to those un able to attend live\, and allows re-experiencing the event at home. Howeve r\, traditional media like television or cinema often fail to convey the i mmersive feeling of participation\, making the broadcasted experience less thrilling. Head-mounted displays for virtual reality offer a promising so lution to bridge this gap by surrounding the spectator with a complete and realistic environment\, enhancing the sense of presence compared to 2D sc reens. While 360° video is commonly used\, it lacks parallax\, which can l ead to motion sickness due to the absence of depth and occlusion informati on. Alternatively\, modeling the event location in a 3D game engine can re produce parallax effectively\, but integrating live actors remains challen ging. Often\, green-screen or volumetric capture is used\, or actors are r eplaced by avatars\, diminishing naturalness. To address these issues\, we developed a workflow for integrating live actors into a 3D environment\, offering a fully immersive experience. Our approach balances realism and c omplexity by comparing full light-field rendering with stereo projection. Although stereo projection does not perfectly reproduce parallax\, it prov ides convincing depth cues if the spectator is at a reasonable distance fr om the performance. Additionally\, stereo content aligns closely with trad itional broadcast media\, allowing the reuse of existing infrastructure. H owever\, this approach necessitates a distinct production methodology. Act ors’ performances are transmitted via a stereo signal\, while surrounding environments are recreated from digitized 3D models. New production and re ndering guidelines are essential to maintain visual quality. This paper su mmarizes the lessons learned and the developed workflow to advance immersi ve media in stage events.

BEGIN:VALARM UID:65306134-3165-4163-b565-326531333663 ACTION:DISPLAY DESCRIPTION:Broadcasting stage events such as theater\, music\, or circus p erformances expands the potential audience to those unable to attend live\ , and allows re-experiencing the event at home. However\, traditional medi a like television or cinema often fail to convey the immersive feeling of participation\, making the broadcasted experience less thrilling. Head-mou nted displays for virtual reality offer a promising solution to bridge thi s gap by surrounding the spectator with a complete and realistic environme nt\, enhancing the sense of presence compared to 2D screens. While 360° vi deo is commonly used\, it lacks parallax\, which can lead to motion sickne ss due to the absence of depth and occlusion information. Alternatively\, modeling the event location in a 3D game engine can reproduce parallax eff ectively\, but integrating live actors remains challenging. Often\, green- screen or volumetric capture is used\, or actors are replaced by avatars\, diminishing naturalness. To address these issues\, we developed a workflo w for integrating live actors into a 3D environment\, offering a fully imm ersive experience. Our approach balances realism and complexity by compari ng full light-field rendering with stereo projection. Although stereo proj ection does not perfectly reproduce parallax\, it provides convincing dept h cues if the spectator is at a reasonable distance from the performance. Additionally\, stereo content aligns closely with traditional broadcast me dia\, allowing the reuse of existing infrastructure. However\, this approa ch necessitates a distinct production methodology. Actors’ performances ar e transmitted via a stereo signal\, while surrounding environments are rec reated from digitized 3D models. New production and rendering guidelines a re essential to maintain visual quality. This paper summarizes the lessons learned and the developed workflow to advance immersive media in stage ev ents. TRIGGER:-PT15M END:VALARM END:VEVENT END:VCALENDAR