Talk and Workshop at the conference "Digitalisation in Coaches Education" at Frankfurt on March 21.

1. Digitalisation in Coaches Education | 2023, March 21
INNOVATIVE VIDEO-TECHNOLOGIES
360°-VIDEO AND VIDEO-DRONES
ANDREAS HEBBEL-SEEGER

2. PREFACE

3. SPORT IS A BENEFICIARY
OF TECHNOLOGICAL
DEVELOPMENTS.
AT THE SAME TIME,
SPORT DRIVES
THESE DEVELOPMENTS
LIKE AN "ENGINE".

4. THIS IS ESPECIALLY
TRUE FOR VIDEO.

5. MOVING IMAGES AND SPORT
HAVE HAD A CLOSE RELATIONSHIP
FROM THE VERY BEGINNING,
BECAUSE COMPLEX CONTENT
CAN BE PRESERVED
AND MADE ACCESSIBLE
FOR SUBSEQUENT
(SELF-)OBSERVATION.
Eadweard Muybridge: Animal Locomotion (https://de.wikipedia.org/wiki/Filmgeschichte#/media/Datei:Muybridge_race_horse_animated.gif)

6. IN NOWADAYS,
TECHNOLOGICAL DEVELOPMENT
MAKES VIDEO A UBIQUITOUS MEDIUM
OF RECEPTION AND PRODUCTION.

7. THE IDEA OF SPORTS
AND MOVEMENT SKILLS
IS SHAPED BY (ONLINE) VIDEO
(ALSO) FROM OUTSIDE OF THE
ORGANIZED SPORTS.

8. THE TRIVIALIZATION
OF VIDEO TECHNOLOGY
EXPANDS USE CASES
AND OPENS UP
NEW TARGET GROUPS...

9. ...WITH SUBSTANTIAL NEW
VISUALIZATION
POSSIBILITIES:

10. VIDEO FROM ABOVE
(VIA DRONES)…

11. …AND SPHERICAL/
IMMERSIVE RECORDINGS
(VIA 360°-CAMERAS).

12. 360°-VIDEO

13. WHAT IS 360°-VIDEO ABOUT?
WE ARE TALKING ABOUT VIDEOS, WHICH HAVE A FIXED PLOT
AND IN WHICH USERS CAN LOOK AROUND
FROM A GIVEN CAMERA POSITION.

14. 360°-VIDEO IS A
RECORDING
IN ALL DIRECTIONS:
ALMOST EVERYTHING
AROUND THE CAMERA
WILL BE CAPTURED.
Gif: https://bit.ly/3JAngBG

15. 360°-VIDEO IS NOT VR.
BUT 360°-VIDEO IS NOT JUST A 360°-VIDEO EITHER...

16. 360°-VIDEO EXPERIENCE
DEPENDS ON THE
PROJECTION DEVICE.

17. 360°-VIDEO EXPERIENCE
DEPENDS ON THE
TYPE OF VISION
(MONOCULAR OR STEREOSCOPIC).

18. 360°-VIDEO EXPERIENCE
DEPENDS ON THE
INTEGRATED AUDIO
(MONO, STEREO OR SPATIAL).
SPATIAL SOUND IS OFTEN CRUCIAL
FOR A "REAL" PRESENCE EXPERIENCE.

19. „PRESENCE IS DEFINED AS THE
SUBJECTIVE EXPERIENCE
OF BEING IN ONE PLACE OR
INVIRONMENT,
EVEN WHEN ONE IS PHYSICALLY
SITUATED IN ANOTHER.“
(SINGER & WITMER, 1998, S. 225)

20. FOR 360-RECORDINGS
SPECIAL EQUIPMENT IS NEEDED:
A CAMERA WITH AT LEAST TWO
OR MORE LENSES.
Figures
(from
left
to
right):
GoPro
„Freedom360
Explorer
Mount“
|
GoPro
„Max“
|
Insta
„360
Pro
II“

21. +
STITCHING

22. DEPENDING ON THE CAMERA HARDWARE, THERE ARE EFFORTS TO BE MADE
IN POST-PRODUCTION:
COMMON DOUBLE-LENS-SYSTEMS USUALLY OFFER AUTOMATED STITCHING
WHILE MULTI-CAMERA-SYSTEMS OFTEN REQUIRE SPECIAL SOFTWARE AND
ADDITIONAL STEPS.

23. THE 360°-VIDEO CAN BE VIEWED ON ALMOST ALL KIND OF DEVICES.
HOWEVER, THE SPECIFIC FUNCTIONALITY OF THE 360°-VIDEO
TO FREELY SELECT THE IMAGE SECTION
WITHIN A "SPHERICAL PROJECTION“ REQUIRES
SPECIFIC PLAYER SOFTWARE.

24. SPHERICAL PROJECTION

25. FOR PROJECTION, A DISTINCTION IS MADE BETWEEN CLIENT SOLUTIONS
(SOFTWARE/APPS) AND SERVER SOLUTIONS (BROWSER-BASED), WHICH
DOES NOT (YET) WORK WITH EVERY BROWSER.

26. THE VISUALISATION AS WELL AS
THE SELECTION/CONTROL OF THE OF THE IMAGE SECTION
IS DEPENDING ON THE SPECIFICS OF THE DEVICES...

27. WITH MOUSE
VIA DRAG AND DROP
ON A COMPUTER/
NOTEBOOK

28. MOTION SENSITIVE (PAN AROUND)
ON A SMARTPHONE OR TABLET

29. MOTION SENSITIVE
(LOOK/MOVE AROUND)
ON A HMD

30. ESPECIALLY ON HMD 360°-VIDEOS ALLOW
HIGHLY IMMERSIVE EXPERIENCES,
BECAUSE THE FRAMING IS DONE NATIVELY
WHILE AT THE SAME TIME
ALMOST ALL EXTERNAL
VISUAL IMPRESSIONS
ARE EXCLUDED.

31. THE DISPLAY QUALITY IS DEPENDING
ON THE VIDEO RESOLUTION AND THE DEVICE USED.
IN CASE OF HMD, THERE ARE RESTRICTIONS
AS TO THE PROXIMITY OF THE EYES TO THE PROJECTION SURFACE AND
THE (CURRENTLY) POSSIBLE FIELD OF VIEW.

32. 4K RECORDING
SPLIT SCREEN WITHIN
HMD-PROJECTION
IMAGE SECTION OF
A SPHERICAL PROJECTION

34. HOWEVER, RECORDING 360°-VIDEOS IS ALSO WORTHWHILE
IF THE PRODUCTION GOAL IS “JUST” FIX-FRAME VIDEOS:
THE DECISION OF CHOOSING (AND PANNING) IMAGE SECTIONS
CAN BE SHIFTED TO POST-PRODUCTION VIA "REFRAMING".

35. REFRAMING

36. WHEN USING 360° CAMERAS, IT IS THEREFORE IMPORTANT
TO CONSIDER BOTH THE RECORDING CONDITIONS AND THE LATER USE CASE:
• HOW IS THE RECORDING SITUATION?
• DO I WANT TO SHOW SOMETHING OR LET SOMEONE EXPLORE/DISCOVER
SOMETHING?
• HOW IMPORTANT IS IMMERSION/PRESENSE?
• IS SPHERICAL PROJECTION INTENDED OR FIX FRAME VIDEO USEFUL AS
WELL (OR EVEN BETTER)?
• …

37. A CHALLENGE FOR THE CONCEPTION OF THE IMAGE:
THE IMMEDIATE DIRECTING OF ATTENTION
IS NOT POSSIBLE DUE TO THE FUNDAMENTALLY
FREE CHOICE OF THE VIEWING ANGLE.

38. BASIC VARIABLES OF 360°-VIDEO PRODUCTION:
• SIZE OF THE ROOM
• CAMERA POSITION IN THE ROOM AND IN RELATION TO THE OBJECT OF
REPRESENTATION
• TYPE OF OBJECT OF REPRESENTATION

39. IN SUMMARY, 360°-VIDEO IS NOT AN ALTERNATIVE BUT AN EXTENSION
OF THE POTENTIAL OF VIDEO IN TEACHING, LEARNING AND TRAINING.

40. PREPERATION FOR
HANDS-ON-SESSION:
FOR CAMERA CONTROL AND EDITING
PLEASE DOWNLOAD THE (FREE OF CHARGE) APP
„GOPRO QUICK“ ON YOUR SMARTPHONE
AND REGISTER YOURSELF.

41. TASKS FOR HANDS-ON SESSION:
• FAMILIARISE YOURSELF WITH THE CAMERA.
• FILM MOVEMENT FROM DIFFERENT POSITIONS.
• COMPARE AND DESCRIBE EXPECTATIONS AND RESULTS.
• VIEW THE VIDEOS VIA SMARTHONE AND CARDBOARD
• COMPILE ABSTRACT LEARNINGS FROM THE EXPERIENCES.

42. SETTING OF THE HANDS-ON SESSION:
• SPACE MARKED WITH PYLONS, BALLS
• PARTICIPANTS PASS THE BALL BACK AND FORTH AT GROUND LEVEL
(OBSERVATION) TASK:
• HOW DOES THE POSITIONING OF THE CAMERA IN TERMS OF HEIGHT (NEAR
THE GROUND, AT EYE LEVEL, ETC.) AND DISTANCE (ON THE EDGE, IN THE
CENTER, ETC) AFFECT THE VISUALISATION?
• WHAT EFFECT DOES A CAMERA HAVE HOLD IN HAND FROM THE OUTSIDE?
• WHAT EFFECT DOES A CAMERA HAVE HOLD IN HAND OF AN ACTIVE
PERSON, AS WELL AS WITH A TRIPOD BACKPACK?
• FOR WHAT AND WHEN IS A SPHERICAL PROJECTION RELEVANT FOR?

43. DRONE-VIDEO

44. VIDEO DRONES LET US SEE
THE WORLD WITH DIFFERENT EYES.

45. WITH THE VIEW FROM ABOVE
AND AT THEIR FLEXIBILITY OF THE SPATIAL PATHS,
VIDEO DRONES OPEN UP NEW PERSPECTIVES
FOR SPORTS COMMUNICATION AND TRAINING.

46. EVEN IN PROFESSIONAL CONTEXTS,
VIDEO DRONES ARE AN ALTERNATIVE TO
HELICOPTERS, CRANE SYSTEMS
AND SPYDER CAMS:
THEY ARE MORE FLEXIBLE,
EASY TO USE AND
CHEAPER

47. VIDEO DRONES PRODUCE LESS "DOWN-WASH",
ARE QUIETER AND CAN WORK CLOSER
TO THE "POINT OF ACTION.

48. OUTSIDE STANDARDISED SPORTS VENUES,
VIDEO DRONES ARE OFTEN THE ONLY
POSSIBILITY OF VISUALISATION.

49. VIDEO DRONES IDEALLY
FORM THE LINK BETWEEN
AN SPORTING ACTION AND
THE SPATIAL ENVIRONMENT.

50. OFTEN, TACTICAL AND SITUATIONAL
ASPECTS ONLY BECOME VISIBLE WITH THE
VIEW FROM ABOVE

51. BUT…

52. WITHIN COMPETITIONS,
VIDEO DRONES MAY AFFECT THE EQUALITY OF OPPORTUNITY
E.G. THROUGH GUIDING OR PACE-MAKING.

53. VIDEO DRONES
ALWAYS IMPLY A
PHYSICAL DANGER FOR
SPECTATORS AS WELL
AS ATHLETS.

54. HOW TO?!

56. EVEN THE „SMALL“ DRONES LESS THAN 250 G
CAN HAVE POWERFUL ON-BOARD CAMERAS
(E.G. DJI‘S MINI 3 PRO RECORDS VIDEO UP TO 4K/60FPS)

57. VARIOUS AUTOMATISMS
SUPPORT THE FLYING.

58. SAFETY FUNCTIONS INCLUDE
AUTOMATED RETURN AND LANDING
EVEN IN THE EVENT
OF LOSS OF
RADIO CONTACT.

59. BASIC „STANDARD“ REMOTE CONTROL
UP
DOWN
FORWARD
BACKWARD
LEFT RIGHT
ROTATE R
ROTATE L
PHOTO
VIDEO
CAMERA PAN

60. USING DRONES WITH A WEIGHT LESS THAN 250 G WITHIN THE EU:
• YOU‘VE TO REGISTER YOURSELF ALS A REMOTE PILOT
(AT NATIONAL AVIATION AUTHORITY).
• YOU‘VE TO INSURE YOUR DRONE.
• YOU‘VE TO FLY UNDER DAYTIME AND VISIBILITY CONDITIONS.
YOU‘VE TO FLY BELOW 120 M ALTITUDE FROM GROUND
(IN SEVERAL AREAS LOWER).
• YOU‘VE TO AVOID RESTRICTED AREAS (E.G. AIR CORRIDORS,
MOTORWAYS, RAILWAY LINES…).
• YOU‘VE TO STAY IN THE „VISUAL LINE OF SIGHT (VLOS)“.
• YOU‘VE TO ACCOMPANY WITH A SECOND PERSON
WHEN FLYING IN „FIRST-PERSON-VIEW (FPV)-MODE“.

61. Video by EASA: https://youtu.be/l6xHV61jwGo

62. PREPERATION FOR
HANDS-ON-SESSION:
FOR AN EASY
TRANSFER OF THE
CAPTURES TO YOUR
PERSONAL DEVICE
PLEASE DOWNLOAD
THE (FREE OF
CHARGE) APP
„DJI FLY“ ON YOUR
SMARTPHONE.

63. TASKS FOR HANDS-ON SESSION:
• FAMILIARISE YOURSELF WITH FLYING A DRONE.
• TAKE VIDEOS FROM OBJECTS IN DIFFERENT VIEWING ANGELS.
• COMPARE AND DESCRIBE EXPECTATIONS AND RESULTS.
• COMPILE ABSTRACT LEARNINGS FROM THE EXPERIENCES.

64. SETTING OF THE HANDS-ON SESSION:
• INDOOR SCENE
(OBSERVATION) TASK:
HOW DOES THE FOLLOWING ASPECTS EFFECT THE IMAGE IMPACT AND THE
POTENTIAL IMAGE INFORMATION:
• THE CAMERA ANGLE (VERTICAL, OBLIQUE, ETC.)?
• THE VERTICAL DISTANCE TO THE ACTION?
• THE MOVEMENT OF THE CAMERA/DRONE PARALLEL OR AT AN ANGLE TO
THE SPATIAL PATHS OF THE IMAGED OBJECT?
• IS THERE ANYTHING WHAT CAN BE SEEN BETTER (OR EVEN ONLY) FROM
ABOVE?

65. READY FOR PRACTICE?!

66. CONTACT:
PROF. DR. ANDREAS HEBBEL-SEEGER
MACROMEDIA UNIVERSITY OF APPLIED SCIENCES
CAMPUS HAMBURG
EMAIL: A.HEBBEL-SEEGER@MACROMEDIA.DE