Thomas Röggla

Multi-Screen Director: a New Role in the TV Production Workflow?

Multi-screen applications have been a research topic for the last 10 years. Recent technical advances make authoring and broadcasting of interactive multi-platform experiences possible. However, most of the efforts have been dedicated to the delivery and transmission technology (e.g., HbbTV2.0), but not to the production process. The hypothesis of this paper is that studio and outside broadcast production requires radical changes in the production workflow, in order to allow for an efficient management of interactive multi-platform experiences. This paper explores such changes, investigating workflows and roles, and identifying key requirements for supporting these. The final objective is to create a new set of tools, which are extending current processes, that allow broadcasters to curate new types of experiences. We conducted a set of interviews with broadcast producers and directors that allowed us to identify two major (sub-)workflows, one for pre-recorded and one for live experiences. We could then assign roles to the different stages of the workflows and derive a number of requirements for the next generation of production tools.

Quantifying audience experience in the wild: Heuristics for developing and deploying a biosensor infrastructure in theaters

Measuring the experience of audience of arts events is essential in the “experience economy” of this day and age, but it is a difficult task. The value of such information goes beyond evaluating the impact of the arts, as it can provide insights and feedback to enhance the work of artists and the experiences of other audience members. Through in-depth understanding of the needs of the providers and consumers of the arts, we progressively developed a biosensor infrastructure that was deployed in theaters. Over the years, we identified the challenges and issues related to developing and deploying a biosensor infrastructure in theaters. These collective experiences and identified issues were categorized into three main areas: processes, data, and system. A total of seven heuristics are developed across the three main areas. Processes place the stakeholders and audiences at the core of the research; data provides guidelines for data validity, collecting a variety of data, and supporting real-time data gathering; and systems covers the concurrency, scalability, deployment and feedback of the infrastructure. We believe that this set of heuristics forms the foundation for an adequate infrastructure to measure audience experience in the wild and it is a valuable source of guideline for future work.

Tangible Air: An Interactive Installation for Visualising Audience Engagement

This article presents an end-to-end system for capturing physiological sensor data and visualising it on a real-time graphic dashboard and as part of an art installation. More specifically, it describes an event where the level of engagement of the audience was measured by means of Galvanic Skin Response (GSR) sensors and of the presenter through a sweater fitted with GSR, ECG and acceleration sensors. The gathered data was presented in real-time through a visualisation projected onto a screen and a physical electro-mechanical installation, which would change the height of helium-filled balloons depending on the atmosphere in the auditorium. Thereby trying to create a tangible way of making the invisible visible.

CWI-ADE2016 Dataset: Sensing nightclubs through 40 million BLE packets

The CWI-ADE2016 Dataset is a collection of more than 40 million Bluetooth Low Energy (BLE) packets and of 14 million accelerometer and temperature samples generated by wristbands that people wore in a nightclub. The data was gathered during Amsterdam Dance Event 2016 in an exclusive club experience curated around human senses, which leveraged technology as a bridge between the club and the guests. Each guest was handed a custom-made wristband with a BLE-enabled device that broadcast movement, temperature and other sensor readings. A network of Raspberry Pi receivers deployed for the occasion captured broadcast packets from wristbands and any other BLE device in the environment. This data provides a full picture of the performance of the real life deployment of a sensing infrastructure and gives insights to designing sensing platforms, understanding networks and crowds behaviour or studying opportunistic sensing. This paper describes an analysis of this dataset and some examples of usage.

Designing an Object-based Preproduction Tool for Multiscreen TV Viewing

Multiscreen TV viewing refers to a spectrum of media productions that can be watched using TV and companion screens such as smartphones and tablets. In the last several years, companies are creating companion applications to enrich the TV viewing experience, but viewers are demotivated to consume them because they have to download dozens of second screen applications. This paper proposes to integrate the creation of companion screen content in a single object-based preproduction tool. It identifies, from the perspective of TV production professionals, the best paradigm and the needed features to support content authoring for multiscreen viewing experiences.

A New Production Platform for Authoring Object-based Multiscreen TV Viewing Experiences

Multiscreen TV viewing refers to a spectrum of media productions that can be watched on TV screens and companion screens (e.g., smartphones and tablets). TV production companies are now promoting an interactive and engaging way of viewing TV by offering tailored applications for TV programs. However, viewers are demotivated to install dozens of applications and switch between them. This is one of the obstacles that hinder companion screen applications from reaching mass audiences. To solve this, TV production companies need a standard process for producing multiscreen content, allowing viewers to follow all kinds of programs in one single application. This paper proposes a new object-based production platform for authoring programs for multiscreen. The platform consists of two parts: the preproduction tool and the live editing tool. To evaluate whether the proposed workflow is appropriate, validation interviews were conducted with professionals in the TV broadcasting industry. The professionals were positive about the proposed new workflow, indicating that the platform allows for preparations at the preproduction stage and reduces the workload during the live broadcasting. They see as well its potential to adapt to the current production workflow.

The Club of The Future: Participatory Clubbing Experiences

This article showcases our effort to explore the music club of the future. We present the development and results of an end-to-end system which enhances the club-going experience through the use of wearable technology. Each party guest wearing one of the wristbands actively contributes to the overall experience with their movement and location patterns. The system collects acceleration data from each of the attendees in real-time and feeds it into a pluggable network infrastructure, which processes the data, affecting the environment via data visualization or controlling of the light and sound system of a curated space within the club. Finally, we describe the results of a two night, 450 person per night.

How Are We Connected? Measuring Audience Galvanic Skin Response of Connected Performances."

Accurately measuring the audience response during a performance is a difficult task. This is particularly the case for connected performances. In this paper, we staged a connected performance in which a remote audience enjoyed the performance in real-time. Both objective (galvanic skin response and behaviours) and subjective (interviews) responses from the live and remote audience members were recorded. To capture galvanic skin response, a group of self-built sensors was used to record the electrical conductance of the skin. The results of the measurements showed that both the live and the remote audience members had a similar response to the connected performance even though more vivid artistic artefacts had a stronger effect on the live audience. Some technical issues also influenced the experience of the remote audience. In conclusion we found that the remoteness had little influence on the connected performance.

Designing the Club of the Future with Data: A Case Study on Collaboration of Creative Industries

This paper reflects on the development of a multi-sensory clubbing experience which was deployed during a two-day event within the context of the Amsterdam Dance Event in October 2016 in Amsterdam. We present how the entire experience was developed end-to-end and deployed at the event through the collaboration of several project partners from industries such as art and design, music, food, technology and research. Central to the system are smart textiles, namely wristbands equipped with Bluetooth LE sensors which were used to sense people attending the dance event. We describe the components of the system, the development process, the collaboration between the involved entities and the event itself. To conclude the paper, we highlight insights gained from conducting a real world research deployment across many collaborators and stakeholders with different backgrounds.

Immersion and Togetherness: How Live Visualization of Audience Engagement Can Enhance Music Events

This paper evaluates the influence of an additional visual aesthetic layer on the experience of concert goers during a live event. The additional visual layer incorporates musical features as well as bio-sensing data collected during the concert, which is coordinated by our audience engagement monitoring technology. This technology was used during a real Jazz concert. The collected measurements were used in an experiment with 32 participants, where two different forms of visualization were compared: one factoring in music amplitude, audience engagement collected by the sensors and the dynamic atmosphere of the event, the other one purely relying on the beat of the music. The findings indicate that the visual layer could add value to the experience if used during a live concert, providing a higher level of immersion and feeling of togetherness among the audience.