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Justia Patents Digital Audio Data Processing SystemUS Patent for Controlling audio in multi-viewpoint omnidirectional content Patent (Patent # 10,848,894)
Controlling audio in multi-viewpoint omnidirectional content
Apr 9, 2018 - Nokia Technologies Oy
A method is provided including determining a first listening point of a user in an audio space, wherein the audio space comprises at least the first listening point and a second listening point; rendering audio associated with at least one first audio object of the first listening point based on a position and/or orientation of the user relative to the first listening point; in response to receiving an indication of a switch from the first listening point to a second listening point, controlling the rendering of the audio based at least on signaling associated with at least the first audio object, wherein the signaling comprises one or more conditions indicating whether playback of the first audio object is to continue during and/or after the switch to the second listening point.
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Various example embodiments relate generally to audio rendering and, more specifically, relate to immersive audio content signaling and rendering.
Immersive audio and/or visual content generally allows a user to experience the content in a manner consistent the user's orientation and/or location. For example, immersive audio content may allow a user to experience audio in a manner consistent with the user's rotational movement (e.g. pitch, yaw, and roll). This type of immersive audio is generally referred to as 3DoF (three degrees of freedom) content. Immersive content with full degree of freedom for roll, pitch and yaw, but limited freedom for translation movements is generally referred to as 3DoF+. Free-viewpoint audio (which may also be referred to as 6DoF) generally allows for a user to move around in an audio (or generally, audio-visual or mediated reality) space and experience the audio space in a manner that correctly corresponds to his location and orientation in it. Immersive audio and visual content generally have properties such as a position and/or alignment in the mediated content environment to allow this.
The Moving Picture Experts Group (MPEG) is currently standardizing immersive media technologies under the name MPEG-I, which includes methods for various virtual reality (VR), augmented reality (AR) and/or mixed reality (MR) use cases. Additionally, the 3rd Generation Partnership Project (3GPP) is studying immersive audio-visual services for standardization, such as for multi-viewpoint streaming of VR (e.g., 3DoF) content delivery.
Abbreviations that may be found in the specification and/or the drawing figures are defined below, after the main part of the detailed description section.
This section is intended to include examples and is not intended to be limiting.
In an example embodiment, a method is provided including: determining a first listening point of a user in an audio space, wherein the audio space comprises at least the first listening point and a second listening point; rendering audio associated with at least one first audio object of the first listening point based on a position and/or orientation of the user relative to the first listening point; in response to receiving an indication of a switch from the first listening point to a second listening point, controlling the rendering of the audio based at least on signaling associated with at least the first audio object, wherein the signaling comprises one or more conditions indicating whether playback of the first audio object is to continue during and/or after the switch to the second listening point.
In an example embodiment, an apparatus is provided comprising: means for determining a first listening point of a user in an audio space, wherein the audio space comprises at least the first listening point and a second listening point; means for rendering audio associated with at least one first audio object of the first listening point based on a position and/or orientation of the user relative to the first listening point; in response to receiving an indication of a switch from the first listening point to a second listening point, means for controlling the rendering of the audio based at least on signaling associated with at least the first audio object, wherein the signaling comprises one or more conditions indicating whether playback of the first audio object is to continue during and/or after the switch to the second listening point.
In an example embodiment, a computer readable medium comprising program instructions is provided for causing an apparatus to perform at least the following: determining a first listening point of a user in an audio space, wherein the audio space comprises at least the first listening point and a second listening point; rendering audio associated with at least one first audio object of the first listening point based on a position and/or orientation of the user relative to the first listening point; in response to receiving an indication of a switch from the first listening point to a second listening point, controlling the rendering of the audio based at least on signaling associated with at least the first audio object, wherein the signaling comprises one or more conditions indicating whether playback of the first audio object is to continue during and/or after the switch to the second listening point.
In an example embodiment, an apparatus is provided comprising: at least one processor; and at least one non-transitory memory including computer program code, the at least one memory and the computer program code configured to, with the at least one processor, cause the apparatus to perform at least the following: determine a first listening point of a user in an audio space, wherein the audio space comprises at least the first listening point and a second listening point; render audio associated with at least one first audio object of the first listening point based on a position and/or orientation of the user relative to the first listening point; in response to receipt of an indication of a switch from the first listening point to a second listening point, control the rendering of the audio based at least on signaling associated with at least the first audio object, wherein the signaling comprises one or more conditions indicating whether playback of the first audio object is to continue during and/or after the switch to the second listening point.
Some example embodiments will now be described with reference to the accompanying drawings.
FIG. 1 is a block diagram of one possible and non-limiting exemplary apparatus in which various example embodiments may be practiced;
FIG. 2 represents a multi-viewpoint content space 200 of an audio-visual experience file in accordance with some example embodiments;
FIG. 3 is a high-level process flow diagram in accordance with some example embodiments;
FIG. 4 represents a multi-viewpoint content space of an audio-visual experience file in accordance with some example embodiments;
FIGS. 5A and 5B show different switching implementations of a multi-viewpoint file in accordance with some example embodiments; and
FIG. 6 is a logic flow diagram in accordance with various example embodiments, and illustrates the operation of an exemplary method, a result of execution of computer program instructions embodied on a computer readable memory, functions performed by logic implemented in hardware, and/or interconnected means for performing functions in accordance with exemplary embodiments.
Various exemplary embodiments herein describe techniques for controlling audio in multi-viewpoint omnidirectional content. Additional description of these techniques is presented after a system into which the exemplary embodiments may be used is described.
In FIG. 1, an apparatus 100 is shown that includes one or more processors 101, one or more memories 104 interconnected through one or more buses 112. The one or more buses 112 may be address, data, or control buses, and may include any interconnection mechanism, such as a series of lines on a motherboard or integrated circuit, fiber optics or other optical communication equipment, and the like. The one or more memories 104 include computer program code 106. The apparatus 100 may include a reality module, comprising one of or both parts 108-1 and/or 108-2, which may be implemented in a number of ways. The reality module may be implemented in hardware as reality module 108-2, such as being implemented as part of the one or more processors 101. The reality module 108-2 may be implemented also as an integrated circuit or through other hardware such as a programmable gate array. In another example, the reality module may be implemented as reality module 108-2, which is implemented as computer program code 106 and is executed by the one or more processors 101. For instance, the one or more memories 104 and the computer program code 106 may be configured to, with the one or more processors 101, cause the apparatus 100 to perform one or more of the operations as described herein.
The one or more computer readable memories 104 may be of any type suitable to the local technical environment and may be implemented using any suitable data storage technology, such as semiconductor based memory devices, flash memory, magnetic memory devices and systems, optical memory devices and systems, fixed memory and removable memory. The computer readable memories 104 may be means for performing storage functions. The processor(s) 101 may be of any type suitable to the local technical environment, and may include one or more of general purpose computers, special purpose computers, microprocessors, digital signal processors (DSPs) and processors based on a multi-core processor architecture, as non-limiting examples. The processor(s) 101 may be means for performing functions, such as controlling the apparatus 100 and other functions as described herein.
In some embodiments, the apparatus 100 may include one or more input(s) 110 and/or output(s) 112. The input(s) 110 may comprise any commonly known device for providing user input to a computer system such as a mouse, a keyboard, a touch pad, a camera, a touch screen, and/or a transducer. The input(s) 110 may also include any other suitable device for inputting information into the system 100, such as another device
In some embodiments, the apparatus 100 may include one or more input(s) 110 and/or output(s) 112. The input(s) 110 may comprise any commonly known device for providing user input to a computer system such as a mouse, a keyboard, a touch pad, a camera, a touch screen, and/or a transducer. The input(s) 110 may also include any other suitable device for inputting information into the apparatus 100, such as a GPS receiver, a sensor, and/or other computing devices for example. The sensor may be a gyro-sensor, pressure sensor, geomagnetic sensor, light sensor, barometer, hall sensor, and/or the like. The output(s) 112 may comprise, for example, one or more commonly known displays (such as a projector display, a near-eye display, a VR headset display, and/or the like), speakers, and a communications output to communicate information to another device. The inputs 110/outputs 112, may include a receiver and/or a transmitter for wired and/or wireless communications (such as WiFi, BLUETOOTH, cellular, NFC, Ethernet and/or the like). In some embodiments, each of the input(s) 110 and/or output(s) 112 may be integrally, physically, or wirelessly connected to the apparatus 100.
In general, the various embodiments of the apparatus 100 can include, but are not limited to cellular telephones such as smart phones, tablets, personal digital assistants (PDAs), computers such as desktop and portable computers, gaming devices, VR headsets/goggles/glasses, music storage and playback appliances, tablets, as well as portable units or terminals that incorporate combinations of such functions.
In some example embodiments the apparatus 100 may correspond to system for creating immersive media content via content creations tools, a system for rendering immersive media content, and/or a system for delivering immersive media content to another device as is described in more detail below.
Having thus introduced one suitable but non-limiting technical context for the practice of the various exemplary embodiments, the exemplary embodiments will now be described with greater specificity.
Various example embodiments relate to rendering of immersive audio media (in either audio-only or audio-visual context) and signaling related to controlling this rendering.
In a 3D space, there are in total six degrees of freedom (DoF) that define the way a user may move within said space. This movement is generally divided into two categories: rotational and translational movement, each of which includes three degrees of freedom. Rotational movement is sufficient for a simple VR experience where the user may turn her head (pitch, yaw, and roll) to experience the space from a static point or along an automatically moving trajectory. Translational movement means that the user may also change the position of the rendering, namely, the user may move along the x, y and z axes according to their wishes. Free-viewpoint AR/VR experiences allow for both rotational and translational movements. It is common to talk about the various degrees of freedom and the related experiences using the terms 3DoF, 3DoF+ and 6DoF. 3DoF+ falls somewhat between 3DoF and 6DoF. It allows for some limited user movement, for example, it can be considered to implement a restricted 6DoF where the user is sitting down but can lean their head in various directions with content rendering being impacted accordingly.
The technical implementation of multi-viewpoint media content is typically such that a media file includes multiple streams related to multiple "isolated yet related" viewpoints (or listening points) in a mediated content environment.
Referring now to FIG. 2, this figure represents a multi-viewpoint content space 200 of an audio-visual experience file in accordance with some example embodiments. In this example, the user has four possible listening/viewing points (which also may be referred to as listening/viewing areas) in the multi-viewpoint content file that are labeled 1-4. A user may first consume the content at a first viewpoint (also referred to herein as a listening point), and then may 'move' or 'teleport' to other viewpoints without interrupting the overall experience. In FIG. 2, the central part of each donut-shaped viewing area corresponds to, for example, the 3DoF(+) sweet spot, and the darker area corresponds to the "roamable" area (3DoF+ or restricted 6DoF). The user may be free to choose the order and timing of any switch between these viewpoints or scenes (in case of restricted 6DoF). The dashed area 204 in the middle of FIG. 2 represents an 'obstacle' in the content. For example, the obstacle may be a wall, a mountain, and/or the like. Such obstacles can limit at least the line of sight, but potentially also the audibility of at least some audio content. In FIG. 2, different audio sources are represented as a star symbols. At least the audio sources shown on top of the dashed area, such as audio source 202-1 for example, may be audible to all directions/viewpoints within the scene file, whereas other audio sources may be audible to a limited amount of viewpoints. For example, audio source 202-2 may be audible to only viewpoint 4, whereas audio source 202-3 may be audible to only viewpoints 3 and 4, for example.
In addition to "natural" boundaries (such as walls and mountains, for example), there may be other types of boundaries in the content, for example, a multi-viewpoint content file may include or consist of "virtual rooms" that limit, for example, at least the audibility of some audio content across their "virtual walls". It is also noted that viewpoints in a virtual content file may be very distant from each other and may even represent different points in time or, e.g., different "paths" of an interactive story. In further examples, viewpoints in a virtual content file may correspond to customer tier levels, where, e.g., a "platinum level" customer is offered richer or otherwise different content or parts of content than a "gold level" or "silver level" customer. On the other hand, switching between viewpoints in a virtual content file can happen at very different frequencies. For example, a user may wish to quickly view a specific scene from various available points of view around the scene and continuously switch back and forth between them, whereas in most services it may be unlikely, e.g., for a user to be upgraded in tier more than once during even a long content consumption.
Considering the above, it is generally beneficial to have different audio content (for example audio objects and/or channel bed) for each viewpoint in a media content file that is not continuously "roamable" by the user. For example, unrestricted 6DoF content may be considered continuously "roamable". It is noted that switching from a first viewpoint to a second viewpoint will in such case disrupt the audio rendering and presentation. Without some smoothing (such as a crossfade for example), such disruption can be extremely annoying to the user (as it may be heard as clicks and pops). Therefore, in any such application, at least some smoothing of the audio under switching is expected.
In addition to diegetic audio content (that takes the user's position/rotation into account in rendering), non-diegetic audio may also be used such that the audio remains fixed regardless of at least the user's head rotation. Non-diegetic audio content may have directional properties for example, but the directions are fixed relative to the user. Such content rendering is useful in certain situations. For example, a content creator may desire a first piece of background music to continue even when a user switches to a new viewpoint, even if the new viewpoint is associated with a different piece of background music. For instance, it may be helpful for the first piece of background music to continue (with same or different sound level) until for some amount of time, until occurrence of a certain event in the music or the overall content, and/or the like. This may also be true for other types of non-diegetic audio such as a narrator's commentary or other types of diegetic dialogue for example.
In some circumstances, different viewpoints may feature different pieces of background music. Typically these cases are not handled in the way the content creator intended and can become very distracting for the user when switching between viewpoints even if some type of smoothing is applied. For example, when a user switches between a first viewpoint to a second viewpoint this can cause a switch from a first piece of background music to a second piece of background music even when the first background music should ideally be maintained during these switches under some (potentially content-creator specified) circumstances.
The various example embodiments described herein provide more control of how audio is rendered and presented to the user. For example, signaling (e.g. metadata) may be provided corresponding to audio that specifies under what conditions, and in what way, the playback of at least part of that audio is continued in a second listening/viewpoint (during and after the switching of listening/viewpoint) where the audio is otherwise not present at the second listening/viewpoint. For example, the audio may not otherwise be present at the second listening point based on the user's position and/or orientation, or the audio might not be present as it is not included in a second media content file being opened due to the switching (such as some 'scene description', or 'viewpoint description' for 3DoF, for example).
The audio may also be a different audio waveform but correspond to the same 'physical audio source' such as when dialogue includes two different actors. For example, a listener may travel a story in time, where a person in a scene is also the narrator of the story. In this case, a listener may begin this story by entering the playback when the person is an adult, and the listener may travel back in time (e.g. to a second listening/viewpoint) when the person is a child. The content creator will for such a case have a choice whether the person in the scene continues the dialogue as an adult or child.
In addition, some embodiments allow the audio of a previous listening viewpoint to "be connected" or linked to other audio of a second listening/viewpoint, and the playback of the other audio can be prevented at least for the duration of the continued playback of the first audio. In some examples, the audio and the other audio may be the same audio (such as the same audio source) but have different rendering properties at the different listening/viewpoints. At least some of the rendering properties of the audio at the first listening/viewpoint may replace the corresponding properties of the audio at the other listening point/viewpoint according to, e.g., the signaling.
Some of the features described herein may be particularly helpful in situations when the switch relates to a jump or separation (such as in time, space, or some other contextual aspect for example) that is different from the usual displacement of the listening point when the user translates.
For ease of understanding, the description herein generally refers to background music, however, various example embodiments described herein apply equally to any other audio types that are intended to continue across a viewpoint or scene change in 3DoF/3DoF+/6DoF regardless of the new viewpoint or scene not having the same audio due to, at least, the timing or order of user's viewpoint changes or any other previous user action (such as for story-telling purposes or any other artistic or content creator intent).
The term 'audio space' is generally used herein to refer to a three-dimensional space defined by a media content file having at least two different listening points such that a user may switch and/or move between the different listening points. The switching may relate to space, time, or some other contextual aspect (such as a story element or a rule set defined by a content creator for example). Thus, it should be understood that a user may be able to move and/or switch between the at least two listening points in the audio space via user input, a service or content dependent aspect may trigger switching between the at last two different listening points, and/or the switching may relate to any other contextual aspect (such as a story element, a rule set by a content creator, and/or the like)
Non-limiting examples of an 'audio object' are an audio source with a spatial position, a channel-based bed, scene-based audio represented as a First-Order Ambisonic/Higher-Order Ambisonic (FOA/HOA), a metadata-assisted spatial audio (MASA) representation of a captured audio scene, or any audio that has metadata associated with it in the context of the media content being experienced by the user.
As described in more detail below, some aspects described herein can be implemented in various parts of the content creation-content delivery-content consumption process. For example, some aspects are aimed at improving content creation tools for audio software for AR/MR/VR content creation that are delivered alongside the audio waveform content as metadata (such as tools for defining the flags and switching pattern rules for example); some aspects relate to the media file format and metadata description (such as MPEG-I standard for example); and some aspects relate to an audio content rendering engine in an AR/MR/VR device or application such as an AR headphone device, a mobile client, or an MPEG-I compliant audio renderer. As such, various example embodiments improve the content creator's control over the immersive AR/MR/VR experiences by allowing the audio rendering to be more consistent (for example, with respect to the story line of the content for example) while enabling more freedom for the end user (such as increased personalization of the content consumption experience for example).
Metadata Implementation
Some example embodiments relate to the selection and rendering of transmitted audio streams (objects, items). In such examples, an audio stream may include both the audio waveform of one or more audio objects as well as metadata (or signaling). For example, the metadata may be transmitted alongside the (encoded) audio waveforms. The metadata may be used to render the audio objects in a manner consistent with the content creator's intent or service or application or content experience design.
For instance, metadata may be associated with a first audio object (such as a first audio object at a first listening point for example) such that the metadata describes how to handle that first audio object when switching to a second listening point. Metadata can be associated with a first audio object and at least a second audio object (such as an audio object from the second listening point), in which case the metadata describes how to handle the first audio object and how this relates or effects how the at least one second audio object is handled. In this situation, the current/first audio object is part of the scene the user is switching from, and the at least one other audio object may be part of the scene the user switching to. It is also possible that the metadata could be associated with only the second audio object, in which case the system would 'look back' for the audio object rather than 'looking forward' as is the case in the implementations above.
In one example embodiment, metadata is provided for different 'perception zones' and is used to signal a change in the audio depending on change in the user's viewpoint when consuming, for example, 3DoF/3DoF+/6DoF media content. For example, multi-viewpoint in case of 6DoF may include switching across overlapping or non-overlapping perception zones (e.g., from room 1 to room 2), where each perception zone may be described as a ViewpointCollection which comprises of multiple ViewpointAudioltems. Depending on the viewpoint change situation, the content creator may specify if the ViewpointAudioltems should switch immediately or persist longer. This information may be determined by the switching device renderer or signaled by the content creator. Thus, in some examples different sets of audio objects may be associated with different audio or perception 'zones', where switching between different listening points/viewpoints switches between the different audio zones. For example, a first set of audio objects may be associated with a first audio zone and a second set of audio objects may be associated with a second audio zone such that a switch between first and second listening points/viewpoints causes a switch between the first audio zone and the second audio zone.
In some cases, the first set of audio objects and the second set of audio objects may partially overlap (such as an audio object associated with the same audio waveform for example). The audio objects that overlap may each have a rendering property (such as an audio level for example) where the value of the rendering property may be similar or different. The value may be similar in the sense that the difference in the value of the rendering property would be generally imperceivable to the user when switching between the listening/viewing points. In such cases, an option can be provided to ignore signaling related to handling an audio object when switching between listening points. The indication may be set by the content creator, e.g., to reduce complexity or memory consumption. If such content being transmitted, then it is also possible that such signaling is not sent to the renderer. In cases where the difference in the value of the rendering property would be perceivable, then signaling (e.g. metadata) can be provided that describes how to handle at least the rendering property of the overlapped audio objects during and/or after the switch between the different listening points.
It should be understood that signaling (e.g. metadata) described herein may be associated with one or more individual properties of one or more audio objects, one or more audio objects, one or more listening points/viewpoints, and/or one or more audio zones, and thus allows significant flexibility and control of audio when switching between different listening points/viewpoints.
In some example embodiments, when playback of an audio object from a previous listening point/viewpoint is continued during and/or after a switch to a current listening point/viewpoint, then a renderer may treat that audio object as being part of the current viewpoint at least for an amount of time that the playback of the audio object is continued at the current viewpoint. For example, the audio object could be added to a list of audio objects of the second listening point while playback of the audio object is continued. In another example, signaling associated with the audio object from the previous viewpoint/listening point may indicate that playback of the audio object is to continue during and/or after one or more further switches if the audio object is still being played back at the current listening point. If another switch is made from the current listening point to a next viewpoint/listening point (which may include a switch back to the previous viewpoint/listening point) the audio object may be handled accordingly. In this way, embodiments allow an audio object from a first listening to be adaptively handled through multiple switches between multiple listening points/viewpoints.
Table 1 below describes metadata for a ViewpointCollection in accordance with an example embodiment. In this example, an audio-object type representation of the audio scene is used, however, it is understood that other representations are also possible for audio objects.
TABLE 1 Metadata key Type Description
ViewpointCollection List Collection of media objects representing a multi-viewpoint scene and related information.
ViewpointAudioItem Object Audio object or element. Information on waveform, various metadata, etc. defining the object or element.
PersistPlayback List A list of conditions when and how playback of audio object or element is continued during and after a switching to a different viewpoint. PersistPlaybackConnectedItems List Collection of zero or more audio objects or elements that are connected to the current audio object or element.
DelayedSwitchPersist List A list of parameters for performing a delayed switching to the connected audio object or element during a switching with persistent playback.
switchDelayPersist Boolean Setting for whether the persisted playback of an audio object or element of a previous viewpoint is switched to playback of the connected item after a given time (defined, e.g., by switchDelayPersistTime media time parameter). switchDelayPersistTime Media The media Time presentation start time relative to switching time. This time defines when the playback (e.g., a crossfade) begins following a viewpoint switching. Alternatively, the playback begins at the latest when the persistent playback of an audio object or element ends, e.g., due to running out of audio waveform (similarly allowing, e.g., for a crossfade), whichever comes first.
switchAfterPersist Boolean Setting for whether the persisted playback of an audio object or element of a previous viewpoint overrides the playback of the connected item until its persistent playback end. The playback of the connected audio object or element is permitted after this. switchOffPersist Boolean Setting for whether the persisted playback of an audio object or element of a previous viewpoint overrides the playback of the connected item.
It is noted that the metadata keys, types, and description below are merely examples and are not intended to be limiting. For example, some of the metadata described in Table 1 may be optional as it corresponds to advanced features, different names of the metadata keys may be used, and/or the like.
Renderer Implementation
An audio content rendering engine typically corresponds to software that puts together the audio waveforms that are presented to the user. The presentation may be through headphones or using a loudspeaker setup. The audio content rendering engine may run, for example, on a general-purpose processor or dedicated hardware.
Referring now to FIG. 3, this figure shows a high-level process flow diagram in accordance with an example embodiment. The process may be implemented in an audio content rendering engine for example. At step S10, a user opens a media file where the media file includes at least two viewpoints. Steps S15-60 may be performed while the media file is open. At step S15, the current view point is obtained. In some examples the viewpoint may be obtained based on a user input such as the user providing an input to select a starting viewpoint. Alternatively, the starting viewpoint may be predetermined such as being read from the media file or being given by an AR user tracking system. At step S20, the viewpoint information is updated and audio streams are obtained for the current viewpoint. At step S25, the user position and orientation is obtained in the current viewpoint. At step S30, the rendering of audio streams is obtained according to the determined user position and orientation in the current viewpoint, and then the user is presented with the audio rendering at step S35. At step S40, if a viewpoint switching command is received then the process flow continues to step S45, otherwise process flows returns to step S25. The viewpoint switching command may come from, for example, a user input and/or the media content and/or an application/service. At step S45, a viewpoint switching playback status is set for at least one audio stream having metadata for viewpoint switching according to said metadata. At step S50, playback of the audio streams is maintained with the viewpoint switching playback information according to their set status. At step S55, the viewpoint information is updated and the audio streams for the current viewpoint are obtained. At step S60, the playback is set off or delayed for at least one audio stream of current viewpoint corresponding to the at least one audio viewpoint switched from for which playback is maintained. The process flow then returns to step S25.
It is noted that steps S25-30 in FIG. 2 may include, for example, user interaction modification to the rendering. In other words, the rendering of the audio streams may be modified in a way that does not strictly follow the position and/or orientation of the user, but also uses additional information from metadata of an audio object (such as instructions based on the PersistPlayback list or DelayedSwitchPersist list from Table 1, for example). As a non-limiting example of an interaction between a user and an audio object, a specific audio object may be rendered according to the user location/orientation in a 6DoF scene until the user reaches a limit of 1 meter of distance from the audio object, at which point said audio object becomes more and more non-diegetic and furthermore "sticks to" the user until the user "escapes" to at least 5-meter distance of the default audio object location. User interaction may also relate to very direct interaction in an interactive system, such as a user grapping, lifting, or otherwise touching an object that is also or relates to an audio object for example.
Referring now to FIG. 4, this figure shows a top view representing a multi-viewpoint content space of an audio-visual 3DoF+ experience file in accordance with some example embodiments. A user 402 may launch an application to experience VR and open the multi-viewpoint file. In response to the opening of the file, the user may be presented with a first viewpoint 1, which may be considered the default starting viewpoint for this content. In FIG. 4, the default starting viewpoint is viewpoint 1 and the audio sources for each of the three viewpoints are represented using different symbols, namely, the circles represent audio sources associated with viewpoint 1, the stars represent audio sources associated with viewpoint 2, and the triangles represent audio sources associated with viewpoint 3. In addition to the audio sources, each viewpoint features a separate background music (namely, background music 1-3). Background music 1-3 may relate to, for example, aspects and artistic intent of the respective viewpoints. It is noted that the background music is merely an example, and example embodiments are also applicable to any other type of non-diegetic or diegetic audio.
The viewpoints 1, 2, and 3 in FIG. 4 of the multi-viewpoint 3DoF+ media file may be at the same time such as being a part of the same storyline where individual points of view progress the story/content with a different focus. In this way, a content creator may wish to treat the viewpoints as completely separate, as connected/'mirrored', or in some dynamic manner such as where the relation between, for example, viewpoints 1 and 2 may depend on a time instance of the overall presentation or a part of it or at least one user action. A user action may, for example, relate to what the user has done in the content, the amount of time spent in a certain viewpoint, the order of viewpoint switching, and/or the like.
FIGS. 5A and 5B show different switching implementations of a multi-viewpoint file in accordance with some example embodiments. The different viewpoints in FIGS. 5A and 5B may correspond to those represented in FIG. 4 for example. In FIG. 5A, the viewpoints are switched according to the order of "1-2-3-1", which triggers the background music to change in this same order (namely, background music 1, background music 2, background music 3, background music 1). In FIG. 5B, the content creator can influence the switching decision of at least one audio object such as the background music. The content creator may do so, for example, by utilizing the audio content of a first viewpoint while presenting the audio (and visual) content of a second viewpoint that relates to different media content but may be part of the same media file. Thus, in FIG. 5B, when the viewpoints are changed in the order of 1-2-3-1, the background music 1 is maintained. In this way, the content creator has increased control of how certain audio objects are rendered when viewpoints are switched depending on the content creator settings and the associated metadata values.
As noted above, various example embodiments provide the content creator increased flexibility that was not previously available as illustrated in the following example. When the various example embodiments are not implemented, a user at a time instance T3 in viewpoint 3 hears the same audio in the following two cases:
1. the user begins viewing at T1 in viewpoint 1 and switches to viewpoint 2 for time T2 followed by a switch to viewpoint 3 at time T3′, and
2. the user begins viewing at T1 in viewpoint 1 and switches to viewpoint 3 for time T2 followed by staying at 3 through time T3′.
On the other hand, various example embodiments may be implemented to allow the user at time T3 in viewpoint 3 to hear a different audio in the preceding two cases, which may be controlled by the content creator/producer via metadata. The various exemplary embodiments enable different, personalized content experiences, for example, based on the viewpoint switching patterns.
FIG. 6 is a logic flow diagram for controlling audio in multi-viewpoint omnidirectional content. This figure further illustrates the operation of an exemplary method or methods, a result of execution of computer program instructions embodied on a computer readable memory, functions performed by logic implemented in hardware, and/or interconnected means for performing functions in accordance with exemplary embodiments. For instance, the reality module 108-1 and/or 108-2 may include multiples ones of the blocks in FIG. 6, where each included block is an interconnected means for performing the function in the block. The blocks in FIG. 6 are assumed to be performed by the apparatus 100, e.g., under control of the reality module 108-1 and/or 108-2 at least in part.
According to an example embodiment a method is provided comprising: determining a first listening point of a user in an audio space, wherein the audio space comprises at least the first listening point and a second listening point as indicated by block 600; rendering audio associated with at least one first audio object of the first listening point based on a position and/or orientation of the user relative to the first listening point as indicated by block 602; and in response to receiving an indication of a switch from the first listening point to a second listening point, controlling the rendering of the audio based at least on signaling associated with at least the first audio object, wherein the signaling comprises one or more conditions indicating whether playback of the first audio object is to continue during and/or after the switch to the second listening point as indicated by block 604. The signaling associated with the first audio object may include a value corresponding to an amount of time playback of the first audio object is to continue during and/or after the switch to the second listening point. Controlling the rendering of the audio may include rendering at least one second audio object of the second listening point during and/or after the switch. The signaling may link the first audio object to at least one second audio object such that playback of the at least one second audio object be delayed based on the one or more conditions in the signaling. The playback of the second audio object may be delayed until after the rendering of the first audio object is completed. Controlling the rendering of the audio may include performing a crossfade between the first audio object and the second audio object based on the signaling. The crossfade may be performed after an amount time indicated in the signaling following the switch. Controlling the rendering of the audio may include causing playback of at least one audio object of the second viewpoint to be prevented while the user remains at the second listening point based on the signaling. Rendering of the audio in response to receiving the indication of the switch from the first listening point to the second listening point may be further based on a current position and/or orientation of the user relative to the second viewpoint. The method may further comprise playing back the rendering of the audio.
In an example embodiment, an apparatus is provided comprising: means for determining a first listening point of a user in an audio space, wherein the audio space comprises at least the first listening point and a second listening point; means for rendering audio associated with at least one first audio object of the first listening point based on a position and/or orientation of the user relative to the first listening point; in response to receiving an indication of a switch from the first listening point to a second listening point, means for controlling the rendering of the audio based at least on signaling associated with at least the first audio object, wherein the signaling comprises one or more conditions indicating whether playback of the first audio object is to continue during and/or after the switch to the second listening point. The signaling associated with the first audio object may include a value corresponding to an amount of time playback of the first audio object is to continue during and/or after the switch to the second listening point. Controlling the rendering of the audio may include rendering at least one second audio object of the second listening point during and/or after the switch. The signaling may link the first audio object to at least one second audio object such that playback of the at least one second audio object be delayed based on the one or more conditions in the signaling. The playback of the second audio object may be delayed until after the rendering of the first audio object is completed. Controlling the rendering of the audio may include performing a crossfade between the first audio object and the second audio object based on the signaling. The crossfade may be performed after an amount time indicated in the signaling following the switch. Controlling the rendering of the audio may include causing playback of at least one audio object of the second viewpoint to be prevented while the user remains at the second listening point based on the signaling. Rendering of the audio in response to receiving the indication of the switch from the first listening point to the second listening point may be further based on a current position and/or orientation of the user relative to the second viewpoint. The apparatus may further include means for playing back the rendering of the audio.
In an example embodiment, a computer readable medium is provided comprising program instructions for causing an apparatus to perform at least the following: determining a first listening point of a user in an audio space, wherein the audio space comprises at least the first listening point and a second listening point; rendering audio associated with at least one first audio object of the first listening point based on a position and/or orientation of the user relative to the first listening point; in response to receiving an indication of a switch from the first listening point to a second listening point, controlling the rendering of the audio based at least on signaling associated with at least the first audio object, wherein the signaling comprises one or more conditions indicating whether playback of the first audio object is to continue during and/or after the switch to the second listening point. The signaling associated with the first audio object may include a value corresponding to an amount of time playback of the first audio object is to continue during and/or after the switch to the second listening point. Controlling the rendering of the audio may include rendering at least one second audio object of the second listening point during and/or after the switch. The signaling may link the first audio object to at least one second audio object such that playback of the at least one second audio object be delayed based on the one or more conditions in the signaling. The playback of the second audio object may be delayed until after the rendering of the first audio object is completed. Controlling the rendering of the audio may include performing a crossfade between the first audio object and the second audio object based on the signaling. The crossfade may be performed after an amount time indicated in the signaling following the switch. Controlling the rendering of the audio may include causing playback of at least one audio object of the second viewpoint to be prevented while the user remains at the second listening point based on the signaling. Rendering of the audio in response to receiving the indication of the switch from the first listening point to the second listening point may be further based on a current position and/or orientation of the user relative to the second viewpoint. The computer readable medium may further include program instructions for causing the apparatus to play back the rendering of the audio.
In an example embodiment, an apparatus is provided comprising: at least one processor; and at least one non-transitory memory including computer program code, the at least one memory and the computer program code configured to, with the at least one processor, cause the apparatus to perform at least the following: determine a first listening point of a user in an audio space, wherein the audio space comprises at least the first listening point and a second listening point; render audio associated with at least one first audio object of the first listening point based on a position and/or orientation of the user relative to the first listening point; in response to receipt of an indication of a switch from the first listening point to a second listening point, control the rendering of the audio based at least on signaling associated with at least the first audio object, wherein the signaling comprises one or more conditions indicating whether playback of the first audio object is to continue during and/or after the switch to the second listening point. The signaling associated with the first audio object may include a value corresponding to an amount of time playback of the first audio object is to continue during and/or after the switch to the second listening point. Control of the rendering of the audio may include rendering at least one second audio object of the second listening point during and/or after the switch. The signaling may link the first audio object to at least one second audio object such that playback of the at least one second audio object be delayed based on the one or more conditions in the signaling. The playback of the second audio object may be delayed until after the rendering of the first audio object is completed. Control of the rendering of the audio may include performing a crossfade between the first audio object and the second audio object based on the signaling. The crossfade may be performed after an amount time indicated in the signaling following the switch. Control of the rendering of the audio may include causing playback of at least one audio object of the second viewpoint to be prevented while the user remains at the second listening point based on the signaling. Render of the audio in response to receiving the indication of the switch from the first listening point to the second listening point may be further based on a current position and/or orientation of the user relative to the second viewpoint. The at least one memory and the computer program code may be configured to, with the at least one processor, cause the apparatus to play back the rendering of the audio.
Without in any way limiting the scope, interpretation, or application of the claims appearing below, a technical effect of one or more of the example embodiments disclosed herein is providing improved audio scene control of the multi-viewpoint media content/file rendering/presentation. Another technical effect of one or more of the example embodiments disclosed herein is providing the end user a more coherent and immersive user experience responding to personal usage scenarios by enabling smooth/natural transitions within and between, for example, thematic passages that take into account both the content and the viewpoint selection by the user. Another technical effect of one or more of the example embodiments disclosed herein is avoiding annoying discontinuities and unintentional switching back and forth between audio items. Another technical effect of one or more of the example embodiments disclosed herein is enabling one media file to provide different, personalized content experiences based on the viewpoint switching patterns.
Embodiments herein may be implemented in software (executed by one or more processors), hardware (e.g., an application specific integrated circuit), or a combination of software and hardware. In an example embodiment, the software (e.g., application logic, an instruction set) is maintained on any one of various conventional computer-readable media. In the context of this document, a "computer-readable medium" may be any media or means that can contain, store, communicate, propagate or transport the instructions for use by or in connection with an instruction execution system, apparatus, or device, such as a computer, with one example of a computer described and depicted, e.g., in FIG. 1. A computer-readable medium may comprise a computer-readable storage medium (e.g., memory 104 or other device) that may be any media or means that can contain, store, and/or transport the instructions for use by or in connection with an instruction execution system, apparatus, or device, such as a computer. A computer-readable storage medium does not comprise propagating signals.
If desired, the different functions discussed herein may be performed in a different order and/or concurrently with each other. Furthermore, if desired, one or more of the above-described functions may be optional or may be combined.
Although various aspects of the invention are set out in the independent claims, other aspects of the invention comprise other combinations of features from the described embodiments and/or the dependent claims with the features of the independent claims, and not solely the combinations explicitly set out in the claims.
It is also noted herein that while the above describes example embodiments of the invention, these descriptions should not be viewed in a limiting sense. Rather, there are several variations and modifications which may be made without departing from the scope of the present invention as defined in the appended claims.
The following abbreviations that may be found in the specification and/or the drawing figures are defined as follows:
3DoF 3 degrees of freedom (head rotation)
3DoF+3DoF with additional limited translational movements (e.g. head movements)
6DoF 6 degrees of freedom (head rotation and translational movements)
3GPP 3rd Generation Partnership Project
AR Augmented Reality
EVS Enhanced Voice Services
IVAS EVS Codec extension for Immersive Voice and Audio Services
MPEG Moving Picture Experts Group
MR Mixed Reality
1. An apparatus comprising:
at least one processor; and
at least one non-transitory memory including computer program code, the at least one non-transitory memory and the computer program code configured to, with the at least one processor, cause the apparatus to at least: determine a first listening point in an audio space with which a position and/or orientation of a user is associated, wherein the audio space comprises at least the first listening point and a second listening point; render audio associated with at least one first audio object of the first listening point based on the position and/or orientation of the user relative to the first listening point; in response to receiving an indication of a switch from the first listening point to the second listening point, control the rendering of the audio based on at least one signaling associated with at least the at least one first audio object of the first listening point, wherein the at least one signaling comprises one or more conditions for continuing playback of at least the at least one first audio object of the first listening point in response to the indication of the switch to the second listening point, wherein the at least one first audio object is part of a spatial audio content rendered to the user at the second listening point, wherein, in response to controlling the rendering of the audio based on the at least one signaling associated with at least the at least one first audio object, the spatial audio content rendered to the user at the second listening point is different from a spatial audio content based on a position and/or orientation of the user relative to the second listening point after the switch.
2. The apparatus as in claim 1, wherein the at least one signaling associated with the at least one first audio object of the first listening point comprises a value corresponding to an amount of time playback of at least the at least one first audio object of the first listening point is to continue during and/or after the switch to the second listening point.
3. The apparatus as in claim 1, wherein controlling the rendering of the audio comprises rendering at least one second audio object of the second listening point during and/or after the switch.
4. The apparatus as in claim 1, wherein the at least one signaling links the at least one first audio object of the first listening point to at least one second audio object such that playback of the at least one second audio object is delayed based on the one or more conditions in the at least one signaling.
5. The apparatus as in claim 4, wherein the playback of the at least one second audio object is delayed until after the rendering of the at least one first audio object of the first listening point is completed.
6. The apparatus as in claim 1, wherein controlling the rendering of the audio comprises performing a crossfade between the at least one first audio object of the first listening point and a second audio object based on the at least one signaling.
7. The apparatus as in claim 6, wherein the crossfade is performed after an amount of time indicated in the at least one signaling following the switch.
8. The apparatus as in claim 1, wherein controlling the rendering of the audio comprises causing playback of at least one audio object of the second listening point to be prevented while the user remains at the second listening point based on the at least one signaling.
9. The apparatus as in claim 1, wherein controlling the rendering of the audio in response to receiving the indication of the switch from the first listening point to the second listening point is further based on a current position and/or orientation of the user relative to the second listening point.
10. The apparatus as in claim 1, wherein the at least one non-transitory memory and the computer program code may be configured to, with the at least one processor, cause the apparatus to play back the rendering of the audio.
determining a first listening point in an audio space with which a position and/or orientation of a user is associated, wherein the audio space comprises at least the first listening point and a second listening point;
rendering audio associated with at least one first audio object of the first listening point based on the position and/or orientation of the user relative to the first listening point;
in response to receiving an indication of a switch from the first listening point to the second listening point, controlling the rendering of the audio based on at least one signaling associated with at least the at least one first audio object of the first listening point, wherein the at least one signaling comprises one or more conditions for continuing playback of the at least one first audio object of the first listening point in response to the indication of the switch to the second listening point, wherein the at least one first audio object is part of a spatial audio content rendered to the user at the second listening point, wherein, in response to controlling the rendering of the audio based on the at least one signaling associated with at least the at least one first audio object, the spatial audio content rendered to the user at the second listening point is different from a spatial audio content based on a position and/or orientation of the user relative to the second listening point after the switch.
12. The method as in claim 11, wherein the at least one signaling associated with the at least one first audio object of the first listening point comprises a value corresponding to an amount of time playback of at least the at least one first audio object of the first listening point is to continue during and/or after the switch to the second listening point.
13. The method as in claim 11, wherein controlling the rendering of the audio comprises rendering at least one second audio object of the second listening point during and/or after the switch.
14. The method as in claim 11, wherein the at least one signaling links the at least one first audio object of the first listening point to at least one second audio object such that playback of the at least one second audio object is delayed based on the one or more conditions in the at least one signaling.
15. The method as in claim 14, wherein the playback of the at least one second audio object is delayed until after the rendering of the at least one first audio object of the first listening point is completed.
16. The method as in claim 11, wherein controlling the rendering of the audio comprises performing a crossfade between the at least one first audio object of the first listening point and a second audio object based on the at least one signaling.
17. The method as in claim 16, wherein the crossfade is performed after an amount of time indicated in the at least one signaling following the switch.
18. The method as in claim 11, wherein controlling the rendering of the audio comprises causing playback of at least one audio object of the second listening point to be prevented while the user remains at the second listening point based on the at least one signaling.
19. The method as in claim 11, wherein controlling the rendering of the audio in response to receiving the indication of the switch from the first listening point to the second listening point is further based on a current position and/or orientation of the user relative to the second listening point.
20. A non-transitory computer readable medium comprising program instructions for causing an apparatus to perform at least the following:
in response to receiving an indication of a switch from the first listening point to the second listening point, controlling the rendering of the audio based on at least one signaling associated with at least the at least one first audio object of the at least one first listening point, wherein the at least one signaling comprises one or more conditions for continuing playback of at least the at least one first audio object of the first listening point in response to the indication of the switch to the second listening point, wherein the at least one first audio object is part of a spatial audio content rendered to the user at the second listening point, wherein, in response to controlling the rendering of the audio based on the at least one signaling associated with at least the at least one first audio object, the spatial audio content rendered to the user at the second listening point is different from a spatial audio content based on a position and/or orientation of the user relative to the second listening point after the switch.
21. The apparatus of claim 1, where the first listening point and the second listening point are predetermined.
22. The apparatus as claimed in claim 1, wherein the at least one first audio object is not associated with the second listening point.
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"Google Lets You Listen to 3D Virtual Reality Audio in Your Headphones", https://www.popsci.com/google-gives-new-spatial-vr-audio-omnitone, 2 pgs, Jul. 25, 2016.
Filed: Apr 9, 2018
Date of Patent: Nov 24, 2020
Assignee: Nokia Technologies Oy (Espoo)
Inventors: Lasse Juhani Laaksonen (Tampere), Sujeet Shyamsundar Mate (Tampere), Kari Juhani Jarvinen (Vantaa)
Primary Examiner: Ammar T Hamid
Current U.S. Class: Digital Audio Data Processing System (700/94)
International Classification: H04R 5/02 (20060101); H04S 7/00 (20060101); H04S 3/00 (20060101);


A Florianopolis car rental gives you the opportunity to go where you want, when you want. You'll be able to check out all the sights, and even see what else the rest of the area has to offer. We've gathered the most popular questions about car rentals in Florianopolis. Keep reading to find out the dos and don'ts of car rentals.
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text:
Alice Smeets (* 5. Juli 1987 in Eupen) ist eine belgische Dokumentarfotografin. 2008 gewann sie den internationalen Wettbewerb UNICEF-Foto des Jahres.

Leben
Smeets besuchte die Schule in Eupen und machte dort 2005 das Abitur. Ihr Interesse an der Fotografie entdeckte sie 2006. Ein in Lüttich begonnenes Studium der Fotografie unterbrach sie nach einem Jahr, um zum ersten Mal nach Haiti zu reisen und dort zu fotografieren. Nach einem Workshop in New York bot ihr der Waliser Fotojournalist Philip Jones Griffiths, ehemals Präsident der renommierten Agentur Magnum Photos und bekannt vor allem für seine Vietnamkriegs-Bildreportagen, eine Stelle als persönliche Assistentin an.

Seit 2008 gehört Smeets dem belgischen Fotografen-Kollektiv Out of Focus an. Ihre Bilder wurden u. a. bei der Photokina 2008 in Köln und als Projektionen beim "Visa pour l'image" im selben Jahr in Perpignan gezeigt. Im Jahr 2008 besuchte Smeets Haiti erneut. Mit ihren Bildern will Smeets den Blicke des Betrachters auf die Situation der in größter Armut lebenden Menschen lenken. Zwei Jahre später machte sie ihren Masterabschluss auf der University of Arts, London.

Am 18. Dezember 2008 gewann Alice Smeets den internationalen "UNICEF-Foto-des-Jahres"-Wettbewerb, der von UNICEF Deutschland organisiert wird. Sie war mit 21 Jahren die jüngste Gewinnerin des UNICEF-Fotowettbewerbs, der seit 2000 weltweit ausgeschrieben wird. Insgesamt wurden 1450 Bilder von 128 Fotografen aus 31 Ländern eingereicht.

Das prämierte Foto zeigt ein Mädchen aus Port-au-Prince, das mit einem weißen Kleid und weißen Schleifchen in den zu Zöpfen geflochtenen Haaren durch knöcheltiefe Pfützen voll Dreck und Unrat läuft. Hinter dem Kind sieht man zwei schwarze Schweine, die im Müll nach Nahrung suchen. Im Hintergrund erkennt man die rostigen, windschiefen Wellblechhütten des Slums Cité Soleil. "Das Bild führt uns den Lebensmut und die Energie eines Mädchens vor Augen, das mitten im Elend aufwächst", so die Unicef-Schirmherrin Eva Luise Köhler bei der Preisverleihung in Berlin. Das Mädchen auf dem Foto hat die schweren Erdbeben in Haiti im Januar 2010 überlebt.

Smeets wurde zur Präsidentin des belgischen, gemeinnützigen Vereins VIV TIMOUN gewählt, der Projekte auf Haiti ins Leben ruft. Im Jahr 2011 organisierte sie einen Fotoworkshop namens "Eyes on Haiti" und brachte gemeinsam mit fünf weiteren freiwilligen Fotografen zwanzig jungen, erwachsenen Haitianern den Beruf des Fotografen bei.

Gemeinsam mit dem Kameramann Frederic Biegmann brachte Smeets 2014 einen Dokumentarfilm namens AIDependence heraus, der vom negativen Einfluss der internationalen Hilfsorganisationen auf die haitianische Bevölkerung berichtet, seine Premiere auf dem Filmfestival FIPA in Biarritz hatte und unter anderem auch auf dem  Festival Traces de Vies in Clermont-Ferrand sowie auf dem zehnten Festival International du Film Black de Montréal (Montreal International Black Film Festival) in Montreal aufgeführt wurde, das seine Schwerpunkte auf afrikanischen und afroamerikanischen, darunter auch haitianischen Themen hat.

Ein Jahr später schuf und veröffentlichte sie das künstlerische Fotoprojekt "The Ghetto Tarot", in dem sie die Szenen der traditionellen Tarotkarten im haitianischen Slum nachstellte. Die Fotoserie gewann internationale Aufmerksamkeit, wurde in acht verschiedenen Ländern ausgestellt und gewann den internationalen Wettbewerb "Sacred Fire Award of Gente di Fotografia" im selben Jahr.

Im Jahr 2016 veröffentlichte der Verlag Lammerhuber ein Buch mit der Fotoserie "Ghetto Tarot", das den internationalen Preis "One Eyeland Awards, Photobook of the Year 2016" gewann. Im selben Jahr gewann Smeets den Preis "One Eyeland Awards, Photographer of the Year 2016".

Darüber hinaus ist Smeets Co-Entwicklerin der Website "A Whole New High", die sich zum Ziel gemacht hat, über die positiven Effekte psychedelischer Substanzen zu berichten. Zusammen mit Kerrie O'Reilly organisiert sie Psilocybin Retreats in den Niederlanden.

Auszeichnungen
 One Eyeland Awards, Photobook of the Year 2016
 One Eyeland Awards, Photographer of the Year 2016
 Sacred Fire Award of Gente di Fotografia, 2015
 Aachener Zeitungs-Ente des Bezirksvereins Aachener Presse 2013
 3. Preis, Multimedia Portfolio, Picture of the year international 2011
 Preisträgerin der "Fondation belge da la Vocation" 4/2009 (soziales Engagement junger Menschen)
 UNICEF – Foto des Jahres 2008
 Canon Profifoto Förderpreis 01/2008
 Finalistin des Inge Morath Award 2008

Ausstellungen (Auswahl)
 Ghetto Tarot, Solo Exhibition, Schlachthof Eupen. / Belgien, 2016
 GHETTO TAROT, Start Art Fair, London / UK (ARTCO Gallery), 2015
 GHETTO TAROT, Solo exhibition, ARTCO Gallery, Aachen / Deutschland, 2015
 Ghetto Tarot, Fotofestival Encontros da Imagem, Braga / Portugal, 2015
 Ghetto Tarot, Photoville festival, New York / USAGhetto Tarot, Photofestival Leiden/ Niederlande, 2015
 Ghetto Tarot projection, Angkor Watt Photofestival / Kambodscha, 2015
 Ghetto Tarot, Photolux Festival, Lucca / Italien, 2015
 One Game – Everywhere, ARTCO Gallery, Aachen / Deutschland, 2014
 Premier of AIDEPENDENCE, official selection FIPA festival, Biarritz / Frankreich, 2014
 AIDependence, official selection film festival Docville, Louvain, Belgien, 2014
 AIDependence, official selection, international black film festival, Montreal / Kanada, 2014
 Joburg Art Fair, Johannesburg / Südafrica (ARTCO Gallery), 2013
 The Sour Taste of Sugar, ARTCO Gallery, Aachen / Deutschland, 2013
 Haiti, Galerie Verhaeren, Brussels / Belgien, 2012
 EUREGIO Fotosalon, Museum Zinkhütter Hof, Stolberg / Deutschland 2012
 Gruppenausstellung "Here and Now", Mai 2011 in London
 Die Nacht, Gruppenausstellung von 7 Künstlern in der TUFA, Trier. / Deutschland, Januar, Februar 2010
 Haiti Chérie, ARTCO Galerie, Herzogenrath, Deutschland, Februar 2010
 One World – One Game, Joburg Art Fair, Kunstmesse Johannesburg, Südafrika, ARTCO Galerie, März 2010
 Du hast Recht! Kinder haben Rechte, Alice Smeets – Fotografie, Ludwig Forum für Internationale Kunst (Aachen), Deutschland, 2009
 Growing up in Haiti. Visa pour l'Image, Perpignan, Frankreich 2008
 Growing up in Haiti. Ausstellung in Zusammenarbeit mit Amnesty International in Hamburg, Deutschland Dezember 2008

Weblinks
 Webpräsenz der Künstlerin
 Alice Smeets auf 3sat.de, 29. Januar 2010.
 Alice Smeets über die Entwicklung ihrer Wahrnehmung der Entwicklungshilfe in Haiti, Vortrag in Eupen, 17. Dezember 2015
 Das Ghetto Tarot von Alice Smeets.

Einzelnachweise

Fotograf (Belgien)
Fotograf (21. Jahrhundert)
Belgier
Geboren 1987
Frau

redpajama_set_name: RedPajamaWikipedia


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If you want a real showstopper, whisk your hen party off for an afternoon of Reading Exploding Archery on your hen weekend. A twist on the traditional archery lesson, this one includes targets that react on impact. We're talking popping, moving and actual exploding. Amazing! Start by nailing the basic archery shot, have a little practice, and then make those targets dance.
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Unleash your inner Katniss, ladies!
When everyone's got the basic archery shot down, it's time for the exploding archery competition! Bring your A-game and put your new skills to the ultimate test.
Archery is an amazing rush with static targets, never mind ones that explode! It's double the rush. Can you handle it? If the bride's a badass kind of girl who gets excited about a challenge, she'll be buzzing off an exploding archery hen party in Reading!


What are the latest news in mobile?
For fans of the Sony mobile phones in the Europe, they may well rejoice now. Thing is, Sony has eventually opened up the pre-order for its latest products which the company displayed some time ago during the IFA 2014, which took place at Berlin, Germany. To tell the truth, however, fans of the Sony smartphones can actually already pre-order the devices that Sony announced at the IFA 2014 ever since the products were announced by the company. Nonetheless, there are only a select number of countries that are being given the privilege by Sony to pre-order the Japanese tech vendor's newest and most advanced products.
The pre-order that Sony is offering is meant only for the Xperia Z3 smartphone – which is a successor to the Xperia Z2, the Xperia Z3 Compact and also the Xperia Z3 Tablet Compact. In addition to these mobile devices, however, the Japanese company is also giving its loyal fans and customers alike the exclusive chance to get their hands on the QX Lens-style camera, besides some other peripherals. Although Sony is only opening the pre-order for the customers that reside in the European region this time, this may prove to be quite a good opportunity to estimate about the prices that the company will likely be offering for its latest generation products.
To those who can no longer wait to find out which countries are that lucky to get the pre-order opportunity from Sony, well, the list includes Sweden, Spain, Poland, Netherlands, Italy, Germany, France and also the United Kingdom. As in the case of the United Kingdom, Sony Mobile is actually working in partnership with two of the country's potentially largest online retailers, which are, the Unlocked Mobile and the Phone 4U. As a result, Sony's fans in the United Kingdom can now already reserve their whole brand new Xperia Z3. For British users, the Sony Xperia Z3 smartphone is offered with the price tag of 514.98 Pounds.Sony had earlier launched Experia T2 smartphones and had good market as well.
For an alternative, if the British users do not want to spend such a huge sum of cash all at once, they can also go for the contract locked version of the Sony Xperia Z3 smartphone, as well as other upcoming devices from the Japanese company. For the contract locked version of the Xperia Z3, British users will be requested to pay around 38.50 to 38.99 Poundsterling per month, lasting forty eight months.
One thing that is interesting about this pre-order is that Sony is bundling various accessories for the purchase of its new products in the UK. This is undoubtedly to help elevate the sales of the company's new products across the European continent.
While buyers of the Sony Xperia Z3 smartphone will receive the SBH80 stereo Bluetooth headset, those who buy the Xperia Z3 compact, a smaller version of the Z3, will be eligible for the MDR-NC31EM digital noise canceling headset. In comparison, the Xperia Z3 Tablet Compact is being bundled with the SCR28 style cover. Also, Sony is offering a 1-year warranty for all the new products available for pre order.
In spite of the fact that the Xperia Z3 is in fact the next generation of the Xperia Z lineups from Sony, it seems that the phone is not making enough hype. Perhaps this is due to the fact that the specifications carried by the Xperia Z3 are not too much different or superior than the specifications carried by its older brother, the Sony Xperia Z2 smartphone. Just like its older brother, the Xperia Z3 from Sony still carries a 5.2" display with a full HD resolution, 1920 x 1080 pixels. It still counts on a 3GB RAM module as well. Only, unlike its predecessor, the Xperia Z3 comes with a newer CPU from Qualcomm, the Snapdragon 801 quad-core CPU that runs at a clock speed of 2.5 GHz. Unfortunately, however, the battery capacity is slightly lower than that of the Z2. The Sony Xperia Z3 comes only with a 3,100mAh battery. But then again, perhaps this is due to Sony's aim to make the Z3 a relatively slimmer smartphone than its predecessor.
Rana - Rana is a active contributor and moderator of smarttechtoday.com and authors of Ebulletin News websites.I love to explore science and Technology news.


Lowers Utility Bills - Homeowners with GeoExchange systems see energy savings on average of 25 to 50 percent over traditional gas, oil or heat pump systems. A typical 2000 square foot home can be heated and cooled for as little as $1 per day.
Produces Free Hot Water - Unlike any other heating and cooling system, a geothermal heat pump can produce hot water for free. Excess heat is transferred from the heat pump's compressor to the hot water tank. In the summer, hot water is free; in the winter, water heating costs are cut by about half.
Produces Environmentally Friendly Energy - The EPA and the US Department of Energy recognize geothermal systems as the most environmentally friendly way to heat and cool a house. Unlike other heating and cooling systems, geothermal does not emit carbon monoxide, carbon dioxide or other greenhouse gasses that contribute to air pollution.
Creates Positive Cash Flow - Geothermal is an investment that can be tied to your mortgage payment or other low interest finance option; it will produce significantly cheaper utility bills and annual maintenance costs. These savings will easily cover the increase in your loan payment giving you extra cash flow. A geothermal unit usually pays for itself within 3 to 5 years. Try this Geothermal Savings Calculator to see the estimated savings for your home.
Provides Clean and Safe Energy - Geothermal heat pumps don't use fossil fuels (natural gas or propane); thus, there are no threats from combustion such as carbon monoxide poisoning.
Provides Consistent Comfort - Geothermal systems heat and cool homes evenly, eliminating blasts of hot or cold air found with conventional systems. Geothermal also dehumidifies the air during hot summer months.
Operates Quietly - Unlike air conditioners and heat pumps, geothermal units operate quietly, and there is no unsightly outdoor unit to disturb you or your neighbors.
Has a Long Life Span - Geothermal systems typically last more than 20 years if properly maintained. They require little or no maintenance beyond periodic checks and filter changes.
Since a geothermal heating and cooling system could be the biggest investment you make in your home, thorough research is important to determine if this system is right for you and your situation. The upfront cost is quite expensive, but the long-term savings, as you can see, is huge (especially if you live in an extreme-weather environment like Montana).


text:
Console Component
=================

The Console component eases the creation of beautiful and testable command line
interfaces.

Resources
---------

  * [Documentation](https://symfony.com/doc/current/components/console/index.html)
  * [Contributing](https://symfony.com/doc/current/contributing/index.html)
  * [Report issues](https://github.com/symfony/symfony/issues) and
    [send Pull Requests](https://github.com/symfony/symfony/pulls)
    in the [main Symfony repository](https://github.com/symfony/symfony)

Credits
-------

`Resources/bin/hiddeninput.exe` is a third party binary provided within this
component. Find sources and license at https://github.com/Seldaek/hidden-input.

redpajama_set_name: RedPajamaGithub


The subclass of SQLException thrown when an instance where a retry of the same operation would fail unless the cause of the SQLException is corrected.
Constructs a SQLNonTransientException object with a given reason.
Constructs a SQLNonTransientException object with a given reason and SQLState.
Constructs a SQLNonTransientException object with a given reason, SQLState and vendorCode.
Constructs a SQLNonTransientException object with a given reason, SQLState, vendorCode and cause.
Constructs a SQLNonTransientException object with a given reason, SQLState and cause.
Constructs a SQLTransientException object with a given reason and cause.
Constructs a SQLNonTransientException object with a given cause.
Constructs a SQLNonTransientException object. The reason, SQLState are initialized to null and the vendor code is initialized to 0. The cause is not initialized, and may subsequently be initialized by a call to the Throwable.initCause(java.lang.Throwable) method.
Constructs a SQLNonTransientException object with a given reason. The SQLState is initialized to null and the vendor code is initialized to 0. The cause is not initialized, and may subsequently be initialized by a call to the Throwable.initCause(java.lang.Throwable) method.
Constructs a SQLNonTransientException object with a given reason and SQLState. The cause is not initialized, and may subsequently be initialized by a call to the Throwable.initCause(java.lang.Throwable) method. The vendor code is initialized to 0.
Constructs a SQLNonTransientException object with a given reason, SQLState and vendorCode. The cause is not initialized, and may subsequently be initialized by a call to the Throwable.initCause(java.lang.Throwable) method.
Constructs a SQLNonTransientException object with a given cause. The SQLState is initialized to null and the vendor code is initialized to 0. The reason is initialized to null if cause==null or to cause.toString() if cause!=null.
cause - the underlying reason for this SQLException (which is saved for later retrieval by the getCause() method); may be null indicating the cause is non-existent or unknown.
Constructs a SQLTransientException object with a given reason and cause. The SQLState is initialized to null and the vendor code is initialized to 0.
reason - a description of the exception.
Constructs a SQLNonTransientException object with a given reason, SQLState and cause. The vendor code is initialized to 0.


Anhui Jumei Biodegradable technology Co., Ltd. is a professional manufacturer of biodegradable & compostable resins,bags and films.
5.EN13432,ASTM D6400,BPI.Biobased test,SGS,EU No.10/2011 for food-contact safe.
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Mikhail Klimentyev (RIA Novosti, Kremlin) / Reuters Russian President Vladimir Putin (R), Kazakh President Nursultan Nazarbayev (C), and Belarus President Alexander Lukashenko take part in a meeting of the Eurasian Economic Union in Astana, May 29, 2014.
EDWARD LEMON is a doctoral candidate at the University of Exeter. He specializes in migration and security in Russia and Central Asia. JOE SCHOTTENFELD is an Associate Research Scholar at Yale Law School. He was previously a Visiting Fellow at the University of Central Asia and a 2015 recipient of a National Geographic Young Explorers grant.
At the same time Russia has been expanding its security borders, it has been closing its physical ones, mostly to migrants from the very countries in which it has built a military presence. Since January 2015, Russia has introduced more stringent visa regulations for migrants, including admission tests and higher fees. Immigration authorities have deported thousands of migrants and added hundreds of thousands of names to the country's reentry ban list, which prevents those named from returning for three, five, or ten years for infractions such as overstaying a visa. Besides being a human rights issue, the closing of the borders is an economic problem for the Central Asian countries. Tajikistan is, by share of GDP, the most remittance-dependent country in the world. Kyrgyzstan is the second. Uzbekistan is in the top ten. Restricting migration to Russia is, in many ways, the same as cutting foreign assistance, except perhaps more damaging.


text:
Q: How to sum values based on two criterias I'm trying to sum values based on two criteria: category and month (Renew).
I want to sum categories by renew month.
So, for things renewed in March, sum separately by category, but what is monthly and have the same category, must be summed too.
Example table
For example:
I have Softwares / Apps / Sites category that have different renew dates (March, April, May, June, September and also monthly).
So, I need to separate and sum values by month, but what are "monthly" have to be summed on all months.
Like this:

Softwares / Apps / Sites category

*

*march:  26,50

*april: 24,90

*may: 30,60

*june: 64

*september: 24,90

Hope I made it clear...
I'm going crazy with that... please, help me...

A: For March:
=SUMPRODUCT(B2:B1000*(C2:C1000="Softwares / Apps / Sites")*(((E2:E1000="Monthly")+(E2:E1000="March"))>0))

Categories and month can be refer to cell. In the picture I can't see column, change them with real layout.

A: My table data is this:
Description,Price,Category,Period,Renew,Day
Netflix.Com,9,Streaming,Monthly,Monthly,5
Disney Plus,11,Streaming,Monthly,Monthly,5
Amazonprime,8,Streaming,Monthly,Monthly,5
Youtube,8,Softwares/Apps/Sites,Monthly,Monthly,5
Spotify,6,Softwares/Apps/Sites,Monthly,Monthly,5
Google,15,Work,Monthly,Monthly,5
Bank Fees,5,Bank Taxes,Monthly,Monthly,5
Internet,20,Streaming,Monthly,Monthly,5
Healthcare,20,Health,Monthly,Monthly,5
Smart Fit,35,Academy,Annual,June,10
Cellphone Plan,20,Work,Annual,June,10
Backup sw,12.5,Softwares/Apps/Sites,Annual,March,20
Office 365,50,Softwares/Apps/Sites,Annual,June,15
Truecaller,10.9,Softwares/Apps/Sites,Annual,September,10
Kasperksy,10.9,Softwares/Apps/Sites,Annual,April,10
Canva,5.7,Work,Annual,May,15
Kasperksy,10.9,Softwares/Apps/Sites,Annual,May,15
Canva,5.7,Work,Annual,May,5

(To make it easier to answer your questions, please export the data as CSV, then use four leading spaces to format the data in your question - it saves me five minutes typing in the data, and potentially making errors).
The command to use is SUMIFS. The syntax is:
SUMIFS(sum_range, criteria_range1, criteria1, [criteria_range2, criteria2], …)

So, if the entire table is located between A1 and F19, I could do this:
=SUMIFS($B$1:$B$19, $C$1:$C$19,"Softwares/Apps/Sites",$D$1:$D$19,"Monthly")

With my data, a total of 14.

redpajama_set_name: RedPajamaStackExchange


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The Schwarzach gorge extends from Gasthof Kühle Rast in the direction of Zell am Ziller right next to the road. Awaiting you in the Schwarzach gorge are rushing waterfalls and bubbling pools.
✗ Dates:	daily in July and August from Monday to Friday. In May, June, September, and October upon request.
✗ Duration:	ca. 2.5 hrs.
Rappelling up to 25 meters, sliding, and climbing.
Equipment (wetsuit) included; registration required!
Rafting – an adventure for the whole family! After a safety talk with the boat guides, the boat will be placed in the water, and you can head out into the refreshing, cool water. In the water, you will conquer the waves – an unforgettable, white water experience with a real thrill.
At a dizzying height of 80 meters, the new Flying Fox in the Riederklamm climbing garden is a highlight for all adrenaline junkies. Two routes lead over the Riederklamm. Guides will accompany you on the Flying Fox tour and provide necessary safety and instruction for the use of equipment.
A special highlight in Gerlos is a tandem paragliding flight. From the "mountain airport" in the hands of experienced paragliding pilots, you can glide down towards the valley past green pastures and imposing rock faces. Experience Gerlos in the Zillertal from a bird's-eye perspective and enjoy the breathtaking landscape.