Richard Wages

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One of the major goals in the development of virtual environments in recent years has been to create more and more realistic scenery, characters and natural human forms of interaction with the environment. We question this approach especially for the domain of computer games for two main reasons. Firstly we argue the following: When the absolute difference(More)
Any movie production needs a whole group of contributing authors and creative artists from various fields. The same should obviously be true for the making of a compelling VR scenario. Hence artists need to have direct access to the VR production process itself. In the VR domain however artistic and computational challenges are usually still severely(More)
For the production of interactive live TV formats, new content and new productions workflows are necessary. We explain how future content of a parallel multi-stream production of live events may be created form a design and a technical perspective. It is argued, that the content should be arranged by dramaturgical principles taking into account the meaning(More)
The EU IP project LIVE investigates novel iTV formats, production methods and tools for <i>staging of live media</i> events in a professional broadcast environment. The vision of LIVE is to change the role of the traditional live TV Director to become a future <i>Video Conductor</i> communicating in real-time with his audience. The concept of "video(More)
Innovations in hardware and network technologies lead to an exploding number of non-interrelated parallel media streams. Per se this does not mean any additional value for consumers. Broadcasting and advertisement industries have not yet found new formats to reach the individual user with their content. In this work we propose and describe a novel digital(More)
Any VR scenario should offer a certain degree of nonlinearity or openness regarding the story progress as a consequence of the interaction with the user. In this paper we propose a new formalism, which we regard as suitable for authors and artists to develop compelling and flexible interactive stories. We distinguish two levels of openness in storytelling.(More)
Compared to classic media like movies or theatre interactive digital productions in the field of entertainment computing like VR environments and computer games are typically lacking sophistication in their dramaturgic arrangement. While hardware and network technologies are rapidly gaining quality and speed we cannot observe remarkable improvements in the(More)