Patent Application
20110119587
The linear, narrative method of conveying information has a long history that continues to this day. This method generally entails presenting information in a sequential manner. Verbal storytelling, classroom lectures, novels, text books, magazines, journals, slide presentations, movies, documentaries, how-to videos, online articles, and blogs, are but a few examples of linear narratives. However, narratives are not the only way information is currently conveyed. There is also interactive exploration.
Interactive exploration is often used for visualization of complex data. This method generally entails presenting information in an organized, often hierarchical manner, which allows a user to intelligently search through the data. Browsable maps in 2D and 3D are an example where interactive mapping software enables users to explore a vast space with customizable data layers and views. Another example is a photosynth which enables exploration of collections of images embedded in a re-created 3D space. Yet another example is the so-called pivot control that enables a visually rich, interactive exploration of large collections of items by “pivoting” on selected dimensions or facets. These examples represent just a small number of the many interactive exploration schemes that exist today—and it is anticipated there will be many more developed in the future.
Embodiments of a data model and player platform for rich interactive narratives (RINs) are described herein which generally combine the narrative and interactive exploration schemes for conveying data. For example, such a combination is found in one embodiment of a system for processing RIN data to provide a narrated traversal of arbitrary media types and user-explorable content of the media. In this exemplary RIN system, the RIN data is stored on a computer-readable storage medium which is accessible during play-time by a RIN player running on a user's computing device. The computing device includes, among other things, audio playback equipment, a display device and a user interface input device. The RIN data is input to the user's computing device and stored on the computer-readable storage medium.
In one implementation, the RIN data includes a narrative having a prescribed sequence of scenes, where each scene is made up of one or more RIN segments. Each of the RIN segments includes one or more experience streams (or references thereto), and at least one screenplay. Each experience stream includes data that enables traversing a particular interactive environment representing one of the aforementioned arbitrary media types whenever the RIN segment is played. In addition, each screenplay includes data to orchestrate when each experience stream starts and stops during the playing of the RIN data and to specify how experience streams share display screen space or audio playback configuration.
In one implementation the RIN player includes a presentation platform module which provides a user interface that allows a user to view visual components and hear audio components of the narrated traversal and user-explorable media content via the aforementioned display device and audio equipment. In addition, the presentation platform enables a user to input data and commands via the user interface input device. The user employs this interface to, among other things, access the RIN data in the form of a RIN file and to manipulate the interactive experiences implemented by the experience streams. The RIN player also includes an orchestrator module which accesses a screenplay from the RIN file, and identifies and loads a pluggable screenplay interpreter module. The particular screenplay interpreter loaded is one that understands how to interpret the particular format of the screenplay being used. Once the screenplay interpreter module is loaded, the orchestrator module follows its instructions. For example, the screenplay interpreter module identifies one or more pluggable experience stream provider modules which are capable of playing experience streams found in the RIN data file. The screenplay interpreter then instructs the orchestrator module to access and load the identified experience stream provider modules. Further, the screenplay interpreter employs orchestration information found in the screenplay to determine a layout for each experience stream. This layout defines how the visual and audio components associated with that experience stream are to be displayed and heard on the display device. The screenplay interpreter also employs the orchestration information to determine when each of the experience streams starts and ends playing. The orchestrator module is then instructed, on an on-going basis, to cause the experience stream provider modules to commence and stop playing each instance of the experience streams at the determined times. The screenplay interpreter module also instructs the orchestrator module, on an on-going basis, to cause the experience stream provider modules to render the visual and audio components associated with each experience stream in accordance with the determined layout for that experience stream. As can be gleaned from the foregoing, the RIN player includes one or more pluggable experience stream provider modules. Each of these experience stream modules create instances of an experience stream using experience stream data and a resource table found in the RIN file, in response to instructions from the orchestrator module. The resource table is used to access external media needed along with the experience stream data to create the instances of the experience streams.
It should also be noted that this Summary is provided to introduce a selection of concepts, in a simplified form, that are further described below in the Detailed Description. This Summary is not intended to identify key features or essential features of the claimed subject matter, nor is it intended to be used as an aid in determining the scope of the claimed subject matter.
The specific features, aspects, and advantages of the disclosure will become better understood with regard to the following description, appended claims, and accompanying drawings where:
In the following description of RIN data model and player platform embodiments reference is made to the accompanying drawings which form a part hereof, and in which are shown, by way of illustration, specific embodiments in which the technique may be practiced. It is understood that other embodiments may be utilized and structural changes may be made without departing from the scope of the technique.
In general, embodiments of the rich interactive narrative (RIN) data model described herein are made up of abstract objects that can include, but are not limited to, narratives, segments, screenplays, resource tables, experience streams, sequence markers, highlighted regions, artifacts, keyframe sequences and keyframes. The sections to follow will described these objects and the interplay between them in more detail.
The RIN data model provides seamless transitions between narrated guided walkthroughs of arbitrary media types and user-explorable content of the media, all in a way that is completely extensible. In the abstract, the RIN data model can be envisioned as a narrative that runs like a movie with a sequence of scenes that follow one after another (although like a DVD movie, a RIN could be envisioned as also having isolated scenes that are accessed through a main menu). A user can stop the narrative, explore the environment associated with the current scene (or other scenes if desired), and then resume the narrative where it left off.
A scene is a sequentially-running chunk of the RIN. As a RIN plays end-to-end, the boundaries between scenes may disappear, but in general navigation among scenes can be non-linear. In one implementation, there is also a menu-like start scene that serves as a launching point for a RIN, analogous to the menu of a DVD movie.
However, a scene is really just a logical construct. The actual content or data that constitutes a linear segment of a narrative is contained in objects called RIN segments. As shown in
In one embodiment of the RIN data model, a provision is also made for including auxiliary data. All entities in the model allow arbitrary auxiliary data to be added to that entity. This data can include, for example (but without limitation), the following. It can include metadata used to describe the other data. It can also include data that fleshes out the entity, which can include experience-stream specific content. For example, a keyframe entity (i.e., a sub-component of an experience stream, both of which will be described later) can contain an experience-stream-specific snapshot of the experience-stream-specific state. The auxiliary data can also be data that is simply tacked on to a particular entity, for purposes outside the scope of the RIN data model. This data may be used by various tools that process and transform RINs, in some cases for purposes quite unrelated to playing of a RIN. For example, the RIN data model can be used to represent annotated regions in video, and there could be auxiliary data that assigns certain semantics to these annotations (say, identifies a “high risk” situation in a security video), that are intended to be consumed by some service that uses this semantic information to make some business workflow decision (say precipitate a security escalation). The RIN data model can use a dictionary entity called Auxiliary Data to store all the above types of data. In the context of the narrative, metadata that is common across the RIN segments, such as, for example, descriptions, authors, and version identifiers, are stored in the narrative's Auxiliary Data entity.
A RIN segment contains references to all the data necessary to orchestrate the appearance and positioning of individual experience streams for a linear portion of a RIN. Referring to
In general, the experience streams compose to play a linear segment of the narrative. Each experience stream includes data that enables a scripted traversal of a particular environment. Experience streams can play sequentially, or concurrently, or both, with regard to other experience streams. However, the focus at any point of time can be on a single experience stream (such as a Photosynth Synth), with other concurrently playing streams having secondary roles (such as adding overlay video or a narrative track). Experience streams will be described in more detail in a later section.
In general, a screenplay is used to orchestrate the experience streams, dictating their lifetime, how they share screen and audio real estate, and how they transfer events among one another. Only one screenplay can be active at a time. However, in one implementation, multiple screenplays can be included to represent variations of content. For example, a particular screenplay could provide a different language-specific or culture-specific interpretation of the RIN segment from the other included screenplays.
More particularly, a screenplay includes orchestration information that weaves multiple experience streams together into a coherent narrative. The screenplay data is used to control the overall sequence of events and coordinate progress across the experience streams. Thus, it is somewhat analogous to a movie script or an orchestrator conductor's score. The screenplay also includes layout constraints that dictate how the visual and audio elements from the experience streams share display screen space and audio real estate as a function of time. In one implementation, the screenplay also includes embedded text that matches a voiceover narrative, or otherwise textually describes the sequence of events that make up the segment. It is also noted that a screenplay from one RIN segment can reference an experience stream from another RIN segment.
However, the orchestration information associated with the screenplay can go beyond simple timing instructions such as specifying when a particular experience stream starts and ends. For example, this information can include instructions whereby only a portion of an experience stream is played rather than the whole stream, or that interactivity capabilities of the experience stream be disabled. Further, the screenplay orchestration information can include data that enables simple interactivity by binding user actions to an experience stream. For example, if a user “clicks” on prescribed portion of a display screen, the screenplay may include an instruction which would cause a jump to another RIN segment in another scene, or to shut down a currently running experience stream. Thus, the screenplay enables a variety of features, including non-linear jumps and user interactivity.
An experience stream generally presents a scene from a virtual “viewport” that the user sees or hears (or both) as he or she traverses the environment. For example, in one implementation a 2D viewport is employed with a pre-defined aspect ratio, through which the stream is experienced, as well as, optionally, audio specific to that stream is heard. The term viewport is used loosely, as there may not be any viewing involved. For example, the environment may involve only audio, such as a voiced-over narrative, or a background score.
With regard to the layout constraints, the screenplay includes a list of these constraints which are applicable to the aforementioned viewports created by the experience streams involved in the narrative. In general, these layout constraints indicate the z-order and 2D layout preferences for the viewports, well as their relative sizes. For example, suppose four different experience streams are running concurrently at a point in time in a narrative. Layout constraints for each experience stream dictate the size and positioning of each streams viewport. Referring to
Thus, each experience stream is a portal into a particular environment. The experience stream projects a view onto the presentation platform's screen and sound system. A narrative is crafted by orchestrating multiple experience streams into a storyline. The RIN segment screenplay includes layout constraints that specify how multiple experience stream viewports share screen and audio real estate as a function of time.
In one implementation, the layout constraints also specify the relative opacity of each experience stream's viewport. Enabling experience streams to present a viewport with transparent backgrounds give great artistic license to authors of RINs. In one implementation, the opacity of a viewport is achieved using a static transparency mask, designated transparent background colors, and relative opacity levels. It is noted that this opacity constrain feature can be used to support transition functions, such as fade-in/fade-out.
With regard to audio layout constraints, in one implementation, these constraints are employed to share and merge audio associated with multiple experience streams. This is conceptually analogous to how display screen real estate is to be shared, and in fact, if one considers 3D sound output, many of the same issues of layout apply to audio as well. For example, in one version of this implementation a relative energy specification is employed, analogous to the previously-described opacity specification, to merge audio from multiple experience streams. Variations in this energy specification over time are permissible, and can be used to facilitate transitions, such as audio fade-in/fade-out.
As for the aforementioned resource table, it is generally a repository for all, or at least most, of the resources referenced in the RIN segment. All external Uniform Resource Identifiers (URIs) referenced in experience streams are resource table entries. Resources that are shared across experience streams are also resource table entries. Referring again to
The term experience stream is generally used to refer to a scripted path through a specific environment. In addition, experience streams support pause-and-explore and extensibility aspects of a RIN. In one embodiment illustrated in
Formally, in one implementation, an experience stream is represented by a tuple (E, T, A), where E is environmental data, T is the trajectory (which includes a timed path, any instructions to animate the underlying data, and viewport-to-world mapping parameters as will be described shortly), and A refers to any artifacts and region highlights embedded in the environment (as will also be described shortly).
Data bindings refer to static or dynamically queried data that defines and populates the environment through which the experience stream runs. Data bindings include environment data (E), as well as added artifacts and region highlights (A). Together these items provide a very general way to populate and customize arbitrary environments, such as virtual earth, photosynth, multi-resolution images, and even “traditional media” such as images, audio, and video. However, these environments also include domains not traditionally considered as worlds, but which are still nevertheless very useful in conveying different kinds of information. For example, the environment can be a web browser; the World Wide Web, or a subset, such as the Wikipedia; interactive maps; 2D animated scalable vector graphics with text; or a text document; to name a few.
Consider a particular example of data bindings for an image experience stream in which the environment is an image—potentially a very large image such as a gigapixel image. An image experience stream enables a user to traverse an image, embedded with objects that help tell a story. In this case the environmental data defines the image. For example, the environment data could be obtained by accessing a URL of the image. Artifacts are objects logically embedded in the image, perhaps with additional metadata. Finally, highlights identify regions within the image and can change as the narrative progresses. These regions may or may not contain artifacts.
Artifacts and highlights are distinguished from the environmental data as they are specifically included to tell a particular story that makes up the narrative. Both artifacts and highlights may be animated, and their visibility may be controlled as the narrative RIN segment progresses. Artifacts and highlights are embedded in the environment (such as in the underlying image in the case of the foregoing example), and therefore will be correctly positioned and rendered as the user explores the environment. It is the responsibility of an experience stream renderer to correctly render these objects. It is also noted that the environment may be a 3D environment, in which case the artifacts can be 3D objects and the highlights can be 3D regions.
It is further noted that artifacts and region highlights can serve as a way to do content annotation in a very general, extensible way. For example, evolving regions in a video or photosynth can be annotated with arbitrary metadata. Similarly, portions of images, maps, and even audio could be marked up using artifacts and highlights (which can be a sound in the case of audio).
There are several possibilities for locating the data that is needed for rendering an experience stream. This data is used to define the world being explored, including any embedded artifacts. The data could be located in several places. For example, the data can be located within the aforementioned Auxiliary Data of the experience stream itself. The data could also be one or more items in the resource table associated with the RIN segment. In this case, the experience stream would contain resource references to items in the table. The data could also exist as external files referenced by URLs, or the results of a dynamic query to an external service (which may be a front for a database). It is noted that it is not intended that the data be found in just one of these locations. Rather the data can be located in any combination of the foregoing locations, as well as other locations as desired.
The aforementioned trajectory is defined by a set of keyframes. Each keyframe captures the state of the experience at a particular point of time. These times may be in specific units (say seconds), relative units (run from 0.0 to 1.0, which represent start and finish, respectively), or can be gated by external events (say some other experience stream completing). Keyframes in RINs capture the “information state” of an experience (as opposed to keyframes in, for instance, animations, which capture a lower-level visual layout state). An example of an “information state” for a map experience stream would be the world coordinates (e.g., latitude, longitude, elevation) of a region under consideration, as well as additional style (e.g., aerial/road/streetside/etc.) and camera parameters (e.g., angles, tilt, etc). Another example of an information state, this time for a relationship graph experience stream, is the graph node under consideration, the properties used to generate the neighboring nodes, and any graph-specific style parameters.
Each keyframe also represents a particular environment-to-viewport mapping at a particular point in time. In the foregoing image example, the mappings are straightforward transformations of rectangular regions in the image to the viewport (for panoramas, the mapping may involve angular regions, depending on the projection). For other kinds of environments, keyframes can take on widely different characteristics.
The keyframes are bundled into keyframe sequences that make up the aforementioned trajectory through the environment. Trajectories are further defined by transitions, which define how inter-keyframe interpolations are done. Transitions can be broadly classified into smooth (continuous) and cut-scene (discontinuous) categories, and the interpolation/transition mechanism for each keyframe sequence can vary from one sequence to the next.
A keyframe sequence can be thought of as a timeline, which is where another aspect of a trajectory comes into play—namely markers. Markers are embedded in a trajectory and mark a particular point in the logical sequence of a narrative. They can also have arbitrary metadata associated with them. Markers are used for various purposes, such as indexing content, semantic annotation, as well as generalized synchronization and triggering. For example, context indexing is achieved by searching over embedded and indexed sequence markers. Further, semantic annotation is achieved by associating additional semantics with particular regions of content (such as a particular region of video is a ball in play; or a region of a map is the location of some facility). A trajectory can also include markers that act as logical anchors that refer to external references. These anchors enable named external references to be brought into the narrative at pre-determined points in the trajectory. Still further a marker can be used to trigger a decision point where user input is solicited and the narrative (or even a different narrative) proceeds based on this input. For example, consider a RIN that provides a medical overview of the human body. At a point in the trajectory of an experience stream running in the narrative that is associated with a marker, the RIN is made to automatically pause and solicit whether the user would like to explore a body part (e.g., the kidneys) in more detail. The user indicates he or she would like more in-depth information about the kidneys, and a RIN concerning human kidneys is loaded and played.
A trajectory through a photosynth is easy to envision as a tour through the depicted environment. It is less intuitive to envision a trajectory through other environments such as a video or an audio only environment. As for a video, a trajectory through the world of a video may seem redundant, but consider that this can include a “Ken Burns” style pan-zoom dive into subsections of video, perhaps slowing down or even reversing time to establish some point. Similarly, one can conceive of a trajectory through an image, especially a very large image, as panning and zooming into portions of an image, possibly accompanied by audio and text sources registered to portions of the image. A trajectory through a pure audio stream may seem contrived at first glance, but it is not always so. For example, a less contrived scenario involving pure audio is an experience stream that traverses through a 3D audio field, generating multi-channel audio as output. Pragmatically, representing pure audio as an experience stream enables manipulation of things like audio narratives and background scores using the same primitive (i.e., the experience stream) as used for other media environments.
It is important to note that a trajectory can be much more than a simple traversal of an existing (pre-defined) environment. Rather, the trajectory can include information that controls the evolution of the environment itself that is specific to the purpose of the RIN. For example, the animation (and visibility) of artifacts is included in the trajectory. The most general view of a trajectory is that it represents the evolution of a user experience—both of the underlying model and of the users view into that model.
In view of the foregoing, an experience stream trajectory can be illustrated as shown in
Given the foregoing RIN data model, the following exemplary system of one embodiment for processing RIN data to provide a narrated traversal of arbitrary media types and user-explorable content of the media can be realized, as illustrated in
As described previously, this RIN data 600 includes a narrative having a prescribed sequence of scenes, where each scene is made up of one or more RIN segments. Each of the RIN segments includes one or more experience streams (or references thereto), and at least one screenplay. Each experience stream includes data that enables traversing a particular environment created by a one of the aforementioned arbitrary media types whenever the RIN segment is played. In addition, each screenplay includes data to orchestrate when each experience stream starts and stops during the playing of the RIN and to specify how experience streams share display screen space or audio playback configuration.
As for the RIN player 604, this player accesses and processes the RIN data 600 to play a RIN to the user via an audio playback device, or video display device, or both, associated with the user's computing device 606. The player also handles user input, to enable the user to pause and interact with the experience streams that make up the RIN.
A generalized and exemplary environment representing one way of implementing the creation, deposit, retention, accessing and playing of RIN is illustrated in
A RIN document can be generated in any number of ways. It could be created manually using an authoring tool. It could be created automatically by a program or service. Or it could be some combination of the above. While the specifics on how RIN documents are authored is beyond the scope of this application, RIN authorers are collectively represented in
RIN documents, once authored are deposited with one or more RIN providers as collectively represented by the RIN provider block 702 in
In the example of
Together, the previously-described RIN data model and the RIN player platform embodiments described herein enable a very broad class of rich interactive applications in a device independent way that is also platform technology proof and can be extended to new kinds of interactive visualization technologies.
A generalized and exemplary platform representing one way of implementing the RIN player is illustrated in
In one embodiment, the user employs the presentation platform to access a RIN from a RIN provider and to download the chosen RIN to the user's computing device. As indicated previously, the entire RIN document can be downloaded, or portion of the RIN document can be downloaded as needed. The latter scenario is particularly applicable to embodiments where portions of a narrative are generated dynamically, or contents of existing components are modified on the fly (such as when the user is allowed to interact and modify the contents of the narrative). It is noted, however, that additional RINs might be called out and downloaded as part of the playing of the chosen RIN without the user being involved. Further, in some embodiments, a RIN can be automatically provided independent of a user request (although perhaps based on some other user activity that triggers the RIN to be provided).
The platform itself includes a pluggable screenplay interpreter module 802, an orchestrator module 804 and one or more pluggable experience stream provider modules 806 (three of which are shown). The orchestrator 804 is used to load the screenplay (which is the screenplay selected in the manner to be described shortly for implementations where the RIN segment includes multiple screenplays), and to identify and load the screenplay interpreter 802 that understands how to interpret the particular format of the screenplay. There can be multiple pluggable screenplay interpreters 802 available to the orchestrator 804. The screenplay interpreter 802 identifies the experience stream providers 806 needed to play the experience streams contained in the RIN document. Generally, an experience stream provider 806 is a module that can render a particular experience stream. Each experience stream in the RIN document includes information that identifies its provider 806. Making the experience stream providers 806 pluggable has the advantage of accommodating future experience stream types without recompilation.
The screenplay interpreter 802 instructs the orchestrator 804 to load (plug-in) the identified experience stream providers 806, and to have them create instances of the associated experience streams using the experience stream data and resource table in the RIN document. As indicated previously, the metadata in the resource table can include hints for intelligently scheduling content downloads; choosing among multiple options if bandwidth becomes a constraint; and pausing a narrative in a graceful manner if there are likely going to be delays due to ongoing content downloads. It is the task of an experience stream provider 806 to employ experience stream data (in particular the aforementioned anchor markers) and resource table metadata to download the needed external media in order to create an instance of the experience stream associated with the provider. In one embodiment this involves employing a preloading logic to preload media in the chronological order that it is needed during the playing of the associated experience stream and in an intelligent manner giving priority to media to be used in the immediate future.
The screenplay interpreter 802 further consults the orchestration information found in the screenplay from the RIN document to determine the layout, and when each of the individual experience streams are to start and end playing on the presentation platform 800. In implementations where a RIN segment includes more than one screenplay, the screenplay that is used is selected by the orchestrator 804 based on a RIN URI or a default setting as will be described in more detail later in this description. It is also the screenplay interpreter's 802 job to instruct the orchestrator 804 as to when to commence and stop playing each prepared instance of the experience streams. This is done on an on-going basis as the narrative plays. It is noted that the screenplay interpreter's 802 instructions to the orchestrator 804 will depend not only on the timing information extracted from the screenplay, but also as to whether the user has paused the narrative in order to explore the environment. It is still further the screenplay interpreter's 802 job instruct the orchestrator 804 as to the layout (visual and/or audio) of each experience stream that is running. This is also done on an on-going basis based on the screenplay (which as described previously includes the layout constraints for each experience stream).
As described previously, experience streams can themselves trigger changes in player state, including jumping to different points in a narrative, launching a different screenplay in the current narrative, and launching a different segment in the same or different narrative. To facilitate and coordinate this feature, there is an eventing and state sharing mechanism that enables experience streams to communicate with each other and the screenplay interpreter 802. The screenplay interpreter 802 manages the communication between experience streams and implements the needed actions in the manner described above. Thus, a current state of currently playing experience streams is reported and stored via the eventing and state sharing mechanism, and whenever an experience stream includes a triggering event that involves a cessation of the playing of currently playing experience streams and starting the playing of one or more of the same streams at a different point, or starting the playing of different streams, or both, the screenplay interpreter module 802 instructs the orchestrator module 804 to cause the experience stream provider modules 806 to accomplish the stopping and starting of experience streams in accordance with said triggering event based on the current states of the experience stream currently stored via the eventing and state sharing mechanism.
As can be deemed from the foregoing description of the screenplay interpreter 802, the orchestrator 804 is tasked with loading and initiating the experience stream providers 806. It is also tasked with controlling the experience stream providers 806 so as to start and stop the experience streams, as well as controlling the layout of the experience streams via the presentation platform 800. Thus, if the user pauses the RIN, or the RIN has to be paused to allow for the download and buffering of RIN segments or associated media, the orchestrator 804 will cause the experience stream providers 806 associated with the currently playing experience streams to stop based on an instruction from the screenplay interpreter 802. Likewise, when the user inputs a restart command or the download and buffering of the RIN data or associated media is complete to a prescribed degree, the screenplay interpreter 802 sends instructions to restart the experience streams (possibly from where they left off after the paused RIN is resumed), the orchestrator 804 will cause the experience stream providers 806 to resume playing the paused experience streams.
It is noted that as experience stream provider interfaces can change, as well as the presentation platform interface, the orchestrator 804 may have to be changed to accommodate the new configurations.
In view of the foregoing, one general implementation of a process for playing a RIN is accomplished as follows. Referring to
The user then inputs a narrative request to a RIN provider (902). This request can take the form of a result selected from a list of RINs returned by a RIN provider in response to a query from the user. The presentation platform then inputs the requested RIN from the RIN provider (904).
Referring now to
The screenplay interpreter then identifies the experience stream providers needed to play the experience streams called out in the RIN segment (1004). Next, the screenplay interpreter instructs the orchestrator to request (via the presentation platform), input (via the presentation platform) and plug-in each of the identified experience stream providers (1006). In response, the orchestrator requests, inputs and plugs-in each of the identified experience stream providers (1008). The experience stream providers can be obtained from a RIN provider. The screenplay interpreter also instructs the orchestrator to have each experience stream provider create an instance of the experience stream associated with that provider using the experience stream data in the RIN segment (1010). In response, the orchestrator causes each experience stream provider to create an instance of the experience stream associated with that provider (1012).
Next, the screenplay interpreter determines the layout and timing of each of the experience streams using the orchestration information found in the screenplay of the RIN segment (1014), and monitors events that affect the layout and timing of each of the experience streams (1016). For example, communications from the experience streams via the eventing and state sharing mechanism are monitored for events affecting the layout and timing of the experience streams. In addition, communications from the user, such as a pause command, are monitored as this will clearly have an effect of the timing of the experience streams. Still further, the download status of RIN segments and the media needed to play the segments is monitored as the RIN may need to be paused (and thus affecting the experience stream timing) if needed components are not available.
The screenplay interpreter instructs the orchestrator on an ongoing basis as to when to commence and stop playing each of the experience streams based on the timing data associated with that experience stream, and changes thereto (1018). In addition, the screenplay interpreter instructs the orchestrator as to the layout (visual and/or audio) of each experience stream that is running based on the layout data associated with that experience stream, and changes thereto (1020). In response, for each experience stream, the orchestrator causes the associated experience stream provider to start and stop playing the experience stream at the specified times (1022), and to cause the presentation platform to layout each experience stream in the presentation platform window while it is running in accordance with the layout instruction for that stream (1024).
In view of the foregoing, the following sections provide a more detailed description of one exemplary embodiment of a RIN player. Referring to
With regard to the set of experience stream providers 1108, each provider is embodied as dynamically loadable code that implements a particular experience stream. Each provider 1108 instantiates one more instances of experience streams (each representing one instance of an experience stream object). In addition, there are experience streams that perform general functions such as providing player controls to pause/play/seek narratives. Note that in one implementation, these are implemented as experience streams, and not burned into the player. However, other implementations can choose to hardcode some standard controls—although logically these would still be considered implemented within an experience stream.
The foregoing components are implemented for a particular presentation platform 1110. However, the RIN data itself does not depend on any specific platform. As indicated previously, examples of presentation platforms include: Microsoft® Silverlight™; Microsoft® Silveriight™ for mobile devices; Microsoft Windows Presentation Foundation™, Adobe® Flash™, Apple® iOS™; Google® Android™ and Standard HTML5 and/or Javascript on multiple Browser implementations.
User(s) 1112 interact with the player 1100 via the presentation platform 1110. In addition, as indicated previously, RIN providers 1114 interface with the player 1100 (also via the presentation platform). RIN providers 1114 are resources on a computer network or local storage that provide the RIN. It can be a simple XML file containing the RIN data, or it could be a database accessed over the network (e.g., the Internet or a proprietary intranet). Further, media providers 1116 interface with the player 1100 (also via the presentation platform). These media providers are services that host media referenced in RINs. It is noted that while the RIN providers 1114 and media providers 1116 are shown a separate entities in
The foregoing player and external components interact through a set of interfaces. For example, the RIN services 1102 interact with the presentation platform 1110 via a RIN services-to-presentation platform interface 1120, which includes user interaction and interaction with system and network services. This interface 1120 is not specific to RIN. RIN services 1102 also interact with the experience stream providers 1108. This is done via a RIN services-to-experience stream provider interfaces 1122. The interactions are specific to the kind of service. For example, the orchestrator would request specific experience stream instances to be loaded, paused, seeked to specific points, or played. The presentation platform 1110 interfaces with the RIN providers 1114 via a presentation platform-to-RIN provider interface 1124. This is an appropriate protocol and API for retrieving the RIN. For example, in one implementation, it would be a URI or data base query (such as an odata query) whose response contains the RIN (or parts of it, downloaded on demand). This interface 1124 is also not specific to RIN. The presentation platform 1110 interfaces with the media providers 1116, as well as the experience stream providers 1108, via a presentation platform-to-provider interface 1126. This interface 1126 is similar to the presentation platform-to-RIN provider interface 1124, except the scope is any media that is references by the RIN (typically referenced within experience streams). The presentation platform 1110 interfaces with the third-party services 1118 via a presentation platform-to-third-party services interface 1128. In one implementation, this interface 1128 is an appropriate industry standard interface, such as web-service interface. This too is not specific to RIN. Finally, the presentation platform 1110 interfaces with the user(s) 1112 via a presentation platform-to-user interface 1130. In one implementation, this is a UX exposed by the platform 1110, and includes common user interaction mechanisms such as using the mouse, keyboard and touch, as well as ways for presenting media to the users via displays and audio. This interface is also not specific to RIN. The presentation platform 1110 is responsible for routing user interaction requests to the appropriate target, which is typically an experience stream instance.
In view of the foregoing, one implementation of a process for playing a RIN is accomplished as follows.
A RIN Uniform Resource Identifier (URI) encodes the following information:
The first task for the player is to process a RIN URI. The Orchestrator is responsible for this task, and in one implementation accomplishes RIN URI processing as follows.
Loading a RIN segment includes binding to referenced experience stream providers and possibly creating experience stream instances. The orchestrator is responsible for this task, and in one implementation this RIN segment loading is accomplished as follows:
Regarding the above-described loading of the required experience stream providers, these are code modules that implement the experience stream. The loading involves loading the necessary libraries required to render the experience stream. As mentioned above, the loading of the provider required for instantiating an experience stream instance can be deferred to the point in time where the instance is actually required. The mechanism by which these providers are located and loaded depends on the specific implementation of the player, and in particular the specific presentation platform used. In some cases, dynamic loading may not be possible or desirable. In these cases all the providers needed for a class of RINs may be packaged with a particular flavor of the player.
Next, instances of experience streams are instantiated. To create an experience stream instance, the orchestrator instructs the experience stream provider to construct an instance, passing in a representation of the experience stream data model. Experience stream instances are objects with methods and properties. The methods include such verbs as Load and Play and Pause, and Seek.
Once instances of the experience streams are instantiated, the RIN segment can be played. In this context it is noted that the player has three main states once it has loaded a particular RIN Segment--namely the paused state, the playing state and the buffering state.
In the paused state, the narrative timeline for the segment is paused. The user is free to interact with experience streams. The user must explicitly indicate a desire to switch out of paused state.
In the playing state, the narrative timeline for the segment is running. In this state, the user is passively watching the narrative segment play.
In the buffering state, the narrative timeline for the segment is temporarily suspended while awaiting required resources needed to play the narrative (such as pre-buffering a video, or loading an experience stream instance). The user cannot interact with content. Unlike paused and playing states, the buffering state is not explicitly set by user action. Rather the player spontaneously enters this state. Upon the buffering conditions being fulfilled the segment automatically resumes playing.
There are also transition states, when the player is transitioning between paused and playing, as well as sub-states, where the player is seeking to a different location in the segment.
Preparing to play a RIN segment occurs whenever the player needs to switch from the paused to playing state. It is noted that in one version, the initial state of the player once a RIN segment is loaded is paused. However, one of the aforementioned optional fields (if specified) in the RIN URI may instruct the orchestrator to switch from the paused state to the playing state on launching the RIN segment. In one implementation, preparing to play a RIN segment is accomplished as described below:
Once all the Experience streams instances are ready to play, the orchestrator instructs each of the experience stream instances to start playing, and maintains a narrative logical time clock. While the player is in the play state, the screenplay interpreter may spontaneously instruct the orchestrator to change the screen layout and/or audio characteristics of individual active experience stream instances. It may even instruct new instances to be made ready to play, or existing instances to be killed, all while the player is in the play state.
It is up to each experience stream instance to determine what to render at a particular time. The experience stream instance will typically refer to data from its corresponding data model experience stream instance, using the keyframe data to determine how to evolve its internal state and what world-to-viewport transformation to use. This information is captured in its keyframe data.
It is also up to individual experience stream instances to pre-buffer media needed so that play is not interrupted if it can be helped. Any resources required by the experience stream are stored (or references to the resource stored) in the resource table of the RIN. The orchestrator makes available a copy of this resource table to each experience stream instance. Experience stream instances can make use of the reference resolver service to resolve references. The reference resolver service takes a list of resource references and does a bulk resolution of them, returning a list of resolved URIs that the experience stream instance can use. Experience stream instances can leverage the scheduling services to request pre-buffering of items.
It is noted that if at any point while playing an experience stream instance cannot keep up with the rendering (for example when it needs some data or piece of media at a particular time and this data/media does not arrive in time), the experience stream instance can signal the orchestrator to switch the player into the buffering state. This temporarily pauses narrative logical time, and the gives the experience stream instance time to catch up. When the experience stream instance is caught up it instructs the orchestrator that it can resume playing (however it is possible that in the interim another experience stream instance has requested buffering; it is the responsibility of the orchestrator to coordinate different buffering requests and maintain a coherent player state).
Additionally, a pause may be explicitly or implicitly invoked by the user. For example, the user can also explicitly trigger the pause state by clicking on a pause button in the special player controls experience stream instance. Further, in one implementation, during the playing state, any indication by the user of the need to interact (moving the mouse, touching the display, entering something on the keyboard) is intercepted by the orchestrator and results in an automatic transition to the pause state.
To pause the player, the orchestrator stops the narrative logical time clock, and instructs each of the experience stream instances to pause by calling their pause method. Once paused, non-occluded experience streams are responsible for handling their own user interaction events. The special player controls experience stream instance also can have standard (or dockable) user interaction controls (such as for pan, zoom, etc.) that when clicked raise events that the orchestrator route to the experience stream instance that has input focus. These controls will be enabled when the player is in paused state.
When the Narrative is in PLAY mode, it is the responsibility of the screenplay interpreter to keep track of when particular experience streams need to be pre-loaded and when it is time to make them go away. It needs to look ahead in narrative time, and give advance notification to the orchestrator to load and prep experience stream instances to play. When the player seeks to a particular point in the narrative, it is the screenplay interpreter that determines which experience stream instances need to be active in order to play that part of the narrative. This information is encoded in the screenplay found in the RIN.
As described in general previously, the Player maintains a shared message board, which all experience stream instances access to get and post messages. In one implementation, these messages are identified by a string identifier, and can be either typed (e.g., schematized) or untyped (e.g., an arbitrary XML element). This message board can be used to implement logic where the narrative evolves taking into account the past state of the narrative, including user interaction with experience stream instances. The semantics of this interaction is completely up to the experience stream instances. There is no dictated structure for how this message board is to be used. This is by design, as it enables a wide variety of use cases. Exemplary cases include where an experience stream instance records experience stream-specific user choices that are used for the remainder of the narrative, and where an experience stream instance publishes a piece of data to the message board that is consumed by another experience stream instance. The ID and type of this piece of data is agreed upon ahead of time.
An experience stream instance may consult services to obtain a template to a RIN segment (e.g., a kind of skeleton RIN segment instance) and pass this to a RIN segment rewriting service to flesh out and dynamically generate a RIN segment. A dynamically generated (by a segment rewriter service) URI associated with this generated RIN segment can be passed by the experience stream instance to the orchestrator to launch a dynamically generated RIN. The segment rewriter is an example of a pluggable service that is dynamically instantiated. However, it is not intended that the segment rewriter be considered the only possible pluggable or third-party service. Rather, an experience stream instance can contact any appropriate third-party or local pluggable service to create dynamic content that can subsequently be executed by the player.
The RIN data model and player platform embodiments described herein is operational within numerous types of general purpose or special purpose computing system environments or configurations.
For example,
To allow a device to implement the RIN data model and player platform embodiments described herein, the device should have a sufficient computational capability and system memory to enable basic computational operations. In particular, as illustrated by
In addition, the simplified computing device of
The simplified computing device of
Retention of information such as computer-readable or computer-executable instructions, data structures, program modules, etc., can also be accomplished by using any of a variety of the aforementioned communication media to encode one or more modulated data signals or carrier waves, or other transport mechanisms or communications protocols, and includes any wired or wireless information delivery mechanism. Note that the terms “modulated data signal” or “carrier wave” generally refer to a signal that has one or more of its characteristics set or changed in such a manner as to encode information in the signal. For example, communication media includes wired media such as a wired network or direct-wired connection carrying one or more modulated data signals, and wireless media such as acoustic, RF, infrared, laser, and other wireless media for transmitting and/or receiving one or more modulated data signals or carrier waves. Combinations of the any of the above should also be included within the scope of communication media.
Further, software, programs, and/or computer program products embodying the some or all of the various embodiments of the RIN data model and player platform embodiments described herein, or portions thereof, may be stored, received, transmitted, or read from any desired combination of computer or machine readable media or storage devices and communication media in the form of computer executable instructions or other data structures.
Finally, the RIN data model and player platform embodiments described herein may be further described in the general context of computer-executable instructions, such as program modules, being executed by a computing device. Generally, program modules include routines, programs, objects, components, data structures, etc., that perform particular tasks or implement particular abstract data types. The embodiments described herein may also be practiced in distributed computing environments where tasks are performed by one or more remote processing devices, or within a cloud of one or more devices, that are linked through one or more communications networks. In a distributed computing environment, program modules may be located in both local and remote computer storage media including media storage devices. Still further, the aforementioned instructions may be implemented, in part or in whole, as hardware logic circuits, which may or may not include a processor.
It is noted that any or all of the aforementioned embodiments throughout the description may be used in any combination desired to form additional hybrid embodiments. In addition, although the subject matter has been described in language specific to structural features and/or methodological acts, it is to be understood that the subject matter defined in the appended claims is not necessarily limited to the specific features or acts described above. Rather, the specific features and acts described above are disclosed as example forms of implementing the claims.
This application is a continuation-in-part of a prior application entitled “Generalized Interactive Narratives” which was assigned Ser. No. 12/347,868 and filed Dec. 31, 2008.
| Number | Date | Country | |
|---|---|---|---|
| Parent | 12347868 | Dec 2008 | US |
| Child | 13008324 | US |
