1、Information technology Media context and control Part 1: Architecture Technologies de linformation Contrle et contexte de supports Partie 1: Architecture INTERNATIONAL STANDARD ISO/IEC 23005-1 Reference number ISO/IEC 23005-1:2016(E) Third edition 2016-07-15 ISO/IEC 2016 ii ISO/IEC 2016 All rights r
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4、ightiso.org www.iso.org ISO/IEC 23005-1:2016(E)ISO/IEC 23005-1:2016(E) ISO/IEC 2016 All rights reserved iii Contents Page 1 Scope 1 2 Terms and definitions . 1 2.1 Device Command 1 2.2 R V Adaptation 1 2.3 Sensed Information . 1 2.4 Sensor. 1 2.5 Sensor Adaptation Preferences . 1 2.6 Sensor Capabili
5、ty 1 2.7 Sensory Device 2 2.8 Sensory Device Capability 2 2.9 Sensory Effects . 2 2.10 Sensory Effect Metadata . 2 2.11 Users Sensory Preferences . 2 2.12 User . 2 2.13 Virtual World 2 2.14 V R Adaptation 2 2.15 VW Object Characteristics 2 3 MPEG-V System Architecture 2 4 Use cases . 5 4.1 Informati
6、on adaptation from virtual world to real world . 5 System Architecture for information adaptation from virtual world to real world . 5 4.2 Information adaptation from real world to virtual world . 6 System Architecture for information adaptation from real world to virtual world . 6 4.3 Information e
7、xchange between virtual worlds . 7 System Architecture for exchanges between virtual worlds 7 5 Instantiations . 8 5.1 Instantiation A: Representation of Sensory Effects (RoSE) . 8 System Architecture for Representation of Sensory Effects 8 Instantiation A.1: Multi-sensorial Effects 9 Instantiation
8、A.2: Motion effects 10 5.2 Instantiation B: Natural user interaction with virtual world 12 System Architecture for Natural user interaction with virtual world . 12 Instantiation B.1: Full motion control and navigation of avatar/object with multi-input sources . 13 Instantiation B.2: Serious gaming f
9、or ambient assisted living. 14 Instantiation B.3: Gesture recognition using multipoint interaction devices . 15 Instantiation B.4: Avatar facial expression retargeting using smart camera 16 Instantiation B.5: Motion tracking and facial animation with multimodal interaction 17 Instantiation B.6: Seri
10、ous gaming and training with multimodal interaction . 18 Instantiation B.7: Virtual museum guide with embodied conversational agents . 18 5.3 Instantiation C: Traveling and navigating real and virtual worlds . 19 System Architecture for traveling and navigating real and virtual worlds 19 Instantiati
11、on C.1: Virtual travel 20 Instantiation C.2: Virtual traces of real places . 20 Instantiation C.3: Virtual tour guides 22 Instantiation C.4: Unmanned aerial vehicle scenario 23 5.4 Instantiation D: Interoperable virtual worlds 24 System Architecture for interoperable virtual worlds . 24 Instantiatio
12、n D.1: Avatar appearance 24 ISO/IEC 23005-1:2016(E) iv ISO/IEC 2016 All rights reserved Instantiation D.2: Virtual objects . 24 5.5 Instantiation E: Social presence, group decision-making and collaboration within virtual worlds 26 System architecture . 26 Instantiation E.1: Social presence 26 Instan
13、tiation E.2: Group decision-making in the context of spatial planning 27 Instantiation E.3: Consumer collaboration in product design processes along the supply chain . 28 5.6 Instantiation F: Interactive haptic sensible media 30 System architecture for interactive haptic sensible media 30 Instantiat
14、ion F.1: Internet haptic service - YouTube, online chatting . 30 Instantiation F.2: Next generation classroom sensation book . 31 Instantiation F.3: Immersive broadcasting home shopping, fishing channels . 32 Instantiation F.4: Entertainment game (Second Life, Star Craft), movie theater 32 Instantia
15、tion F.5: Virtual simulation for training military task, medical simulations 33 5.7 Instantiation G: Bio-sensed information in virtual world . 33 System architecture for bio-sensed information in virtual world 33 Instantiation G.1: Interactive games sensitive to users conditions . 34 Instantiation G
16、.2: Virtual hospital and health monitoring 34 Instantiation G.3: Mental health for lifestyle management . 35 Instantiation G.4: Food intake for lifestyle management . 36 Instantiation G.5: Cardiovascular rehabilitation for health management . 37 Instantiation G.6: Glucose level / diabetes management
17、 for health management 38 5.8 Instantiation H: Environmental monitoring with sensors. 38 System architecture for environmental monitoring 38 Instantiation H.1: Environmental monitoring system . 39 5.9 Instantiation I: Virtual world interfacing with TV platforms . 40 System architecture for virtual w
18、orld interfacing with TV platform 40 Instantiation I.1: The TV platform as a virtual worlds I/O device . 41 5.10 Instantiation J: Seamless integration between real and virtual worlds 42 System architecture for seamless integration between real and virtual worlds 42 Instantiation J.1: Seamless intera
19、ction between real and virtual worlds with integrating virtual and real sensors and actuators . 42 5.11 Instantiation K: Hybrid communication . 44 5.12 Instantiation L: Makeup Avatar . 47 Spectrum data acquisition . 47 Spectrum data combination in a virtual world . 48 Cosmetic color spectrum metamer
20、ism 49 Color reproduction process for a virtual makeup avatar . 49 Transformation model generation 50 Makeup simulation usage example. 51 5.13 Instantiation M: Usage Scenario for automobile sensors 53 Helping auto maintenance/regular inspection . 53 Monitoring for Eco-friendly driving . 53 Bibliogra
21、phy . 55 ISO/IEC 23005-1:2016(E) ISO/IEC 2016 All rights reserved v Foreword ISO (the International Organization for Standardization) and IEC (the International Electrotechnical Commission) form the specialized system for worldwide standardization. National bodies that are members of ISO or IEC part
22、icipate in the development of International Standards through technical committees established by the respective organization to deal with particular fields of technical activity. ISO and IEC technical committees collaborate in fields of mutual interest. Other international organizations, government
23、al and non-governmental, in liaison with ISO and IEC, also take part in the work. In the field of information technology, ISO and IEC have established a joint technical committee, ISO/IEC JTC 1. The procedures used to develop this document and those intended for its further maintenance are described
24、 in the ISO/IEC Directives, Part 1. In particular the different approval criteria needed for the different types of document should be noted. This document was drafted in accordance with the editorial rules of the ISO/IEC Directives, Part 2 (see www.iso.org/directives). Attention is drawn to the pos
25、sibility that some of the elements of this document may be the subject of patent rights. ISO and IEC shall not be held responsible for identifying any or all such patent rights. Details of any patent rights identified during the development of the document will be in the Introduction and/or on the I
26、SO list of patent declarations received (see www.iso.org/patents). Any trade name used in this document is information given for the convenience of users and does not constitute an endorsement. For an explanation on the meaning of ISO specific terms and expressions related to conformity assessment,
27、as well as information about ISOs adherence to the World Trade Organization (WTO) principles in the Technical Barriers to Trade (TBT) see the following URL: www.iso.org/iso/foreword.html. The committee responsible for this document is ISO/IEC JTC 1, Information technology, SC 29, Coding of audio, pi
28、cture, multimedia and hypermedia information. This third edition cancels and replaces the second edition (ISO/IEC 23005-1:2014), which has been technically revised. ISO/IEC 23005 consists of the following parts, under the general title Information technology Media context and control: Part 1: Archit
29、ecture Part 2: Control information Part 3: Sensory information Part 4: Virtual world object characteristics Part 5: Data formats for interaction devices Part 6: Common types and tools Part 7: Conformance and reference software ISO/IEC 23005-1:2016(E) vi ISO/IEC 2016 All rights reserved Introduction
30、The usage of multimedia content is becoming omnipresent in everyday life, in terms of both consumption and production. On the one hand, professional content is provided to the end user in high-definition quality, streamed over heterogeneous networks, and consumed on a variety of different devices. O
31、n the other hand, user-generated content overwhelms the Internet with multimedia assets being uploaded to a wide range of available Web sites. That is, the transparent access to multimedia content, also referred to as Universal Multimedia Access (UMA), seems to be technically feasible. However, UMA
32、mainly focuses on the end-user devices and network connectivity issues, but it is the user who ultimately consumes the content. Hence, the concept of UMA has been extended to take the user into account, which is generally referred to as Universal Multimedia Experience (UME). However, the consumption
33、 of multimedia assets can also stimulate senses other than vision or audition, e.g., olfaction, mechanoreception, equilibrioception, or thermoception. That is, in addition to the audio-visual content of, for example, a movie, other senses shall also be stimulated giving the user the sensation of bei
34、ng part of the particular media which shall result in a worthwhile, informative user experience. This motivates the annotation of the media resources with metadata as defined in this part of ISO/IEC 23005 that steers appropriate devices capable of stimulating these other senses. ISO/IEC 23005 (MPEG-
35、V) provides an architecture and specifies associated information representations to enable the interoperability between virtual worlds, for example, digital content provider of a virtual world, (serious) gaming, simulation, DVD, and with the real world, for example, sensors, actuators, vision and re
36、ndering, robotics (e.g. for revalidation), (support for) independent living, social and welfare systems, banking, insurance, travel, real estate, rights management and many others. Virtual worlds 1)(often referred to as 3D3C for 3D visualization b) it allows for the development of new (breakthrough)
37、 business models, services, applications and devices. Each virtual world however has a different culture and audience making use of these specific worlds for a variety of reasons. These differences in existing metaverses permit users to have unique experiences. Resistance to real-world commercial en
38、croachment still exists in many virtual worlds where users primarily seek an escape from real life. Hence, marketers should get to know a virtual world beforehand and the rules that govern each individual universe. Although realistic experiences have been achieved via devices such as 3-D audio/visua
39、l devices, it is hard to realize sensory effects only with presentation of audiovisual contents. The addition of sensory effects leads to even more realistic experiences in the consumption of audiovisual contents. This will lead to the application of new media for enhanced experiences of users in a
40、more realistic sense. Such new media will benefit from the standardization of a control and sensory information which can include sensory effect metadata, sensory device (actuator) capabilities/commands, users sensory preferences, and 1) Some examples of virtual worlds are: Second Life (http:/ IMVU
41、(http:/ and Entropia Universe (http:/ ISO/IEC 23005-1:2016(E) ISO/IEC 2016 All rights reserved vii various delivery formats. The MPEG-V architecture can be applicable for various business models for which audiovisual contents can be associated with sensory effects that need to be rendered on appropr
42、iate sensory devices (actuators). Multi-user online virtual worlds, sometimes called Networked Virtual Environments (NVEs) or massively- multiplayer online games (MMOGs), have reached mainstream popularity. Although most publications tend to focus on well-known virtual worlds like World of Warcraft,
43、 Second Life, and Lineage, there are hundreds of popular virtual worlds in active use worldwide, most of which are not known to the general public. These can be quite different from the above-mentioned titles. To understand current trends and developments, it is useful to keep in mind that there is
44、large variety in virtual worlds and that they are not all variations on Second Life. The concept of online virtual worlds started in the late 70s with the creation of the text-based Dungeons in virtual worlds the users more or less create the stories themselves. The current trend in virtual worlds i
45、s to provide a mix of pre-authored and user-generated stories and content, leading to user-modified content. Current virtual worlds are graphical and rendered in 2D, 2.5 D (isometric view) or 3D, depending on the intended effect and technical capabilities of the platform: web-browser, gaming PC, ave
46、rage PC, game console, mobile phone, and so on. “Would it not be great if the real world economy could be boosted by the exponential growing economy of the virtual worlds by connecting the virtual - and real world”; in 2007 the Virtual Economy in Second Life alone was around 400 MEuro, a factor nine
47、 growth from 2006. The connected devices and services in the real world can represent an economy of a multiple of this virtual world economy. Virtual worlds have entered our lives, our communication patterns, our culture, and our entertainment never to leave again. Its not only the teenager active i
48、n Second Life and World of Warcraft, the average age of a gamer is 35 years by now, and it increases every year. This does not even include role-play in the professional context, also known as serious gaming, inevitable when learning practical skills. Virtual worlds are in use for entertainment, edu
49、cation, training, obtaining information, social interaction, work, virtual tourism, reliving the past and forms of art. They augment and interact with our real world and form an important part of peoples lives. Many virtual worlds already exist as games, training systems, social networks and virtual cities and world
