Interactive Ray Tracing for Virtual TV Studio Applications

In the last years, the well known ray tracing algorithm gained new popularity with the introduction of interactive ray tracing methods. The high modularity and the ability to produce highly realistic images make ray tracing an attractive alternative to raster graphics hardware. Interactive ray tracing also proved its potential in the field of Mixed Reality rendering and provides novel methods for seamless integration of real and virtual content. Actor insertion methods, a subdomain of Mixed Reality and closely related to virtual television studio techniques, can use ray tracing for achieving high output quality in conjunction with appropriate visual cues like shadows and reflections at interactive frame rates. In this paper, we show how interactive ray tracing techniques can provide new ways of implementing virtual studio applications.

Percutaneous insertion of Dual Growth Rods using a new mobile bearing implant

Growth rods are commonly used for the treatment of scoliosis in the immature spine. Many variations have been proposed but breakage of implants is a common problem. Growth rod insertion commonly involves large exposures at initial insertion followed by multiple smaller procedures for lengthening. We present our early experiences using a percutaneous technique of insertion of a new titanium mobile bearing implant (Medtronic Inc). The implant allows some rotatory motion in the middle of the construct thus reducing construct stresses and thus possibly reducing rod breakage risk. Based on this small initial series with 12 months follow-up, percutaneous insertion of growth rods using the new implant is a safe and reliable technique although the infection rate in our sample was of note. This may be related to the titanium wear and inflammation seen in the soft tissues at time of operation and visualised on histology. No implants have required removal due to infection, and all infections were treated with debridement at next lengthening and suppressive antibiotics. Propionibacterium is one of the commonest infections seen with spinal implants and sometimes does not respond to simple antibiotic suppression. The technique allows preservation of the soft tissues until definitive fusion is needed and may lead to a decrease in hospital stay. The implant is low profile and seems to offer advantages over other systems on the market. Further follow up is needed to look at longer term outcomes with this new implant type.

The effect of insertion time on the axial pullout strength of anterior vertebral body screws

Top screw pullout occurs when the screw is under too much axial force to remain secure in the vertebral body. In vitro biomechanical pullout tests are commonly done to find the maximum fixation strength of anterior vertebral body screws. Typically, pullout tests are done instantaneously where the screw is inserted and then pulled out immediately after insertion. However, bone is a viscoelastic material so it shows a time dependent stress and strain response. Because of this property, it was hypothesised that creep occurs in the vertebral trabecular bone due to the stress caused by the screw. The objective of this study was therefore to determine whether the axial pullout strength of anterior vertebral body screws used for scoliosis correction surgery changes with time after insertion. This study found that there is a possible relationship between pullout strength and time; however more testing is required as the sample numbers were quite small. The design of the screw is made with the knowledge of the strength it must obtain. This is important to prevent such occurrences as top screw pullout. If the pullout strength is indeed decreased due to creep, the design of the screw may need to be changed to withstand greater forces.

Developing a theatre of the integrated actor : the application of the Suzuki actor training method within three theatrical contexts

This research project examines the application of the Suzuki Actor Training Method (the Suzuki Method) within the work ofTadashi Suzuki's company in Japan, the Shizuoka Performing Arts Complex (SPAC), within the work of Brisbane theatre company Frank:Austral Asian Performance Ensemble (Frank:AAPE), and as related to the development of the theatre performance Surfacing. These three theatrical contexts have been studied from the viewpoint of a "participant- observer". The researcher has trained in the Suzuki Method with Frank:AAPE and SP AC, performed with Frank:AAPE, and was the solo performer and collaborative developer in the performance Surfacing (directed by Leah Mercer). Observations of these three groups are based on a phenomenological definition of the "integrated actor", an actor who is able to achieve a totality or unity between the body and the mind, and between the body and the voice, through a powerful sense of intention. The term "integrated actor" has been informed by the philosophy of Merleau-Ponty and his concept of the "lived body". Three main hypotheses are presented in this study: that the Suzuki Method focuses on actors learning through their body; that the Suzuki Method presents an holistic approach to the body and the voice; and that the Suzuki Method develops actors with a strong sense of intention. These three aspects of the Suzuki Method are explored in relation to the stylistic features of the work of SPAC, Frank:AAPE and the performance Surfacing.

Languaging the actor : an examination of the terminology used in actor training

Throughout the twentieth century increased interest in the training of actors resulted in the emergence of a plethora of acting theories and innovative theatrical movements in Europe, the UK and the USA. The individuals or groups involved with the formulation of these theories and movements developed specific terminologies, or languages of acting, in an attempt to clearly articulate the nature and the practice of acting according to their particular pedagogy or theatrical aesthetic. Now at the dawning of the twenty-first century, Australia boasts quite a number of schools and university courses professing to train actors. This research aims to discover the language used in actor training on the east coast of Australia today. Using interviews with staff of the National Institute of Dramatic Art, the Victorian College of the Arts, and the Queensland University of Technology as the primary source of data, a constructivist grounded theory has emerged to assess the influence of last century‟s theatrical theorists and practitioners on Australian training and to ascertain the possibility of a distinctly Australian language of acting.

Undressing the actor : the erotic relationship with the audience

The intimacy and eroticism of the actor’s relationship with the audience is captured in the ecstatic revelation of the actor “being in the moment.” Drawing on the theories of Freud and Sartre and twenty years of performance praxis, this paper explores the exchange of erotic discourse between stage and spectator that not only heightens the experience of the liveness of theatre, but creates a symbiosis that is silently negotiated, agreed upon and sensuously performed during the suspended timeframe of the theatrical event. The actor draws the audience into the erotic transaction through various dramatic devices: the seduction of the soliloquy, the somatic and verbal discourses, the sensuality of light and costuming. The audience responds with its own paralingual and verbal foreplay: the playfulness of laughter, the slapping of hands and, most significantly, the gaze. While the gaze is often perceived as a form of voyeurism, this paper argues that the gaze of consensual agreement between audience and actor can work to unmask inhibitions enabling the actor to create the truth of the moment in complete abandon.

The ecological approach to visual perception and the actor performance captured in the gaming landscape

The use of Performance Capture techniques in the creation of games that involve Motion Capture is a relatively new phenomenon. To date there is no prescribed methodology that prepares actors for the rigors of this new industry and as such there are many questions to be answered around how actors navigate these environments successfully when all available training and theoretical material is focused on performance for theatre and film. This article proposes that through a deployment of an Ecological Approach to Visual Perception we may begin to chart this territory for actors and begin to contend with the demands of performing for the motion captured gaming scenario.

Preparing the actor for performance capture

Notions of capture and manipulation infer the existence of an interface that combines performer with system, an interface that separates (or intervenes in) the space between performance, intention and history. It is precisely the effect and provided opportunity of the intermediary device on the practice and craft of the actor, that is particularly examined in this work. Defining the scope of current practice for the contemporary actor is a key construct of this challenge with the most appropriate definition revolving around the pursuit of providing a required mixture of performance and content for live, mediated, framed and variously captured formats that exist in the present day. One of these particular formats is Performance Capture which this paper interrogate in more detail.