In the first film, he was a bit shy when he first encountered Aladdin and Abu, but was curious enough to nervously fly over to investigate eventually hiding once Aladdin first saw him or whenever Abu looked over. Randy animated the hands and feet (tassels) in traditional animation, while the rest of the character was computer-animated.ĭespite being a carpet, Carpet is a character of many traits and pure of heart. His complex design was what forced the animators to design his pattern in computer animation. Having resided within the same home, Carpet had been good friends with the Genie (who remained trapped within his lamp in an exclusive chamber), a thousand years prior to meeting Aladdin.Ĭarpet is known for being one of the first computer-animated characters in a feature film. Because he was not part of the original forbidden treasures of the cave, his physical interaction with Abu did not provoke the cave's guardian. Carpet and his siblings went their own separate ways, with Carpet finding his way into the Cave of Wonders and becoming trapped in its treasure room. On the day of his death he commanded his creation to go out into the world and find masters for them to serve. 2.6 Disney Princess Enchanted Tales: Follow Your DreamsĬarpet was created a thousand years ago by the legendary sorcerer and carpet weaver Khuriya who created one-hundred Magic Carpets each with their own unique patterns and colors.Our results show that the proposed approach enables high-interaction-fidelity techniques while improving the user experience. To this end, we use both objective and subjective measures to evaluate the efficiency, embodiment effect, and side effects, such as physical fatigue and cybersickness, of the tested techniques in our design space. In this paper, we present the results of both studies and report the best techniques for use within the Magic Carpet design space. To validate our design space, we conducted two complementary studies, one for each of the travel phases. This design space enables DoF separation by treating direction indication and speed control as two separate phases of travel, thereby enabling techniques with higher interaction fidelity. We present the Magic Carpet, an approach to flying that combines a floor proxy with a full-body representation to avoid balance and cybersickness issues. Our experience suggests that even though flying is not innate to humans, high-interaction-fidelity techniques may also improve the flying experience since flying requires simultaneously controlling additional DoFs. However, flying allows users to reach specific locations in a virtual scene more expeditiously. These restrictions enable interactions that accurately emulate the human gait to provide high interaction fidelity. Normally, researchers tend to devise ground- or floor-based metaphors to constrain the degrees of freedom (DoFs) during motion. Locomotion in virtual environments is currently a difficult and unnatural task to perform.
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