| 0:00:07 | most of the i interior design |
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| 0:00:11 | teams that work with a heavily reliant use of expert |
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| 0:00:15 | okay years of experience means that happens with somebody projects and so many fines |
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| 0:00:21 | but my part of the research is that to quantify those preferences |
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| 0:00:26 | so architects and designers that they look at the back of the catalog are some |
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| 0:00:30 | indices |
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| 0:00:31 | you know i absorption or absorption reflectance lower that's |
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| 0:00:35 | but it was a single number in the and that's not enough to |
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| 0:00:39 | make the final position |
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| 0:00:41 | so now you're looking at this in a more great |
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| 0:00:44 | in communion not just cumbersome this is easy not experiencing |
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| 0:00:49 | which i |
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| 0:00:51 | virtual reality but capable design |
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| 0:00:55 | i am able to move into radio space design the spaces and with them in |
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| 0:01:01 | a computer |
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| 0:01:02 | so this is not for real |
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| 0:01:05 | or permanent are spacing you can happen very you can change the sign opened it |
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| 0:01:10 | this is it in a scene from be assisted living |
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| 0:01:14 | variability in here you're trying to u g |
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| 0:01:18 | architectural elements for the elderly to find a way to their homes or to their |
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| 0:01:22 | apartments are living quarters |
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| 0:01:25 | so you can actually see the manipulation of the color as well in terms of |
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| 0:01:29 | the average |
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| 0:01:31 | as you get older you're i transmission goes lower |
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| 0:01:35 | and your sensitivity consider portion of the spectrum changes |
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| 0:01:38 | so i wanted to see that if we change this car it's and all the |
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| 0:01:41 | walls or ceilings |
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| 0:01:43 | some other types |
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| 0:01:44 | by enhance the lighting conditions |
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| 0:01:47 | okay is going to allow me to not only way to the acoustics as you |
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| 0:01:52 | can see |
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| 0:01:53 | or from these sensors can be used i |
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| 0:01:56 | spectral for a |
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| 0:01:58 | i think twice and then this is down moves on the ground so these set |
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| 0:02:02 | of regions how to me as the subject of words in section would be fighting |
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| 0:02:07 | conditions and then these two years are not just for pulse many these are actually |
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| 0:02:13 | designed to |
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| 0:02:16 | maybe |
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| 0:02:17 | the standard you geometry |
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| 0:02:20 | and then this is designed to manage the distance of the ear canal and then |
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| 0:02:24 | the microphones set up in such to receive the sound so as the head rotates |
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| 0:02:29 | is actually be filtering series of frequencies that are being |
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| 0:02:34 | reflected or absorb or directed interview the face is looking at the blue portion of |
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| 0:02:40 | the wall right |
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| 0:02:41 | that sense to so now the blues the set union degree of that |
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| 0:02:47 | and as i |
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| 0:02:48 | change orientation o or |
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| 0:02:51 | i just go around the space as you can see |
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| 0:02:55 | those quantities they change |
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| 0:02:58 | now to your i in terms of the spectrum is very significant these days that |
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| 0:03:03 | studies that shows look portion of the spectrum actually manipulates you're all pupil size |
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| 0:03:11 | and therefore that month of like that reaches your right now |
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| 0:03:14 | it is impacted by |
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| 0:03:16 | so now we can actually major the lighting conditions under different scenarios high |
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| 0:03:24 | proportion of the spectrum especially these days now with the l e d coming into |
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| 0:03:28 | the market |
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| 0:03:30 | they have a lot of high colour temperature and this allows me not to evaluate |
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| 0:03:34 | all types of scenarios for speech acoustically speaking now all |
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| 0:03:40 | we have been able to create virtual speakers and what i mean by that is |
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| 0:03:45 | we have real speakers in but with the ability |
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| 0:03:48 | programming with the l o allows us to |
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| 0:03:52 | would of extra speakers in different locations |
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| 0:03:55 | so those extra speaker's own contribution to quantify equality if these are a distance |
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| 0:04:04 | the interactions among those very so for example maybe somebody like to call somebody stick |
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| 0:04:11 | to someone left to right |
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| 0:04:13 | you can explore those conditions and find a boundary |
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| 0:04:18 | purpose of these measurements are to calibrate |
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| 0:04:23 | the output values that we're getting from the k |
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| 0:04:27 | relative to the input values continue |
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| 0:04:30 | we would like to be able to realistic simulations |
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| 0:04:33 | in order to do that we need to know for example are used primarily red |
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| 0:04:39 | green and blue colors are we getting primary what frequencies of like are we getting |
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| 0:04:43 | from the projectors |
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| 0:04:45 | how the acoustics respond to different frequencies of sound different ages |
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| 0:04:51 | and so about has been doing a lot of these measurements in here to help |
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| 0:04:54 | us to calibrate okay |
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| 0:04:57 | a measurement of how realistic our simulations |
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