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Figure 3 Internal view — construction of the cylindrical screen (see online version for colours) Therefore, a landscape can be initially video recorded with multiple cameras and at the same time sound recorded with multiple microphones using surround recording techniques. It can then be reproduced in sound and picture in that space, achieving a reproduction result of a special sense of realism and immersion. At an artistic level, the recorded scape may undergo special processing using video/audio software, thus exploring new forms of artistic expression of the aforementioned characteristics (Figure 4) (Loufopoulos et al., 2012).

Figure 3 Internal view — construction of the cylindrical screen (see online version for colours) Therefore, a landscape can be initially video recorded with multiple cameras and at the same time sound recorded with multiple microphones using surround recording techniques. It can then be reproduced in sound and picture in that space, achieving a reproduction result of a special sense of realism and immersion. At an artistic level, the recorded scape may undergo special processing using video/audio software, thus exploring new forms of artistic expression of the aforementioned characteristics (Figure 4) (Loufopoulos et al., 2012).

Related Figures (10)

‘igure 1 ARTE: overview of settings for screen, projectors and speakers (see online version for colours)
‘igure 1 ARTE: overview of settings for screen, projectors and speakers (see online version for colours)
figure 2 External view of the installation at the 7th Festival of AudioVisual Arts, Corfu, June 2013 (see online version for colours)
figure 2 External view of the installation at the 7th Festival of AudioVisual Arts, Corfu, June 2013 (see online version for colours)
‘igure 4 Artistic and realistic visualisation through the ARTE system (see online version for colours)
‘igure 4 Artistic and realistic visualisation through the ARTE system (see online version for colours)
‘igure 6 The main square of Lixouri at different seasons (see online version for colours) All the above content was coded and archived in digital form, making up a rich collection of recordings, which for the first time provide a combined panoramic (video) and three-dimensional (surround) sound coverage for the regions of interest. All the recordings were done following the ARTE specifications and selected pieces are reproduced by synchronising sound and picture on each presentation of the installation.
‘igure 6 The main square of Lixouri at different seasons (see online version for colours) All the above content was coded and archived in digital form, making up a rich collection of recordings, which for the first time provide a combined panoramic (video) and three-dimensional (surround) sound coverage for the regions of interest. All the recordings were done following the ARTE specifications and selected pieces are reproduced by synchronising sound and picture on each presentation of the installation.
ure 7 (a) Double M/S setup (b) Decoding double M/S, leveling of speaker separation and experimentation with microphone angles (see online version for colours)
ure 7 (a) Double M/S setup (b) Decoding double M/S, leveling of speaker separation and experimentation with microphone angles (see online version for colours)
yure 8 Microphone configuration in Holophone H2-Pro (see online version for colours)
yure 8 Microphone configuration in Holophone H2-Pro (see online version for colours)
Figure9 Some shots showing the recording conditions (see online version for colours) In order to implement our design for video capturing, we constructed a special wooden base sitting on a tripod, which enabled us to put five cameras in such a line so that they cover a 270 degree sight range. The cameras were configured in high definition mode in order to have maximum quality and to be able to have the flexibility of data management in post production. At the same time, the DSLR photo camera took shots of the process as well as interesting spots in simple or panoramic version.
Figure9 Some shots showing the recording conditions (see online version for colours) In order to implement our design for video capturing, we constructed a special wooden base sitting on a tripod, which enabled us to put five cameras in such a line so that they cover a 270 degree sight range. The cameras were configured in high definition mode in order to have maximum quality and to be able to have the flexibility of data management in post production. At the same time, the DSLR photo camera took shots of the process as well as interesting spots in simple or panoramic version.
Figure 10 Normal and distorted angle projection (see online version for colours) On the ARTE system, in order to achieve the synchronised reproduction of multiple channels of audio and video and to apply video mapping techniques on projections, we use the Millumin v.1.33 software, developed by the Anomes Company (http://www.anomes.com).
Figure 10 Normal and distorted angle projection (see online version for colours) On the ARTE system, in order to achieve the synchronised reproduction of multiple channels of audio and video and to apply video mapping techniques on projections, we use the Millumin v.1.33 software, developed by the Anomes Company (http://www.anomes.com).
Figure 11 Complete overview of the ARTE immersion environment: internal and external structure (see online version for colours)
Figure 11 Complete overview of the ARTE immersion environment: internal and external structure (see online version for colours)
Figure 12 The video mapping process using the frame on Millumin (see online version for colours)
Figure 12 The video mapping process using the frame on Millumin (see online version for colours)
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