Annotating Recorded Telemetry for Extracting Meaning and Insight from Scenarios in Virtual Reality (ARTEMIS-VR)

影视小说的制作人在吸引观众的注意力方面面临着一个令人生畏的挑战。目前，行业首席执行官和电影内容制作人用来了解电影或电视试播集是否具有商业可行性的黄金标准是观众测试。自1928年首次使用以来，受众测试的结构几乎没有变化。邀请目标观众在剧院中预览内容。之后，观众填写问卷，对他们看过的节目或电影进行评分。然后，一个由二三十人组成的较小的焦点小组被要求留下来，更详细地讨论他们的反应，提问主要集中在确定总体评分上（例如，“你对这部电影的总体反应是什么？）和电影的一般方面（例如：“列出你最喜欢/最不喜欢的电影场景或时刻？").这种方法有一些局限性：* 自从构想了受众测试以来，我们对情感反应和个体差异如何塑造我们评估体验的理解已经取得了进展 * 受众测试从未被设计用于完全沉浸式体验。目前还不清楚现有的观众测试方法如何解释观众将如何消费3D内容 * 目标观众是根据表面特征选择的（年龄、种族），而不是更好地决定兴趣和参与度的自我相关特征 * 对于在鞋上操作的制作来说，这是非常昂贵的-为了满足这些需求，我们正在进行一项可行性研究，以测试一种新的受众测试方法。这将涉及内容创作者标记他们想要的情感反应的事件，然后测试观众是否表现出想要的反应。为了实现本可行性研究的目标，我们将：* 调查内容创作者希望获得2D和3D体验的哪些功能反馈 * 开发SimLabVR原型系统，用于演示目的，足以证明原理 * 进行试点研究，以测试是否可以仅使用情感反应来识别目标受众，而不依赖于表面特征。

Producers of screen fiction face a daunting challenge in capturing the attention of audiences. The current gold standard used by industry CEOs and film content producers to understanding if a film or TV pilot will be commercially viable is audience testing. The structure of audience testing has changed little since it was first used in 1928\. A target audience is invited to preview content in a theatre. Afterward, the audience fills out questionnaires rating the show or film they have seen. A smaller focus group of twenty or thirty is then asked to stay and discuss their reactions in more detail, with questioning focused primarily upon ascertaining an overall rating (e.g., "What was your reaction to the movie overall?") and generalised aspects of the film (e.g. "list which scenes or moments of the movie you liked the most/least?"). There are a number of limitations with this approach:* Since audience testing was conceived, our understanding of how emotional responses and individual differences shape how we evaluate experiences has advanced* Audience testing was never designed for fully immersive experiences. It remains unknown how well existing audience testing methodologies can explain how audiences will consume 3D content* Target audiences are selected on the basis of superficial characteristics (age, ethnicity) instead of the self-relevant traits that better determine interest and engagement* It is prohibitively expensive for productions operating on a shoe-string budgetTo address these needs we are running a feasibility study to test a new approach to audience testing. This will involve content creators labeling onscreen events for their desired emotional response and then testing if audiences show the desired response. To achieve the aims of this feasibility study we will:* Investigate what features of 2D and 3D experiences content creators would like feedback on* Develop a prototype system of SimLabVR for demonstration purposes sufficient to show proof of principle* Run a pilot study to test if it is possible to identify a target audience using emotional responses alone, without reliance on superficial characteristics.