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  • [MUSIC PLAYING]

  • CHRIS KELLEY: Thank you so much for joining us.

  • My name is Chris.

  • I'm a designer and prototyper working

  • on immersive prototyping at Google,

  • and I'm joined by Ellie and Luca.

  • And today, we're going to talk about exploring AR interaction.

  • It's really awesome to be here.

  • We explore immersive computing through rapid prototyping

  • of AR and VR experiments.

  • Often, that's focused on use case exploration or app ideas.

  • We work fast, which means we fail fast,

  • but that means that we learn fast.

  • We spend a week or two on each prototyping sprint,

  • and at the end of the sprint, we end

  • with a functional prototype starting

  • from a tightly scoped question.

  • And then we put that prototype in people's hands

  • and we see what we can learn.

  • So this talk is going to be about takeaways we have

  • from those AR explorations.

  • But first, I want to set the table a little bit

  • and talk about what we mean when we say augmented reality.

  • When a lot of people think about AR,

  • the first thing they think about is bringing virtual objects

  • to users in the world.

  • And it is that.

  • That's part of it.

  • We call this the out of AR.

  • But AR also means more than that.

  • It means being able to understand the world visually

  • to bring information to users, and we call this understanding

  • the in of AR.

  • Many of the tools and techniques that

  • were created for computer vision and machine learning perfectly

  • complement tools like ARCore, which is Google's AR

  • development platform.

  • So when we explore AR, we build experiences

  • that include one of these approaches or both.

  • So this talk is going to be about three magic powers

  • that we've found for AR.

  • We think that these magic powers can help you build better AR

  • experiences for your users.

  • So we're going to talk about some prototypes that we've

  • built and share our learnings with you

  • during each of these three magic power areas during the talk.

  • First, I'll talk to you about context-driven superpowers.

  • That's about how we can combine visual and physical

  • understanding of the world to make magical AR experiences.

  • Then Ellie will talk to you about shared augmentations.

  • And this is really all about the different ways

  • that we can connect people together in AR,

  • and how we can empower them just by putting them together.

  • And then Luca will cover expressive inputs.

  • This is about how AR can help unlock

  • authentic and natural understanding for our users.

  • So let's start about context-driven superpowers.

  • What this really means is using AR technologies

  • to deeply understand the context of a device,

  • and then build experiences that directly leverage that context.

  • And there's two parts to an AR context.

  • One is visual understanding, and the other

  • is physical understanding.

  • With ARCore, this gives your phone

  • the ability to understand and sense

  • its environment physically.

  • But through computer vision and machine learning,

  • we can make sense of the world visually.

  • And by combining these results, we

  • get an authentic understanding of the scene,

  • which is a natural building block of magical AR.

  • So let's start with visual understanding.

  • The prototyping community has done some awesome explorations

  • here, and we've done a few of our own

  • that we're excited to share.

  • To start, we wondered if we could

  • trigger custom experiences from visual signals in the world.

  • Traditional apps today leverage all kinds of device

  • signals to trigger experiences.

  • GPS, the IMU, et cetera.

  • So could we use visual input as a signal as well?

  • We built a really basic implementation of this concept.

  • This uses ARCore and the Google Cloud Vision

  • API that detects any kind of snowman

  • in the scene, which triggers a particle system that

  • starts to snow.

  • So through visual understanding, we

  • were able to tailor an experience to specific cues

  • in the environment for users.

  • This enables adaptable and context aware applications.

  • So even though this example is a simple one,

  • the concept can be extended so much further.

  • For example, yesterday we announced the augmented images

  • API for ARCore.

  • So if you use this, you can make something

  • like an experience that reacts relative to device movement

  • around an image in the scene, or even

  • from a known distance to an object in the world.

  • If you think this concept is interesting,

  • I highly recommend checking out the AR VR demo tent.

  • They have some amazing augmented images demos there.

  • The next thing we wanted to know is

  • if we could bridge the gap between digital and physical,

  • and, for example, bring some of the most delightful features

  • of e-readers to physical books.

  • The digital age has brought all kinds of improvements

  • to some traditional human behaviors,

  • and e-readers have brought lots of cool new things to reading.

  • But if you're like me, sometimes you just

  • missed the tactility in holding a great book in your hands.

  • So we wanted to know if we could bridge that gap.

  • In this prototype, users highlight a passage or word

  • with their finger and they instantly

  • get back a definition.

  • This is a great example of a short-form-focused interaction

  • that required no setup for users.

  • It was an easy win only made possible

  • by visual understanding.

  • But as soon as we tried this prototype,

  • there were two downfalls that we noticed,

  • and they became immediately apparent when we used it.

  • The first is that it was really difficult to aim your finger

  • at a small moving target on a phone,

  • and maybe the page is moving as well,

  • and you're trying to target this little word.

  • That was really hard.

  • And the second was that when you're highlighting a word,

  • your finger is blocking the exact thing

  • that you're trying to see.

  • Now, these are easily solvable with a follow-up UX iteration,

  • but they illustrate a larger lesson.

  • And that's that with any kind of immersive computing,

  • you really have to try it before you can judge it.

  • An interaction might sound great when you talk about it

  • and it might even look good in a visual mock,

  • but until you have it in your hand

  • and you can feel it and try it, you're

  • not going to know if it works or not.

  • You really have to put it in a prototype

  • so you can create your own facts.

  • Another thing we think about a lot

  • is, can we help people learn more effectively?

  • Could we use AR to make learning better?

  • There's many styles of learning, and if you

  • combine these styles of learning,

  • it often results in faster and higher-quality learning.

  • In this prototype, we combined visual, oral, verbal,

  • and kinesthetic learning to teach people how

  • to make the perfect espresso.

  • The videos explain--

  • I'm sorry.

  • We placed videos around the espresso machine

  • in the physical locations where that step occurs.

  • So if you were learning how to use the grinder,

  • the video for the grinder is right next to it.

  • Now, for users to trigger that video,

  • they move their phone to the area

  • and then they can watch the lesson.

  • That added physical component of the physical proximity

  • of the video and the actual device

  • made a huge difference in general understanding.

  • In our studies, users who had never used an espresso machine

  • before easily made an espresso after using this prototype.

  • So for some kinds of learning, this

  • can be really beneficial for users.

  • Now, unfortunately for our prototype,

  • one thing that we learned here was

  • that it's actually really hard to hold your phone

  • and make an espresso at the same time.

  • So you need to be really mindful of the fact

  • that your users might be splitting

  • their physical resources between the phone and the world.

  • And so as it applies to your use case,

  • try building experiences that are really

  • snackable and hands-free.

  • Speaking of combining learning and superpowers together,

  • we wondered if AR could help us learn

  • from hidden information that's layered in the world

  • all around us.

  • This is a prototype that we built

  • that's an immersive language learning app.

  • We showed translations roughly next to objects of interest

  • and positioned these labels by taking a point cloud

  • sample from around the object and putting the label sort

  • of in the middle of the points.

  • Users found this kind of immersive learning really fun,

  • and we saw users freely exploring

  • the world looking for other things to learn about.

  • So we found that if you give people

  • the freedom to roam and tools that are simple and flexible,

  • the experiences that you build for them

  • can create immense value.

  • We now have physical understanding.

  • This is AR's ability to extract and infer

  • information and meaning from the world around you.

  • When a device knows exactly where it is, not only in space,

  • but also relative to other devices,

  • we can start to do things that really

  • feel like you have superpowers.

  • For example, we can start to make

  • interactions that are extremely physical, natural,

  • and delightful.

  • Humans have been physically interacting

  • with each other for a really long time,

  • but digital life has abstracted some of those interactions.

  • We wondered if we could swing the pendulum

  • back the other direction a little bit using AR.

  • So in this prototype, much like a carnival milk bottle game,

  • you fling a baseball out of the top of your phone

  • and it hits milk bottles that are shown on other devices.

  • You just point the ball where you want to go, and it goes.

  • We did this by putting multiple devices

  • in a shared coordinate system, which

  • you could do using the new Google Cloud Anchors API

  • that we announced for ARCore yesterday.

  • And one thing you'll notice here is

  • that we aren't even showing users past their camera.

  • Now, we did that deliberately because we really

  • wanted to stretch and see how far we

  • could take this concept of physical interaction.

  • And one thing we learned was that once people learned

  • to do it, they found it really natural

  • and actually had a lot of fun with it.

  • But almost every user that tried it had to be not only

  • told how to do it, but shown how to do it.

  • People actually had to flip this mental switch

  • of the expectations they have for how a 2D smartphone

  • interaction works.

  • So you really need to be mindful of the context that people

  • are bringing in and the mental models they have

  • for 2D smartphone interactions.

  • We also wanted to know if we could help someone visualize

  • the future in a way that would let them make better decisions.

  • Humans pay attention to the things that matter to us.

  • And in a literal sense, the imagery

  • that appears in our peripheral vision

  • takes a lower cognitive priority than the things

  • we're focused on.

  • Would smartphone AR be any different?

  • In this experiment, we overlaid the architectural mesh

  • of the homeowner's remodel on top of the active construction

  • project.

  • The homeowner could visualize in context

  • what the changes to their home was going to look like.

  • Now, at the time that this prototype was created,

  • we had to do actual manual alignment of this model

  • on top of the house.

  • You could do it today.

  • If I rebuilt it, I would use the augmented images API

  • that we announced yesterday.

  • It would be much easier to put a fixed

  • image in a location, the house, and sync them together.

  • But even with that initial friction for the UX,

  • the homeowner got tremendous value out of this.

  • In fact, they went back to their architect after seeing this

  • and changed the design of their new home

  • because they found out that they weren't going

  • to have enough space in the upstairs bathroom-- something

  • they hadn't noticed in the plans before.

  • So the lesson is that if you provide people high-quality,

  • personally relevant content, you can create ways

  • that people will find really valuable and attention grabbing

  • experiences.

  • But when does modifying the real environment

  • start to break down?

  • You may be familiar with the uncanny valley.

  • It's a concept that suggests when

  • things that are really familiar to humans

  • are almost right but just a little bit off,

  • it makes us feel uneasy.

  • Subtle manipulations of the real environment in AR

  • can sometimes feel similar.

  • It can be difficult to get right.

  • In this specific example, we tried

  • removing things from the world.

  • We created this AR invisibility cloak for the plant.

  • What we did was we created a point cloud around the object,

  • attached little cubes to the point cloud,

  • applied a material to those points,

  • and extracted the texture from the surrounding environment.

  • That worked pretty well in uniform environments,

  • but unfortunately, the world doesn't have too many of those.

  • It's made up of dynamic lighting and subtle patterns,

  • so this always ended up looking a little bit weird.

  • Remember to be thoughtful about the way that you add

  • or remove things from the environment.

  • People are really perceptive, and so you

  • need to strive to build experiences

  • that align with their expectations,

  • or at the very least, don't defy them.

  • But is physical understanding always critical?

  • All points in the section have their place,

  • but, ultimately, you have to be guided by your critical user

  • journeys.

  • In this example, we wanted to build

  • a viewer for this amazing 3D model by Damon [INAUDIBLE]..

  • It was important that people could see the model in 3D

  • and move around to discover the object.

  • A challenge, though, was that the camera feed

  • was creating a lot of visual noise and distraction.

  • People were having a hard time appreciating

  • the nuances of the model.

  • We adopted concepts from filmmaking and guided users

  • by using focus and depth of field,

  • all which were controlled by the user's motion.

  • This resulted in people feeling encouraged to explore,

  • and they really stopped getting distracted

  • by the physical environment.

  • So humans are already great at so many things.

  • AR really allows us to leverage those existing capabilities

  • to make interactions feel invisible.

  • If we leverage visual and physical understanding

  • together, we can build experiences that

  • really give people superpowers.

  • With that, Ellie is going to talk to you

  • about special opportunities we have in shared augmentations.

  • ELLIE NATTINGER: Thanks, Chris.

  • So I'm Ellie Nattinger.

  • I'm a software engineer and prototyper

  • on Google's VR and AR team.

  • Chris has talked about the kinds of experiences

  • you start to have when your devices can understand

  • the world around you, and I'm going

  • to talk about what happens when you can share those experiences

  • with the people around you.

  • We're interested not only in adding AR augmentations

  • to your own reality, but also in sharing those augmentations.

  • If you listened to the developer keynote yesterday,

  • you know that shared AR experiences

  • is a really big topic for us these days.

  • For one thing, a shared reality lets

  • people be immersed in the same experience.

  • Think about a movie theater.

  • Why do movie theaters exist?

  • Everybody's watching a movie that they could probably

  • watch at home on their television or their computer

  • by themselves much more comfortably not

  • having to go anywhere, but it feels qualitatively

  • different to be in a space with other people sharing

  • that experience.

  • And beyond those kinds of shared passive experiences,

  • having a shared reality lets you collaborate, lets you learn,

  • lets you build and play together.

  • We think you should be able to share your augmented realities

  • with your friends, and your families, and your colleagues,

  • so we've done a variety of explorations

  • about how do you build those kinds of shared

  • realities in AR.

  • First, there's kind of a technical question.

  • How do you get people aligned in a shared AR space?

  • There's a number of ways we've tried.

  • If you don't need a lot of accuracy,

  • you could just start your apps with all the devices

  • in approximately the same location.

  • You could use markers or augmented images

  • so multiple users can all point their devices at one picture

  • and get a common point of reference--

  • cures the zero, zero, zero of my virtual world.

  • And you can even use the new ARCore Cloud Anchors API

  • that we just announced yesterday to localize

  • multiple devices against the visual features

  • of a particular space.

  • In addition to the technical considerations,

  • we've found three axes of experience

  • that we think are really useful to consider

  • when you're designing these kinds of shared

  • augmented experiences.

  • First of those is co-located versus remote.

  • Are your users in the same physical space

  • or different physical spaces?

  • Second is, how much precision is required, or is it optional?

  • Do you have to have everybody see the virtual bunny

  • at exactly the same point in the world,

  • or do you have a little bit of flexibility about that?

  • And the third is whether your experience

  • is synchronous or asynchronous.

  • Is everybody participating in this augmented experience

  • at exactly the same time, or at slightly different times?

  • And we see these not as necessarily binary axes,

  • but more of a continuum that you can

  • consider when you're designing these multi-person AR

  • experiences.

  • So let's talk about some prototypes and apps that

  • fall on different points of the spectrum and the lessons

  • we've learned from them.

  • To start with, we've found that when

  • you've got a group that's interacting

  • with the same content in the same space,

  • you really need shared, precise, spatial registration.

  • For example, let's say you're in a classroom.

  • Imagine if a group of students who

  • are doing a unit on the solar system could all look at

  • and walk around the globe, or an asteroid field,

  • or look at the sun.

  • In Expeditions AR, one of Google's initial AR

  • experiences, all the students can point their devices

  • to a marker, they calibrate themselves

  • against a shared location, they see the object

  • in the same place, and then what this allows

  • is for a teacher to be able to point out

  • particular parts of the object.

  • Oh, if you all come over and look at this side of the sun,

  • you see a cut-out into its core.

  • Over here on the Earth, you can see a hurricane.

  • Everybody starts get a spatial understanding

  • of the parts of the object and where they are in the world.

  • So when does it matter that your shared

  • space has a lot of precision?

  • When you have multiple people who

  • are all in the same physical space

  • interacting with or looking at the exact same

  • augmented objects at the same time.

  • We were also curious--

  • how much can we take advantage of people's existing spatial

  • awareness when you're working in high-precision shared spaces?

  • We experimented with this in this multi-person construction

  • application, where you've got multiple people who

  • are all building onto a shared AR object in the same space.

  • Adding blocks to each other, everybody's

  • being able to coordinate.

  • And you want to be able to tell what part of the object someone

  • is working on.

  • Have your physical movement support that collaboration.

  • Like, if Chris is over here and he's

  • placing some green blocks in the real world,

  • I'm not going to step in front of him

  • and start putting yellow blocks there instead.

  • We've got a natural sense of how to collaborate, how to arrange,

  • how to coordinate ourselves in space.

  • People already have that sense.

  • So we can keep that in a shared AR

  • if we've got our virtual objects precisely lined up enough.

  • We also found it helpful to notice

  • that because you can see both the digital object but also

  • the other people through the pass-through camera,

  • you are able to get a pretty good sense of what people

  • were looking at as well as what they were interacting with.

  • We've also wondered what would it

  • feel like to have a shared AR experience for multiple people

  • in the same space, but who aren't necessarily interacting

  • with the same things?

  • So think of this more like an AR LAN party.

  • Where we're all in the same space,

  • or maybe could be different spaces,

  • we're seeing connected things, and we're

  • having a shared experience.

  • So this prototype's a competitive quiz guessing game

  • where you look at the map and you

  • have to figure out where on the globe you think is represented

  • and stick your pushpin in, get points

  • depending on how close you are.

  • We've got the state synced, so we know who's winning.

  • But the location of where that globe is

  • doesn't actually need to be synchronized.

  • And maybe you don't want it to be synchronized because I don't

  • want anybody to get a clue based on where I'm sticking

  • my pushpin into the globe.

  • It's fun to be together, even when we're not looking

  • at exactly the same AR things.

  • And do we always need our spaces to align exactly?

  • Sometimes it's enough just to be in the same room.

  • This prototype example's of an AR boat race.

  • You blow on the microphone of your phone,

  • and it creates the wind that propels your boat

  • down the little AR track.

  • By us being next to each other when we start the app

  • and spawn the track, we get a shared physical experience

  • even though our AR worlds might not perfectly align.

  • We get to keep all the elements of the social game play--

  • talking to each other, our physical presence--

  • but we're not necessarily touching the same objects.

  • Another super interesting area we've been playing with

  • is how audio can be a way to include

  • multiple people in a single device AR experience.

  • If you think of the standard Magic Window device AR,

  • it's a pretty personal experience.

  • I'm looking at this thing through my phone.

  • But now, imagine you can leave a sound in AR that

  • has a 3D position like any other virtual thing,

  • and now you start to be able to hear it,

  • even if you're not necessarily looking at it.

  • And other people can hear the sound

  • from your device at the same time.

  • So for an example, let's say you could leave little notes

  • all over your space.

  • Might look something like this.

  • I'm a plant.

  • I'm a plant.

  • I'm a plant.

  • I'm elephant.

  • I'm elephant.

  • I'm elephant.

  • This is a chair.

  • This is a chair.

  • This is a chair.

  • I'm a plant.

  • I'm a plant.

  • I'm elephant.

  • I'm elephant.

  • This is a chair.

  • This is a chair.

  • So notice, you don't have to be the one with a phone

  • to get a sense of where these audio annotations start

  • to live in physical space.

  • Another question we've asked--

  • if you have a synchronous AR experience with multiple people

  • who are in different places, what kind of representation

  • do you need of the other person?

  • So let's imagine you have maybe a shared AR photos app

  • where multiple people can look at photos

  • that are arranged in space.

  • So I'm taking pictures in one location,

  • I'm viewing them arranged around me in AR,

  • and then I want to share my AR experience

  • with Luca, who comes in and joins me

  • from a remote location.

  • What we found-- we needed a couple of things to make

  • us feel like we were connected and sharing the same AR

  • experience, even though we were in different places.

  • We needed to have a voice connection so we could actually

  • talk about the pictures, and we needed

  • to know where the other person was looking.

  • See which picture you're paying attention to when

  • you're talking about it.

  • But what was interesting is we didn't actually

  • need to know where the other person was, as long as we had

  • that shared frame of reference.

  • We're all here, here's what I'm looking at,

  • here's what Luca's looking at.

  • We've also been curious about asymmetric experiences.

  • What happens when users share the same space

  • and the same augmentations, but they've got different roles

  • in the experience?

  • So for instance, in this prototype,

  • Chris is using his phone as a controller to draw in space,

  • but he's not actually seeing the AR annotations he's drawing.

  • The other person sees the same AR content

  • and uses their phone to take a video.

  • They're playing different roles in the same experience.

  • Kind of artist versus cinematographer.

  • And we found there could be some challenges

  • to asymmetric experiences if there's

  • a lack of information about what the other person is

  • experiencing.

  • For instance, Chris can't tell what Luca's filming

  • or see how his drawing looks from far away.

  • So as we mentioned previously, these kinds

  • of different combinations of space,

  • and time, and precision are relevant for multi-person AR

  • experiences, and they have different technical and

  • experiential needs.

  • If you have multiple people in the same space

  • with the same augmentations at the same time,

  • then you need a way of sharing.

  • You need a way of common localization.

  • That's why we created the new Cloud Anchors API.

  • If you've got multiple people in the same space

  • with different augmentations at the same time,

  • the kind of AR LAN party model, you

  • need some way to share data.

  • And if you've got multiple people

  • in different spaces interacting with the same augmentations

  • at the same time, you need sharing

  • in some kind of representation of that interaction.

  • So shared AR experiences is a big area.

  • We've explored some parts of the space.

  • We'd love to see what you all come up with.

  • So Chris has talked about examples

  • where your device understands your surroundings

  • and gives you special powers, I talked about examples

  • where you've got multiple people who

  • can collaborate and interact.

  • Now Luca will talk about what happens when your devices have

  • a better understanding of you and allow

  • for more expressive inputs.

  • Luca?

  • LUCA PRASSO: Thank you, Ellie.

  • My name is Luca Prasso, and I'm a prototyper

  • and a technical artist working in the Google AR and VR team.

  • So let's talk about the device that you

  • carry with you every day and the ones that are all around you,

  • and how they can provide the meaningful and authentic

  • signals that we can use in our augmented experiences.

  • So ARCore tracks the device motion

  • as we move to the real world and provides some understanding

  • of the environment.

  • And these signals can be used to create powerful, and creative,

  • and expressive tools, and offer new ways for us

  • to interact with digital content.

  • So the data represents who we are, what we know,

  • and what we have.

  • And we were interested in understanding

  • if the user can connect more deeply if the data is displayed

  • around them in 3D, and through AR and physical aspirations,

  • they can look at this data.

  • So we took a database of several thousand world cities,

  • and we mapped it in an area that's

  • wide as a football field.

  • We assign a dot to every city and we scale the dot based

  • on the population of the city.

  • And each country has a different color.

  • So now you can walk to this data field.

  • And as ARCore tracks the motion of the user,

  • we play footsteps in sync.

  • You take a step and you hear a step.

  • And [INAUDIBLE] sound fields surrounds the user

  • and enhances the experience and the sense of exploration

  • of this data forest.

  • And flight paths are displayed up in the sky.

  • And the pass-through camera is heavily tinted

  • so that we can allow the user to focus on the data

  • and then still give a sense of presence.

  • And what happens is the user, as he walks to the physical space,

  • he starts mapping, and pairing, and creating

  • this mental map between the data and the physical location.

  • And starts understanding better, in this particular case,

  • the relative distance between the places.

  • And what we discover is also that the gestures that

  • are a part of our digital life every day, a pinch to zoom,

  • it's now in AR something more traditional.

  • It's actually moving closer to the digital object

  • and inspecting it like we do with a real object.

  • And pan and drag means taking a couple of steps

  • to the right to look at the information.

  • So physical exploration like this is very fascinating,

  • but we need to take into account all the different users

  • and provide the alternative move and affordances.

  • So in AR, a user can move everywhere,

  • but what if he cannot or he doesn't want to move?

  • What if he's sitting?

  • So in this particular case, we allow the user to simply point

  • the phone everywhere they want to go, tap on the screen

  • anywhere, and the application will move the point of view

  • in that direction.

  • At the same time, we still have to provide audio, haptics,

  • and color effects to enhance the sense of physical space

  • the user has to have while traveling.

  • And so we found that this is a powerful mechanism

  • to explore a certain type of data that makes sense in the 3D

  • space and to allow the user to discover hidden patterns.

  • But can we go beyond the pixels that you

  • can find on your screen?

  • We're fascinated by the spatial audio and a way

  • to incorporate audio into an AR experience.

  • So we combine ARCore and the Google Resonance SDK.

  • And Resonance is this very powerful spatial audio engine

  • that recently Google open-sourced.

  • And you should check it out because it's great.

  • And so now I can take audio sources

  • and place them into the 3D locations,

  • and animate them, and describe the properties of the walls,

  • and the ceilings, and the floor, and all the obstacles.

  • And now as the ARCore moves the point of view,

  • it carries with it the digital ears,

  • the Resonance used to render accurately

  • the sounds in the scene.

  • So what can we do with this?

  • So we imagine, what if I can sit next to a performer

  • during an acoustic concert, or a classical concert, or a jazz

  • performance?

  • What if I can be onstage with actors,

  • and listen to their play, and be there?

  • So we took two amazing actors, Chris and Ellie,

  • and we asked them to record separately

  • lines from Shakespeare.

  • And we placed these audio sources a few feet apart

  • and we surrounded the environment

  • with an ambisonic sound field of a rain forest, of the raining.

  • And then later on, we switched to a room with a lot of reverb

  • into the walls.

  • CHRIS KELLEY: Thou told'st me they were stolen unto this

  • wood, and here I am, and wode within this wood,

  • because I cannot meet my Hermia.

  • Hence, get thee gone, and follow me no more.

  • ELLIE NATTINGER: You draw me, you hard-hearted adamant,

  • but yet you draw not iron, for my heart is true as steel.

  • Leave you your power to draw, and I shall

  • have no power to follow you.

  • CHRIS KELLEY: Do I entice you?

  • Do I speak to you fair?

  • Or rather, do I not in plainest truth tell you, I do not,

  • nor I cannot love you?

  • LUCA PRASSO: So now the user can walk around,

  • maybe with his eyes closed, a nice pair of headphones,

  • and it's like being on stage with these actors.

  • So we took this example and we extended it.

  • We observed that we can build in real-time a 2D map of where

  • the user has been so far with his phone

  • as he's walking around.

  • And so at any given time when the user hits a button,

  • we can programmatically place audio recording in space

  • where we know that the user can reach with the phone

  • and with their ears.

  • [MUSIC PLAYING]

  • And suddenly, the user becomes the human mixer

  • of this experience.

  • And different instruments can populate

  • your squares, and your rooms, and your schools.

  • And this opens the door to an amazing amount

  • of opportunities with AR audio-first experiments.

  • So let's go back to visual understanding.

  • Chris mentioned that the computer vision and machine

  • learning can interpret the things that are around us,

  • and this is also important to understand the body in turning

  • into an expressive controller.

  • So in real life, we are surrounded

  • by a lot of sound sources for all of the places.

  • And naturally, our body and our head

  • moves to mix and focus on what we like

  • and what we want to listen to.

  • So can we take this intuition into the way we watch movies

  • or play video games on a mobile device?

  • So what we did, we took the phone camera signal,

  • fed it to Google Mobile Vision.

  • That gave us a head position and head orientation.

  • And we fed it to Google Resonance SDK.

  • And we said, OK, you're watching a scene in which actors

  • are in a forest, and they're all around you, and it's raining.

  • So now as I leave my phone far away from my head,

  • I hear the forest.

  • As I'm taking the phone closer to my face,

  • I start hearing the actors playing.

  • I warn you, this is an Oscar performance.

  • [THUNDER RUMBLES]

  • ELLIE NATTINGER: Our company here.

  • CHRIS KELLEY: My man, according to the script.

  • ELLIE NATTINGER: Here is the scroll of every man's name

  • which is thought fit through all Athens to play in our interlude

  • before the duke and the duchess on his [INAUDIBLE]

  • LUCA PRASSO: So now what is interesting is

  • that the tiny little motions that we

  • can do when we're watching and we're playing this experience,

  • it can be turned into subtle changes in the user

  • experience that we can control.

  • So we talk about how the changes in poses

  • can become a trigger to drive interaction.

  • In this Google Research app called [INAUDIBLE],,

  • we actually exploit the opposite--

  • the absence of motion.

  • And when the user--

  • in this case, my kids--

  • stop posing, the app takes a picture.

  • And so the simple mechanism that is triggered by computer vision

  • creates the incredible, delightful opportunities

  • that, apparently, my kids love.

  • And Research is doing incredible progress

  • in looking at an RGB image and understanding where

  • the body pose and skeleton is.

  • And you should check out the Google Research blog post

  • because their post estimation research is amazing.

  • So we took Ellie's video and we fed it to the machine computer

  • algorithm.

  • And we got back, a bunch of 3D poses and segmentation

  • masks of Ellie.

  • And this opens the door to a lot of variety

  • of experiments with creative filters

  • that we can apply to this.

  • But what's more interesting for us

  • is that it also allows us to understand better

  • the intent and the context of the user.

  • So we took this pose estimation technology

  • and we added a digital character.

  • Now it tries to mimic what the human character is doing.

  • And this allows [INAUDIBLE] now to bring your family

  • and friends--

  • in this case, my son, Noah--

  • into the scene so that he can act and create a nice video.

  • But this also, like Ellie mentioned before,

  • we should consider the situation,

  • because this is an asymmetric experience.

  • What you don't see here is how frustrated

  • my son was after a few minutes because he

  • couldn't see what was going on.

  • I was the one having fun taking picture and video him,

  • and he didn't see much.

  • He could only hear the lion roaring.

  • So we need to be extremely mindful

  • as the developer about this unbalance of delight.

  • And so maybe I should have passed the image of the phone

  • to a nearby TV so I can make my son first-class citizen

  • in this experience.

  • So all this AR technology and the physical

  • and the visual understanding are ingredients

  • that allow us to unlock all kinds of new expressive input

  • mechanisms.

  • And we are still exploring.

  • We're just at the beginning of this journey.

  • But we are excited to hear what you think

  • and what you want to come up with.

  • So to summarize, we shared a bunch

  • of ways in which we think about AR and various aspirations

  • that we have done.

  • We talked about expanding our definition of AR.

  • Putting content into the world, but also pulling information

  • from the world.

  • And these are all ingredients that we

  • use to create these magical AR superpowers to enhance

  • the social interactions and to express yourself

  • in this new digital medium.

  • So we combined ARCore capabilities

  • with different Google technologies,

  • and this gives us the opportunity

  • to explore all these new interaction models.

  • And we encourage you, developers,

  • to stretch your definition of AR.

  • But we want to do this together.

  • We're going to keep exploring, but what

  • we want to hear what tickled you,

  • what tickled your curiosity.

  • So we can wait to see what you build next.

  • Thank you very much for coming.

  • [MUSIC PLAYING]

[MUSIC PLAYING]

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B1 中級 美國腔

探索AR交互(Google I/O '18)。 (Exploring AR interaction (Google I/O '18))

  • 37 4
    Tony Yu 發佈於 2021 年 01 月 14 日
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