User:AqiL2727/sandbox

Reality in Virtual Reality - Contribution A
Gaming has its own reality. To live up to their name, virtual reality systems' programmers must understand how people view space in natural worlds, photos, and film. Virtual reality is an immersive gaming experience. It is a sophisticated human-computer interface that creates the illusion of a natural world. Participants have the ability to walk freely in the simulated universe. They have the ability to see it from various angles, reach into it, catch it, and reshape it. There is a level real-world reality within VR, but it is an alternate reality. Alternate reality games are a modern form of computer gaming that aims to blur the line between the digital world within the game and the physical world outside the game. Virtual reality, as an alternate reality, is capable of effectively simulating the physical world. Despite the fact that virtual reality is a fabricated universe made entirely of artificial images, it had the same impact as a physical world.

A virtual reality system can incorporate a variety of different components in an attempt to replicate reality. Virtual reality applications often apply to input/output equipment such as head-mounted displays for virtual emulation, surround sound systems for three-dimensional sound effects, and haptic devices such as "data-gloves" and "data-suits" for detecting user movement.

If the necessary equipment is present, almost any situation can be replicated, obviating any imminent hazards. There are three main levels to virtual reality, Non-immersive, Sensory-immersive (Semi-immersive) and Neural-direct (Fully Immersive). Non-immersive is when the virtual world is created on a desktop computer without the use of any special hardware or other processes. If the computer is available, almost any scenario can be replicated, significantly reducing any potentially dangerous situations. This degree is suitable for training. Sensory-immersive (Semi-immersive) is a method that simulates the natural world for use in a variety of virtual reality applications, including robot navigation, architecture modelling, and airplane simulation. Inside the simulated world, the user will control a visual image of himself. Additionally, this stage creates the feeling of being immersed in a simulated world. Neural-direct (Fully Immersive) evokes an immersion in a world in which the human brain is inextricably linked to a database and the viewer's current location and orientation. It totally disregards the devices and physical senses and projections a sensory input directly into the brain, while simultaneously projecting the user's recognition into the virtual world. As the user progresses through Non-immersive, Sensory-immersive (Semi-immersive), and Neural-direct (Fully Immersive), the user gets more absorbed and linked to the virtual universe, adding to its reality and linking it to the actual world. Reality in virtual reality can be replicated if there is the right equipment with the right level of immersion.

3D Modelling in Gaming - Contribution B
Numerous implementations include three-dimensional graphical models, including inspection, navigation, object identification, visualization, and animation. There are many different ways in which games can be created. 3D modelling can be used in many different circumstances, one of which is gaming. Computer games, on the other hand, demonstrate a different use of 3D modelling compared to 3D modelling in the medical field, for example. Tomb Raider is a classic example: an adventure game in which you are submerged in a virtual world and explore it through the heroine Lara Croft, whom you guide and lead in an evolving adventure storyline.

Using a 3D modelling software, a human artist manually models the terrain's morphology using software such as Blender. While this strategy gives the planner complete control over the terrain's architecture and features, it can also have drawbacks. This technique places a high premium on the designer's time, commitment, and skill set.

Numerous uses, including digital archiving and mapping, specify standards for high geometric precision, photo-realistic performance, and modelling of all details, as well as automation, low cost, portability, and flexibility of the modelling technique. As a result, choosing the most suitable 3D modelling approach to meet all conditions for a particular application is not always straightforward. It is extremely difficult to re-create realism within 3D modelling as there are so many components in order for it to work seamlessly.

3D modelling in gaming also requires a cognitive element in order for it to work. Computer-generated autonomy entails simulating human and interpersonal actions in networked sports, such as repurposing technologies from a game like The Sims for a serious reason, such as a nursing teaching assist.

There are three major components in 3D development of real worlds within games. This system is composed of three critical components. The first is a batch reconstruction method for generating an original 3D model from a collection of images. The second algorithm is for capturing a new image and modifying the model with newly observable points. These two stages generate a sparse "point cloud" as a result of structure from motion techniques. The final part is a multi-view stereo device for creating a far denser model appropriate for rendering in a graphics pipeline from this sparse point cloud. Batch reconstruction. Each model in our game begins with a small "seed" reconstruction based on approximately fifty photographs. To create an initial 3D model from these seed images, we employ a batch reconstruction technique derived from Snavely's Bundler structure from motion (SfM) scheme. Incremental basis. When a user uploads a picture to be used in a model, we need a quick way to evaluate the location of the photo (and the direction in which the camera was pointed), while also applying newly visible points to the model. Dense reconstruction. The batch and incremental SfM techniques described above maintain a very sparse point cloud representation of the scene, which is not intended to be dense enough to produce attractive renderings. Reconstruction dense. The batch and incremental SfM techniques discussed previously retain a very sparse point cloud representation of the scene, which is not meant to be dense enough to generate visually appealing renderings.

Peers Response - Contribution A
According to the authors of Understanding Virtual Reality, Interface, Application, and Design , There are Four Key Elements of Virtual Reality Experience:


 * 1) Virtual World; The content in a given medium is referred to as a virtual reality world. It could remain only in the imagination of its creator or it could be broadcast in such a manner that it can be communicated with others. It is possible for a virtual universe to appear without being represented in a virtual reality system.
 * 2) Immersion; That the consumer must be immersed in some other, alternative reality, an admittedly oversimplified concept of VR might be. Immersion of a certain fact or point of view. VR headsets do this by filling the whole field of view, while headphones achieve the same effects with sounds, totally immersing users in another environment.
 * 3) Sensory Feedback; Participants in virtual reality will choose their view point by arranging their bodies and influence activities in the virtual environment. These elements contribute to the truth being more convincing.
 * 4) Interactivity; To appear realistic, VR should react to user behaviours, i.e. be interactive. To feel authentic, a simulated world should contain virtual elements with which we can communicate, such as picking up an object, breaking a mug, pressing a button of a plane, etc.

These four elements allows for users to feel more immersed in to the experience, allowing for better engagement and focus within a virtual world. Furthermore, in regards to sensory feedback and interactivity, the user's sense of integration between the body and the electronics is growing as a result of current technology. As a result of its capacity to engage the human senses, technical embodiment plays an important role in producing interactive environments.

Peers Response - Contribution B
There are a variety of techniques that can be used in order to create a game using 3D software:


 * 1) Image-Based Modelling; A method of converting two-dimensional images into three-dimensional models. This approach employs a unique algorithm that transforms highly detailed images into a complex 3D asset.
 * 2) Digital Sculpting; This technique replicates the process of making a physical sculpture, with a set of visual instruments. Various software aid in making the models look as if they were made of clay, allowing the assets to be created in a mesh-based geometry.
 * 3) 3D Scanning; The use of a specialised three-dimensional scanner that gathers data from different angles, allowing the development of 3D models. Since it can generate very detailed polygonal or NURBS meshes, this approach excels at depicting facial expressions.
 * 4) Non-Uniform Rational Basis Spline (NURBS); This depends on 3D artists to pull curves with special control points to create a surface. The artist just has to be precise with the positioning of contours while the programme does the rest.
 * 5) Procedural Modelling; This method of modelling allows for the creation of a whole game location simply by choosing specific types of terrain and setting, significantly minimising the artist's capability and time usage.
 * 6) Subdivision Modelling; This relies upon having an initial object that gets reshaped via the artist's manipulations to give it proper form and size. The subdivision is a method of smoothing and adding the details to the final product.
 * 7) Edge modelling; allows for creating a 3D asset is edge modelling. It is based on creating an initial outline that is filled with separate loops to fill in or cover the holes between various features within a model.