THE GUITAMMER COMPANY
AN INTRODUCTION TO HAPTIC-TACTILE
BROADCASTING — WHITE PAPER
AN INTRODUCTION TO HAPTIC-TACTILE BROADCASTING — WHITE PAPER
TABLE
OF
CONTENTS
An Introduction to Haptic-Tactile Broadcasting —
White Paper
3
The Internet of Things (IoT); and Point of View
Cameras (POV) 11
The Difference between “Seeing”, “Hearing” and
“Feeling” an Event
4
Haptic-Tactile Broadcasting and Live Virtual
Reality What is Haptic-Tactile Broadcasting? 4
End to End Process and System Architecture 5
The Economic Benefits of Haptic-Tactile
Broadcasting - Monetization Considerations &
Strategies
13
Haptic-Tactile Broadcast End User CE Device
Ecosystem
6
Sensors or “Capture” Devices
6
Live Event Production Considerations
7
Encoding
8
Professional Broadcast Transport 8
Broadcast Plant Processing 8
Distribution to the End User 8
12
Conclusions
14
Case Studies
14
Case Study One: The NHRA on ESPN2
14
Case Study Two: The San Jose Sharks
on Comcast SportsNet CA
15
Intellectual Property 15
End Users and Consumer Electronics Hardware
8
Standardization 10
Synchronization & Latency 10
IPTV and Streaming Media
10
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AN INTRODUCTION TO HAPTIC-TACTILE BROADCASTING — WHITE PAPER
AN INTRODUCTION TO HAPTIC-TACTILE BROADCASTING — WHITE PAPER
“I
mmersive”, “Personalized”, “Virtual Reality”, “Second Screen”, “Over-the-Top Content”, “TV Everywhere”
are the words now being used to describe the new ways to create, produce and distribute all types of
content to consumers. Continuing advances in picture quality, now up to “4K” with “8K” not far behind,
streaming of post produced and live content, including sports, new audio formats, growing interest in and
increasing adoption of Virtual Reality, combined with viewers at home and on the go using their smart phones
and tablets as their primary or “second screen” for watching TV, are creating challenges and opportunities for
new technologies to come online to give consumers the type of personalized and immersive experience they are
looking for.
For example, broadcast, home and cinema sound is changing with the creation of object based audio formats by
proponents such as Dolby, DTS and the MPEG-H Audio Alliance. The coming Advanced Television Standards
Committee (ATSC) 3.0 Standard will feature a new audio element giving broadcasters and viewers the ability to
personalize content in new and exciting ways.
Speaking of the new ATSC 3.0 standard, Dan Daley in his August 6, 2015 “Sports Video Group” blog wrote:
“The two platforms vying to become the audio element for the ATSC 3.0 standard showed their
stuff …. ……..There will also be far more flexibility for broadcasters in the presentation of multiple
languages, accessibility features, immersive sound elements and other effects through the use of
audio ‘objects.’ Viewers will be able to personalize their TV sound experience by adjusting the level
of dialog, changing the position of certain sound elements, changing dialog language, selecting
different narration (like ‘home’ vs. ‘away’ announcers for sporting events) or adding commentary
tracks, and so on.”
Dan Daley, Sports Video Group, August 6, 2015
However, even with all these advancements in video and audio, there is still one important aspect missing, the
ability to let the viewer actually “feel” , “sense” or “perceive” the on-screen action creating a truly immersive and
personalized experience.
By definition “haptics” and “tactile” both are understood as “relating to the sense of touch”. Used in the broader
sense, “haptics” or “tactile” are the ways in which individuals can perceive the world around them through
“feeling” as opposed to other senses such as “seeing”, “hearing”, “tasting” and “smelling”.
This White Paper is an introduction to the technical, production and economic aspects and benefits of adding
haptics and tactile effects to broadcasts of live events.
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AN INTRODUCTION TO HAPTIC-TACTILE BROADCASTING — WHITE PAPER
The Difference between “Seeing”, “Hearing” and “Feeling” an Event
Although haptic-tactile events may have a visual and auditory portion to them, i.e. a viewer at home can typically
both see and hear the impact of a hockey player hitting the boards, it is separate and distinct from both the visual
and auditory portion of the event as it relates to the actual “feeling” or “force” of the event*.
Perhaps two examples will assist in clarifying the distinction and relationship between auditory and haptictactile events. Take for instance an airplane. If you were piloting the plane or flying in the plane you might
hear the sound of the engine(s) but you may very well feel the hum of the engine; you may be able to feel the
plane moving up, down, sideways and the jarring and bouncing as the plane lands. If you are a nervous flyer,
hopefully all of those feelings, i.e. haptic-tactile events, would be gentle and controlled enough not to cause you
alarm. Now assume you want to experience a broadcast of an airplane race and that you have a flight simulator
or Virtual Reality setup at home. Certainly you would want to see out of the cockpit as if you were the pilot;
you would want to hear the sounds the engines make and even the dialogue between the pilot and co-pilot and
the pilot and the control tower to have as realistic an experience as possible. But you would also want to feel
the pitch, roll and yaw of the plane, feel the rumble of the engines, and if you are the adventurous sort, feel the
plane aggressively bucking up and down in bad weather. In this scenario, a broadcast that combines the senses of
seeing, hearing and feeling, a haptic-tactile enabled or enhanced broadcast, would be the solution and provide a
truly immersive experience for the viewer.
Use an American football game as the second example. The linebacker “shoots the gap” between blockers and
“plants” [tackles] the running back – hard – into the ground. Certainly in today’s sports production broadcasts
multiple images and angles of the hit would be recorded by one or more cameras, some undoubtedly in slow
motion; the sound of the “crack” of the hit would be recorded perhaps with a parabolic microphone and the
announcer will excitedly exclaim - “did you feel that hit!”. The answer to that question will unfortunately be “no,
I did not feel that hit.” Now imagine if either or both of the players, the linebacker and the running back were
wearing sensors and that actual impact, the feeling, the haptic-tactile event was captured in addition to the sight
and sound of the impact. Imagine if the feeling of that impact were able to be broadcasted along with the video
and audio and then used by a device that imparted that physical impact to the viewer at home, or in a sports bar
or even in the football stadium itself in a specially equipped seat. If you can imagine that, then you have imagined
what haptic-tactile broadcasting is.
*While it is true that certain frequencies of sound combined with certain sound pressure levels are able to be both heard and
felt by the end user, those experiences relate to the end user’s perception of the event and do not necessarily coincide with the
concept of specifically capturing the events feeling or impact and then separately and distinctly broadcasting and transferring
those experiences to the end user.
What is Haptic-Tactile Broadcasting?
Haptic-tactile broadcasting is the end to end use of technology to capture, encode, broadcast – transmit, transport,
by any means - decode, convert and deliver the “feeling” or “impact” or “motion” of a live event so that a remote
viewer can experience the same haptic-tactile experience of the broadcast event.
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AN INTRODUCTION TO HAPTIC-TACTILE BROADCASTING — WHITE PAPER
End to End Process and System Architecture
A simplified system architecture is shown below in fig. 1. where the “event capture” represents the animate
(athlete) or inanimate (race car) object whose “feeling”, “force”, “impact”, i.e. “haptic-tactile effect” is “captured”
by means of one or more electro-mechanical sensors. Once the haptic-tactile effect is captured it is then encoded
for transport, transported to the broadcaster’s plant or facility, processed and then emitted for distribution to
the cable, FTTH, DBS, OTA or IP providers, distributed to the end user and then decoded so that the haptictactile signal can be utilized by various types of consumer electronics and experienced by the end user (viewer)
in conjunction with, and synchronous with, the broadcasts audio and video content.
PROCESSING
HAPTIC-TACTILE
EVENT CAPTURE
ENCODING
TRANSPORT
AND
DECODED AND USED
REMOTE END USER
EMISSION FOR
DISTRIBUTION
DISTRIBUTION BY
TO REMOTE END
WHO EXPERIENCES
BROADCAST
USER
THE HAPTIC-TACTILE
BY
EVENT’S EFFECTS
FACILITY
Figure 1 - Simplified Haptic-Tactile Signal Path
(Note: Haptic-Tactile signal path is synchronous with the event’s audio and video content)
A more detailed look at the end to end process and system architecture in a traditional broadcast environment
is shown below in Fig. 2.
“HAPTIC 1” SUB-MIX POSITION /
SENSOR DATA COLLECTION
LOCATION
• Located in or near live event, most
likely not in production
truck(s).
• Similar to how RF cameras and
in-car video is sub-mixed.
• Operator can be called an "H1" like an audio "A1"
• Sensors on physical
animate or inanimate objects to
capture haptic-tactile effects
• Sensors may be digital or analog
• Data from multiple sensors is
monitored, managed, sub-mixed,
etc. as needed, and then sent to
the production truck for inclusion
in the broadcast.
LIVE EVENT; I.E. RACE,
HOCKEY GAME, ETC
• Haptic-tactile data received from
"H1" sub-mix / sensor data
collection location.
• Data included in program content
either automatically or as called by
producer.
• Haptic-tactile data encoded in
either the audio or video streams.
• Haptic-tactile data processed as
part of normal production workflow
and survives all processing in the
truck.
REMOTE PRODUCTION TRUCK
DISTRIBUTION
• Program received from production
truck via normal back haul means;
satellite or fiber
• Haptic-tactile data is processed at
broadcast facility along with the
program's audio and video content.
• Distributor - whether cable, DBS,
FTTH, IP or OTA provider proceses program - audio, video
and haptic-tactile content with
normal processes in place
• Haptic-Tactile essence is distributed
to end users and remains encoded
in the program data
• Program content, including
haptic-tactile data, is emitted for
distribution to all distribution
providers.
BROADCAST FACILITY
• Haptic-Tactile data received as part
of the program from all provider
types and means of transmission:
cable, DBS, FTTH, IP, OTA.
• Decoded by end user supplied CE
hardware.
• End user (viewer) experiences
haptic-tactile effects in conjunction
with and synchronous with, the
event's audio and video content.
END USER
Figure 2 - “Event Capture - Production Truck – Broadcast Facility – End User” Flow Chart
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AN INTRODUCTION TO HAPTIC-TACTILE BROADCASTING — WHITE PAPER
Haptic-Tactile Broadcast End User CE Device Ecosystem
Haptic-tactile broadcast signals can be decoded and used by a wide range of CE devices including home theater,
gaming, PC, mobile, TV’s, STB’s and IP streaming devices creating a large potential licensing ecosystem.
PC AND MOBILE DEVICES
For Gaming, racing & flight
simulators, etc
STB & STREAMING
DEVICES
CINEMAS AND LIVE
VENUES
Live streaming of
alternative content,
including sports.
Haptic-Tactile
Broadcast Data
CONSOLE
GAMING
SPORTS STADIUMS
Special “fan zones” or
premium seating areas
upgraded to include
haptic-tactile devices
CE DEVICES
Activates integrated or
standalone haptic-tactile or
motion devices, furniture,
etc.
Figure 3 - Haptic-Tactile Broadcast Data Ecosystem
Sensors or “Capture” Devices
By definition, a sensor, from the Latin “sentire” to perceive, is:
“a device that responds to a physical stimulus (as heat, light, sound, pressure, magnetism, or a
particular motion) and transmits a resulting impulse (as for measurement or operating a control).”
http://www.merriam-webster.com/dictionary/sensor
When used as part of a haptic-tactile broadcast, sensor(s) “capture” or “record” the haptic-tactile event of the
person or object to be used as part of the broadcast architecture described above. Sensors are to haptic-tactile
broadcasts as microphones are to the audio and cameras to the video.
Sensors may be placed on the athletes themselves; on physical objects that are part of the sporting event such as
a bat, a ball, a basketball rim, hockey boards, skis, etc.; or on the inanimate objects that are central to the event
itself meaning a race car, a motorcycle, a surfboard or water ski, an airplane, etc.
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AN INTRODUCTION TO HAPTIC-TACTILE BROADCASTING — WHITE PAPER
Today many of the items mentioned above already have sensors attached to them and are now capturing data
for use in the visual portions of the broadcast, or simply for the athletes or teams internal benefit. This existing
sensor data can, in many instances, be used natively or with the assistance of a data conversion routine (i.e.
converting “positional” or “location based” data into “speed” or “force”) to provide the input data necessary for
a haptic-tactile broadcast.
The proliferation of sensors that are already deployed is a significant benefit in terms of reduced costs and
production efforts in allowing haptic-tactile broadcasting to scale as a natural extension of live broadcast
production.
Live Event Production Considerations
Figure 2 above, “Event Capture - Production Truck – Broadcast Facility – End User” Flow Chart provides a
relatively detailed overview of the entire haptic-tactile broadcast process from the point the haptic-tactile data is
captured from an event, all the way to being used by the end user in a traditional broadcast environment.
Successful haptic-tactile broadcasting requires forethought and planning in order to seamlessly integrate it into
the production, as such it is important to note the following:
ӹӹ The capture and initial processing of haptic-tactile data may (most likely will) require the use
of a “sub-mix” or “haptic-data collection point” outside of, or separate from the existing audio
and video production.
ӹӹ Haptic-tactile data intensity settings; choices between haptic-tactile data sources, the aggregation
or combination of haptic-tactile data from multiple objects* for “entire field” type effects (i.e.
the feeling of a portion of, or the entire field of race cars as they round a turn as opposed to
the forces from one single car); and other capture related production decisions are made at
the haptic-tactile sub-mix or collection point. An H1 (Haptic 1) would be in charge of these
decisions much like an A2 can be responsible for FX mixing and RF camera operators are
responsible for their remote camera.
ӹӹ The capturing and onsite workflow production of haptic-tactile data, although separate from
the audio production, is more closely analogous to audio production than video production in
the sense that haptic-tactile data is captured at the same time the video of the event is captured
in order to create the initial synchronization with the program content.
ӹӹ Just as with audio and video content, the producer will “call the shot” and decide whether or
not haptic-tactile data will be included and whether or not it should be part of the live action or
part of an instant replay or both.
ӹӹ Like the audio and video content, thought must be given as to how much, how intense and how
often haptic-tactile data is included in the broadcast by the producer.
* It is understood that the inclusion of haptic-tactile data from multiple sources will require new and
creative production techniques to avoid confusion and consternation at the event and for the end user.
Not unlike how multiple camera angles, on-player cameras and field microphones, 3D and Virtual Reality
required and are continuing to require the same.
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Encoding
Haptic-tactile data is encoded into the broadcast at the event level (either in the production truck or at the remote
“haptic-tactile data sub-mix or collection point”). Data can be encoded into the broadcast per the transport
schemes below, either as non-audio AES3 or via SDI.
Professional Broadcast Transport
Encoded haptic-tactile data can be transported at the on-site event to the production truck and then to the
broadcast facility as part of the broadcast by means of either AES3 or SDI (HANC / VANC) or a combination
thereof.
Additionally, haptic-tactile data can be broadcast to the “cloud” for use by the remote user (viewer), by-passing
the traditional broadcast facility. In this use case to maintain synchronization only a small piece of metadata
will need to be transported to and through the broadcast facility and then through distribution to the end user.
Note: Already completed haptic-tactile broadcasts combined with on-going work are enabling robust amounts of data to fit
within the existing payload constraints of either AES3 or SDI transport methods.
Broadcast Plant Processing
Combined with, and now part of the entire broadcast, the haptic-tactile data is processed in the broadcaster’s
facility and provisions are made for encoders, decoders, and other processes that the broadcaster uses should be
updated to allow for the survivability of the haptic-tactile data until final emission for distribution.
Distribution to the End User
As with processing at the broadcaster’s plant, the haptic-tactile data is an integral part of the entire broadcast and
survives the entire process all the way to final distribution to the end user.
Either before emission from the broadcast plant or after receipt for distribution by the cable, FTTH, DBS, IP, etc.
provider, the haptic-tactile data may be embedded into the audio format (For further information, refer to the
“Note” at the end of the section following, “End Users and Consumer Electronics Hardware.”)
End Users and Consumer Electronics Hardware
For the end user, whether at their home, at a sporting venue, cinema or other location, the haptic-tactile data is
decoded and converted into a digital or analog signal that is used by the appropriate electro-mechanical haptictactile consumer electronics hardware so that the end user can experience substantially the same haptic-tactile
effects as the event’s original haptic-tactile event.
These consumer electronics devices can be used with or integrated into furniture; home theater type seating;
cinema seats; racing and flight simulators; gaming vests; haptic enabled phones or tablets; or other such devices
are used to provide the end user’s own haptic-tactile experience, typically in conjunction with their existing
audio and video system.
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AN INTRODUCTION TO HAPTIC-TACTILE BROADCASTING — WHITE PAPER
• End user's STB, TV, Streaming
Device, AVR, Smart Phone, Tablet
or similar device receives
haptic-tactile enhanced broadcast
and decodes the haptic-tactile data
from the entire broadcast stream
for use with end user hardware.
• Or, decoding of haptic-tactile data
may take place outside of the STB
or similar device by the end user
hardware or even an accessory
decoder device. In that case then
the data either simply passes
through the end user device or
decoder device and then goes to
the STB, TV, etc., or,
• Full broadcast data stream output
via HDMI from the STB, TV,
etc. to the haptic-tactile decoding
accessory or device itself.
• Output from the decoding device to
the end user hardware via HDMI,
Optical or Bluetooth.
Broadcast
Broadcast
Broadcast
END USER CONSUMER
ELECTRONICS HARDWARE
• Provided in varying form factors
based on use. For example:
furniture; home theater type
seating; cinema seats; racing and
flight simulators; gaming vests;
haptic enabled phones or tablets;
or other such devices.
• Manufacturers provide connectivity
to the the STB, Flat Panel, other
device, etc. via HDMI, Optical or
Bluetooth.
HAPTIC TACTILE
DECODER
STB / PANEL , PC
STB / PANEL
HAPTIC TACTILE
DECODER
END USER DEVICE
• Manufacturer needs license to
decode haptic-tactile data.
END USER'S STB, TV,
STREAMING DEVICE, AVR,
SMART PHONE, TABLET, PC,
ETC.
Figure 4 - Decoding of Haptic-Tactile Data from
STB, TV or Streaming Device for Use by End User
TABLET / MOBILE
DEVICE
END USER DEVICE
END USER DEVICE
Figure 4A
Figure 4B
Figure 4C
In Fig. 4 above, a typical home consumer environment is shown. The haptic-tactile data is sent as part of the
entire broadcast and is received by the end user (in this example, in their home). The haptic-tactile data is then:
ӹ
Decoded at the set-top-box (STB), TV, streaming device (Roku, Apple TV, Amazon Fire, Google
Chromecast, etc.), by the audio video receiver (AVR) or by a smart phone, tablet, PC or any
other type of device capable of receiving a broadcast regardless of transmission means and then
sent to the haptic-tactile end user CE hardware via HDMI, Optical* or Digital Coaxial* outputs;
or wirelessly via Bluetooth. See Fig 4A and 4C.
ӹ
Decoded after or behind the STB or similar device and the AVR. In that case, the end user
haptic-tactile hardware (or a haptic-tactile decoding accessory) would connect to the AVR and
decode the haptic-tactile data for use by the end user CE hardware’s HDMI, Optical*, Digital
Coaxial* outputs. See Fig. 4A.
ӹ
Decoding of haptic-tactile data may take place ahead of the STB or similar device by the end
user haptic-tactile hardware or even an accessory haptic-tactile decoding device. In that case,
the end user device is placed ahead of or in front of the STB, TV, etc., receives the full broadcast
stream, and then decodes the haptic-tactile data for use by the end user CE hardware, and also
acts as a pass through, so that the full broadcast stream goes to the STB, TV, streaming device,
AVR, etc. See Fig. 4B.
Or,
Or,
Additionally, as haptic-tactile broadcasting becomes more prevalent, AVR or potentially even STB and / or TV
manufacturers may allow for assignable RCA “pre-outs”, currently only for subwoofer use, that could be used for
both subwoofer and haptic-tactile CE end user devices.
* It may also be possible for the haptic-tactile data to be delivered with, but separate from, the broadcast audio and then separately
decoded from either the S/PDIF audio stream using TOS Link (optical connections) or coaxial (RCA connections). In that case,
agreements may have to be in place between the providers of various audio formats and Guitammer to allow for combined or comingled encoding, transport and decoding.
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AN INTRODUCTION TO HAPTIC-TACTILE BROADCASTING — WHITE PAPER
Standardization
As of the date of this White Paper, standardization efforts are in process with SMPTE (Society of Motion Picture
and Television Engineers) in order to provide interoperability throughout the entire broadcast ecosystem.
Synchronization & Latency
Studies with end users regarding haptic–tactile effects suggest that end users associate haptic-tactile effect
with both the video and the audio content of the programs. In the case of high action video content, users
may associate haptic effects even more closely with what they see on screen than with what they hear. Their
expectation becomes that they should “feel” or “experience” visually depicted events as they occur, regardless
of whether the event is heard.
Studies with end users conducted for determining optimal or minimum accepted delay or latency between
audio and video components of broadcasts have shown that acceptable ranges of delay are +/- 22 ms.* Surveys
conducted by Guitammer for wireless send/receive haptic-tactile end user CE home hardware and cinema
installations have shown a slightly lower tolerance for the acceptable latency in the +/- 12 – 18 ms range. **
Therefore all aspects of the broadcast from haptic-tactile effect capture, insertion into the production, processing
and delivery, must be carefully thought through and executed so that all the elements of the broadcast’s content
– audio, video and haptic-tactile – are able to be used in a synchronized manner (within acceptable bounds)
by the end user.
*Sara Kudrle et al. (July 2011). “Fingerprinting for Solving A/V Synchronization Issues within Broadcast Environments”. Motion
Imaging Journal (SMPTE). Appropriate A/V sync limits have been established and the range that is considered acceptable for film is
+/- 22 ms. The range for video, according to the ATSC, is up to 15 ms lead time and about 45 ms lag time.
** Guitammer internal sample testing, 2004 – 2014 as needed for product development and public venue testing.
IPTV and Streaming Media
Internet Protocol television (IPTV) is a system through which television services are delivered using
the Internet protocol suite over a packet-switched network such as a LAN or the Internet, instead of
being delivered through traditional terrestrial, satellite signal, and cable television formats. …IPTV
offers the ability to stream the media in smaller batches, directly from the source.
https://en.wikipedia.org/wiki/IPTV
IPTV and streaming media is enabling broadcasters to offer an increasing range of immersive and personalized
content to viewers without the bandwidth constraints of what are fast becoming legacy broadcast facilities. As
such, the addition of haptic-tactile data from multiple sources; for instance all the race cars in the race; every
player on the field*; will not be bandwidth limited, but instead, limited to the imagination and the production
prowess of the broadcaster.
*Refer to the “Note” at the end of Section, “Live Event Production Considerations” for thoughts regarding a broadcast with haptictactile data captured from multiple sources and
*Refer back to the section “Professional Broadcast Transport” for further discussion on sending haptic-tactile data to the “cloud”
and then to the end user viewer.
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The Internet of Things (IoT); and Point of View Cameras (POV)
The Internet of Things (IoT) is a scenario in which objects, animals or people are provided with
unique identifiers and the ability to transfer data over a network without requiring human-tohuman or human-to-computer interaction. IoT has evolved from the convergence of wireless
technologies, micro-electromechanical systems (MEMS) and the Internet.
A thing, in the Internet of Things, can be a person with a heart monitor implant, a farm animal with
a biochip transponder, an automobile that has built-in sensors to alert the driver when tire pressure
is low -- or any other natural or man-made object that can be assigned an IP address and provided
with the ability to transfer data over a network.
Cited from WhatIs.com / Cloud Computing Definition
Combining the “Internet of Things” proliferation of sensors with the growing trend of using Point-Of-View
(POV) cameras for sports production and broadcasts creates an ideal environment for the addition of haptictactile data which provides the final piece for a truly immersive broadcast.
Haptic-tactile data can be derived from existing sensors already deployed on athletes, race cars, equipment, etc.
and added to the broadcast allowing fans at home to see, hear and feel the action. They can be “part of the action”.
They can (finally) “be the player” or “be the race car driver”.
For example see the following references:
As “The Official On-Field Player-Tracking Provider [RFID]” of the NFL, we [Zebra Technologies]
capture high-speed player data and convert it into real-time, usable statistics. Imagine the playbook
redefined with every snap.
https://www.zebra.com/us/en/nfl.html
“…the [GoPro] wireless transmitter enables professional broadcasters to deliver engaging live
content with the immersive POV footage and unique perspectives…... Wearable, mountable, and
designed for use in harsh environments, HEROCast makes capturing and broadcasting live content
easier than ever.
https://gopro.com/herocast
“GoPro has changed the way people see the world, creating an immersive viewing experience. Now
with unique GoPro perspectives available to broadcasters, watching live events is like being part of
the action instead of watching it from the stands.”
http://gopro.com/news/gopro-partners-with-vislink-for-live-wireless-hd-broadcast%20
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Haptic-Tactile Broadcasting and Live Virtual Reality
The growing awareness and increasing adoption of Virtual Reality and its associated technologies is the next
logical step to true immersion and personalization.
However, Virtual Reality faces challenges to bring “Reality” fully in sync with the “Virtual”. This question and
answer from a blog post: “Exploring New Sonic Worlds: Sound for Virtual Reality” is quite enlightening as to the
challenges faced by sound designers trying to create realistic virtual reality experiences but still limited to using
sound and the auditory sense.
“As a sound designer for VR, how do you achieve presence and spatialization in your sound
design?”
“As for presence — I’m not entirely sure yet. Spatialization helps, but I feel generative, procedural
and dynamic content can greatly improve the experience. I’m personally interested in seeing how
input devices for VR evolve. I’m always looking for ways to map sensor data to sound!”
Posted October 2, 2014 by Asbjoern Andersen in Film sound, Game audio.
SFX interview with Varun Nair, founder of Two Big Ears.
http://www.asoundeffect.com/exploring-new-sonic-worlds-sound-for-virtual-reality/
VR hardware manufacturers, VR game designers, studios and creative agencies have a growing awareness and
interest in combining haptics and spatialization to create the sense of “presence” which is so integral to Virtual
Reality applications. In fact, they are beginning to design sound tracks optimized for, and designed to be used
with, haptic-tactile hardware to further engage their audiences.
For live Virtual Reality applications, imagine a luxury car brand launching its newest model with a worldwide
“live virtual” press tour where journalists in Shanghai, Beijing, London, New York, Detroit and Los Angeles
all simultaneously virtually ride along in the actual car on the Nurburgring Ring; each in their own simulated
vehicle, each seeing what the driver sees, each hearing what the driver hears and each feeling and experiencing
what the driver feels – live and in real time and “present”. A broadcast that combines POV camera and haptictactile sensor data is Live Virtual Reality.
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The Economic Benefits of Haptic-Tactile Broadcasting Monetization Considerations & Strategies
Haptic-tactile broadcasting has the potential to create new revenue streams as well as increase revenue from
existing revenue streams by reaching deeper into existing customers’ spending for content providers, rights
holders, athletes, broadcasters, distributors and CE device manufacturers.
Because haptic-tactile broadcast technology is hardware agnostic it does not require consumers to use only one
brand of CE hardware. This creates new market opportunities for CE manufacturers to grow existing consumer,
cinema and commercial haptic-tactile product sales and categories and potentially create new products and
categories.
There are new revenue opportunities from existing fans and viewers at home who now can “play as” their favorite
player by giving them the ability to turn on the haptic-tactile data feed from individual players or specific race
cars, etc. on a nominal per game or per season basis. This scenario is similar in concept to NASCAR “RaceView”
and Verizon’s “Indy15” which allow fans at home, for a per race or per season fee, to choose a specific driver to
watch, including in some instances their in-camera POV video, and then choose which audio feed to listen to,
whether the pit crew or the track announcer.
Haptic-tactile broadcasting can be combined with the growing availability of personalized and user selectable
content broadcasters’ are beginning to offer. This new content by-passes traditional distribution channels and is
becoming a “direct to consumer strategy”. Offering consumers more immersive options like haptic-tactile data
can help justify premium pricing for this new content.*
Distributors can offer a bundle of end user hardware combined with haptic-tactile enabled content in a manner
similar to the way TiVo or Sling box was originally marketed, and similar to DirecTV’s “NFL Sunday Ticket”
creating a differentiated offering that can help drive customer acquisition and revenues and reduce customer
churn by increasing retention.
For Virtual reality content creators, the addition of haptic-tactile data provides compelling and needful technology
and will provide CE manufacturers’ opportunities to create new categories of Virtual Reality focused hardware;
gaming vests, haptic enabled platforms, haptic VR chairs and the like.
Finally, at the event itself, “haptic-enabled” seating areas and sections (luxury boxes, fan engagement zones) can
be used to generate increased revenue from fans as well as create additional brand awareness opportunities that
can be sold to sponsors.
* Note:
Movie theaters are validating this premium pricing model by including all types of haptic-tactile enabled cinema seats
as part of their premium theaters and using these enhancements, along with new video and sound technologies, as
the rationale and justification for higher ticket pricing.
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Conclusions
Today’s consumers are technologically savvy and expect to be able to consume live broadcast content in the way
they want to, when they want to, where they want to, how they want to, and in an immersive and personalized
way never before possible. Smart phones, Smart TVs; IP and streaming broadcasts; new video resolutions and
new audio formats along with Virtual Reality are providing unparalleled viewing experiences.
However, all these advances, regardless of their level of sophistication, all only improve on the sense of “seeing”
and “hearing” the broadcast.
Haptic-tactile broadcasts provide another sense, some would say, the final and missing sense, - enabling
broadcasting to transition from a passive recipient based viewer model to an active viewer and participant one
where the viewer can truly “feel what is missing.”
Case Studies
In 2013 and for the 2014/15 season The Guitammer Company successfully implemented a national proof-ofconcept for haptic-tactile broadcasting with the National Hot Rod Association (NHRA) telecasts on ESPN2, and
for the NHL’s San Jose Sharks home games that were telecast from their home SAP Center by Comcast SportsNet
California. The following information is provided to give the reader insight into how the technology was deployed
from the venue to the consumer, and the reactions of fans, newscasters and players to the technology.
Note: In both examples, only Guitammer’s “ButtKicker®” brand of haptic-tactile consumer hardware was made available to fans
for use with the broadcasts.
Case Study One: The NHRA on ESPN2
“The Making of Tactile Broadcasting” video shows how the entire process worked from the race car to the
ESPN2 production truck to the viewer at home. Fans at the races were shown the technology in a living room
setting and their initial reactions were recorded.
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Case Study Two: The San Jose Sharks on Comcast SportsNet CA
In this TV segment that aired in January of 2015 on San Jose’s Fox KTVU News station, Scott Reiss, sports
anchor, takes viewers through the technical setup at the SAP Center, interviews a fan using the technology
at home, and examines the future possibilities for haptic-tactile broadcast technology. This quote from a San
Jose Sharks player is quite telling, “It’s a great concept. You really feel like you’re a part of the game. You feel the
bumps. Feeling the couch move, actually is pretty cool.”
Intellectual Property
The Guitammer Company owns issued and pending patents for haptic-tactile broadcasting.
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TH E G UITAMM ER COMP ANY
Contact:
Mark Luden
The Guitammer Company
[email protected]
614-898-9370 ex. 101 - Office
614-218-5396 -Mobile
www.guitammer.com — The Guitammer Company — August 2015©
Published August, 2015© - The Guitammer Company - All Rights Reserved
Guitammer, ButtKicker®, and The Guitammer Company logo are trademarks
or registered trademarks of The Guitammer Company. All other product and
company names are trademarks™ or registered® trademarks of their respective
holders. Use of them does not imply any affiliation with or endorsement by
them.
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