As the popularity of VR increases, we learn new things everyday and learn how to make good and comfortable users. As a Google engineer responsible for Daydream and Tango projects, Mary Cassin is also proficient in how to design the best VR/AR experience. In the next few years, the best practices in the production of VR/AR projects will certainly change, but Casin shared with us the lessons she has learned so far. The first point is very obvious. If the user feels uncomfortable, they will leave and will even leave forever. At this stage of the current development of VR/AR, early creators bear a very important responsibility. They need to provide comfortable and valuable content because failure will damage the reputation of the entire industry. Considering the depth of the object and the user's focus is even more important for VR. The eyes will naturally focus on the objects closest to them, and the background will be blurred. To avoid eye strain and headaches, these objects must maintain a distance of at least one arm, and multiple objects cannot be spaced too far apart. Casin explained: "For VR, you must be very careful not to let players focus on multiple objects that are far apart from each other. This can lead to distractions and very uncomfortable." When building VR/AR projects, it is often a 360-degree experience that the creator is in trouble. Most people will sit and experience, and not always choose to swivel chair, or do not want to rotate at all. Kasing joked: "Most people want to copy the entire Iron Man, 360-degree UI, when they first develop VR projects. Then they realize that users don't even need half of the UI." Kasin suggested setting the field of view at 70 degrees, while the interaction was controlled at 30 degrees. Rendering small areas may also help maintain high water performance. The Daydream UI is a practical example of these principles. In order to reduce the probability of motion sickness, 60fps is the lowest standard, and 6-DOF content then raises the frame rate to 90fps. Although slightly lower than this value does not make much difference, but developers should use it as a standard. For a variety of reasons, motion sickness plagues many early VR/AR content. This is more likely to be seasick with some people, while others are less likely to feel seasick. The VR/AR's field of vision should always be steady while the speed remains constant. As for creating a comfortable experience that encourages interaction, Casin also gave some suggestions. First of all, if you want to interact, you can't place players at the edge (like cliffs) because most people will choose to look down. She said: "The edge can be a very powerful tool, but if you want users to interact with the UI in front, they will think 'My God, I'm standing on the edge'." It is also important to set a suitable size of space. You shouldn't surround the player unless it's a particular experience like a car, but you shouldn't place the player in a remote area where there is almost nothing. Kasin said that she herself has often fallen into such a large and empty design. Unless it is a flight or similar experience, Casin does not recommend setting up a floorless experience. One example that uses most of the above principles is the Tango application Woorld. During the demonstration, Casin emphasized that the app uses text and visual cues to encourage physical movements, such as moving forward (if there is no hint, the player is likely to stand in the same place). Another good practice (also used in Woorld) is the use of visual elements to illustrate that your application is scanning something. When designing VR/AR content, Kasin thinks a useful technique is to design in VR/AR, such as “Tilt Brushâ€, because you can better understand the content. She finally said: "The sooner you enter VR, the better. So you can establish a certain concept, you know what happened, you will know how to solve." Wuxi Ark Technology Electronic Co.,Ltd. , https://www.arkledcn.com
