In this paper we introduce a novel platform that utilises multi-modal low-cost motion capture technology for the delivery of real-time visual feedback for sports performance. This platform supports the expansion to multi-modal interfaces that utilise haptic and audio feedback, which scales effectively with motor task complexity. We demonstrate an implementation of our platform within the field of sports performance. The platform includes low-cost motion capture through a fusion technique, combining a Microsoft Kinect V2 with two wrist inertial sensors, which make use of the accelerometer and gyroscope sensors, alongside a game-based Graphical User Interface (GUI) for instruction, visual feedback and gamified score tracking.

We present a novel, low-cost, interactive, exercise-based rehabilitation system. Our research involves the investigation and development of patient-centric, sensor-based rehabilitation games and surrounding technologies. HeartHealth is designed to provide a safe, personalised and fun exercise environment that could be deployed in any exercise based rehabilitation program. HeartHealth utilises a cloud-based patient information management system built on FIWARE Generic Enablers,and motion tracking coupled with our sophisticated motion comparison algorithms. Users can record customised exercises through a doctors interface and then play the rehabilitation game where they must perform a sequence of their exercises in order to complete the game scenario. Their exercises are monitored, recorded and compared by our Motion Evaluation software and real-time feedback is than given based on the users performance.

From an early age children are often told either, you are creative you should do art but stay away from science and maths. Or that you are mathematical you should do science but you're not that creative. Compounding this there also exist some traditional barriers of artistic rhetoric that say, "don't touch, don't think and don't be creative, we've already done that for you, you can just look...". The Real Time Rolling Shutter is part of a collaborative Art/Science partnership whose core tenets are in complete contrast to this. The Art/Science exhibitions we have created have invited the public to become part of the exhibition by utilising augmented digital mirrors, Kinects, feed-back camera and projector systems and augmented reality perception helmets. The fundamental underlying principles we are trying to adhere to are to foster curiosity, intrigue, wonderment and amazement and we endeavour to draw the audience into the interactive nature of our exhibits and exclaim to everyone that you can be what ever you chose to be, and that everyone can be creative, everyone can be an artist, everyone can be a scientist... all it takes is an inquisitive mind, so come and explore the real-time rolling shutter and be creative.

REVERIE (REal and Virtual Engagement in Realistic Immersive Environments [1]) targets novel research to address the demanding challenges involved with developing state-of-the-art technologies for online human interaction. The REVERIE framework enables users to meet, socialise and share experiences online by integrating cutting-edge technologies for 3D data acquisition and processing, networking, autonomy and real-time rendering. In this paper, we describe the innovative research that is showcased through the REVERIE integrated framework through richly defined use-cases which demonstrate the validity and potential for natural interaction in a virtual immersive and safe environment. Previews of the REVERIE demo and its key research components can be viewed at www.youtube.com/user/REVERIEFP7.

A Cave Automatic Virtual Environment (CAVE) is an enclosed virtual reality room that uses multiple projectors to display images across its surfaces. It uses one or more computers to synchronise and combine the images and allows users to control virtual worlds using a host of interaction devices. Traditionally, a CAVE is used by a single user at any one time and by utilising some form of motion sensing, the user's head position can be tracked to allow for first virtual perception. The images are then displayed in stereographic 3D in order to complete the virtual reality effect. Professional CAVE installations are expensive and can cost upwards of several hundred thousand euros. This tends to act as a significant barrier to their propagation, however, as the reduction in cost of high specification computers, projectors and graphics cards continues apace, it has sparked a renewed interest in CAVE environments and given rise to the realistic possibility of setting up low cost, amateur CAVEs. Unfortunately, one of the greatest disadvantages of CAVE systems is the lack of inexpensive, easy to use, specialised software. In this paper we present an open source and easy to use CAVE software toolkit called SCReen Adjusted Panoramic Effect or SCRAPE for short. We believe that SCRAPE is the first major piece in a longer-term vision that aims to bring easy to setup, easy to use, portable CAVE systems to all types of non-expert users.

The ever increasing availability of high speed Internet access has led to a leap in technologies that support real-time realistic interaction between humans in online virtual environments. In the context of this work, we wish to realise the vision of an online dance studio where a dance class is to be provided by an expert dance teacher and to be delivered to online students via the web. In this paper we study some of the technical issues that need to be addressed in this challenging scenario. In particular, we describe an automatic dance analysis tool that would be used to evaluate a student's performance and provide him/her with meaningful feedback to aid improvement.

In this paper, we address the problem of reconstructing 3D volumetric models, illustrating human sporting performance for use in coaching scenarios. We advocate the use of low cost camera networks for acquiring such data, allowing the approach to be feasibly adopted by both amateur and elite level sports athletes. A dynamic voxel carving approach is described, coupled with over-head player tracking and autonomous background subtraction, to automatically produce a 3D reconstruction technique that intelligently uses memory resources. We demonstrate the efficacy of our approach in the context of tennis as a challenging application scenario.

Whilst voxel carving approaches exist that allow non-invasive 3D human reconstruction, their performance is heavily dependent on the number of cameras used and the placement of these cameras around the subject. We present a technique to quantify the fall-off in accuracy of spatially carved volumetric representations of humans based on real world constraints. We describe an example of such a quantitative evaluation using a synthetic dataset of typical sports motion in a tennis court scenario, created using computer graphics techniques and motion capture data. Experiments are performed using a baseline voxel carving technique that includes player tracking, background subtraction and player voxel carving. This type of quantitative evaluation could be used by amateur sporting clubs without a sophisticated capture infrastructure to understand how best to instrument a camera network in order to obtain a good trade-off between reconstruction accuracy and installation cost.

We present a demonstration of a multi-sensory virtual experience that accurately reflects the experience of a real visit to a museum. We have developed a 3D interactive digital museum exhibition corresponding to a photo-realistic 3D reconstruction of the Iconic Treasures exhibition at the National Museum of Ireland's archaeology building. Users can explore the 3D virtual environment and interact with the displays by accessing high resolution photographs and historical descriptions of the artefacts. This demo will showcase the experience on a 3D laptop with the use of active shutter LCD glasses to create an immersive experience. A key aspect of the demonstration is that it was developed using low-cost or freely available OTS tools wherever possible putting the creation of such digital exhibitions within reach of even modest budgets.