campus wide infrastructure for immersive
categories: AR, Digital literacy, gamification, gaming, information technology, instructional technology, VR
Cabada, E., Kurt, E., & Ward, D. (2021). Constructing a campus-wide infrastructure for virtual reality. College & Undergraduate Libraries, 0(0), 1–24. https://doi.org/10.1080/10691316.2021.1881680
As an interdisciplinary hub, academic libraries are uniquely positioned to serve the full lifecycle of immersive environment needs, from development through archiving of successful projects. As and informal learning environment that or discipline neutral and high traffic, the academic library can serve as a clearinghouse for experimentation and transmission of best practices across colleges.
these foundational questions:
1. What VR infrastructure needs do faculty and researchers have?
2. Where is campus support lagging?
3. What current partnerships exist?
4. What and where is the campus level of interest in VR?
2. Where is campus support lagging?
3. What current partnerships exist?
4. What and where is the campus level of interest in VR?
As marketing for workshops and programs can be challenging, particularly for large institutions, data was collected on where workshop participants learned about Step Into VR. The responses show that users learned of the workshops from a variety of ways with email ( 41 % ) as the most cited method (Figure 4). These marketing emails were sent through distributed listservs that reached nearly the entire campus population. Facebook was called out specifically and represented the second largest marketing method at 29% with the library website, friends, instructors, and digital signage representing the remaining marketing channels.
While new needs continue to emerge, the typical categories of consultation support observed include:
• Recommendations on hardware selection, such as choosing the best VR headset for viewing class content
• Guidance on developing VR applications that incorporate domain-specific curricular content
• Support for curricular integration of VR
• Recommendations on 360 capture media and equipment for documenting environments or experiences, such as the GoPro Fusion and Insta360 One X
• Advice on editing workflows, including software for processing and rendering of 360 content
• Guidance on developing VR applications that incorporate domain-specific curricular content
• Support for curricular integration of VR
• Recommendations on 360 capture media and equipment for documenting environments or experiences, such as the GoPro Fusion and Insta360 One X
• Advice on editing workflows, including software for processing and rendering of 360 content
Alex Fogarty
p. 9
While many library patrons understand the basic concepts of recording video on a camera, 360 cameras present a large divergence from this process in several primary ways. The first is a 360 camera captures every direction at once, so there is no inherent “focus,” and no side of a scene that is not recorded. This significantly changes how someone might compose a video recording, and also adds complexity to post-production, including how to orient viewers within a scene. The second area of divergence is that many of these devices, especially the high-end versions, are recording each lens to a separate data file or memory card and these ftles need to be combined, or “stitched,” at a later time using software specific to the camera. A final concern is that data ftles for high-resolution 3 D capture can be huge, requiring both large amounts of disk space and high-end processors and graphic cards for detailed editing to occur. For example, the Insta360 Pro 2 has 6 sensors all capable of data recording at 120 Mbps for a grand total of 720 Mbps. This translates into 43.2 gigabytes of data for every minute o
p. 9
While many library patrons understand the basic concepts of recording video on a camera, 360 cameras present a large divergence from this process in several primary ways. The first is a 360 camera captures every direction at once, so there is no inherent “focus,” and no side of a scene that is not recorded. This significantly changes how someone might compose a video recording, and also adds complexity to post-production, including how to orient viewers within a scene. The second area of divergence is that many of these devices, especially the high-end versions, are recording each lens to a separate data file or memory card and these ftles need to be combined, or “stitched,” at a later time using software specific to the camera. A final concern is that data ftles for high-resolution 3 D capture can be huge, requiring both large amounts of disk space and high-end processors and graphic cards for detailed editing to occur. For example, the Insta360 Pro 2 has 6 sensors all capable of data recording at 120 Mbps for a grand total of 720 Mbps. This translates into 43.2 gigabytes of data for every minute o