Intangible cultural heritage is a people-centered living cultural heritage. Preservation, promotion, and talent cultivation are important aspects of intangible cultural heritage protection and also crucial guarantees for sustainable development. However, traditional video recordings lack three-dimensional spatial information, and the high cost of digital scanning and reconstruction still leaves no convenient, efficient, accurate, realistic, and low-cost solution for the preservation and dissemination of intangible cultural heritage projects. Here we introduce the binocular 180-degree panoramic display method, through which a platform for recording, showcasing, disseminating, and teaching intangible cultural heritage projects in the Sanlin Old Street of Shanghai was implemented. The platform requires only VR filming without the need for 3D modeling technology. The participants can freely select intangible cultural heritage projects on the map and immerse themselves in watching the Sanlin “Three Excellence” porcelain carving, local cuisine, and embroidery. They can also enjoy the dragon dance, experience the textile craftsmanship of Sanlin’s “Three Specialties”, and even observe the production process and details of the works from the perspective of the inheritor in the first person. The results show that compared to traditional video recordings and digital scanning reconstruction, the binocular 180-degree panoramic display provides a one-to-one, face-to-face, and low-cost solution for the preservation and dissemination of projects. It allows students to increase their knowledge of intangible cultural heritage and enhance their interest in inheritance.

This study explores the differences in audience behavior between virtual museums and physical museums. The replica-based virtual museum (RVM) was developed to replicate the exhibit layout of physical museums and support multi-user online visits. The study introduces the RVM-Interaction (RVM-I), which incorporates interactive features to enhance user engagement. In the experiment, 24 participants experienced a physical museum (PM), RVM, RVM-I, and a traditional PC-based virtual museum, with their impressions and behavioral patterns recorded. The results indicate no significant differences between RVM and PM in terms of satisfaction, immersion, aesthetic experience, and social interaction. RVM-I significantly enhanced the participants’ experience through its interactive capabilities. Path analysis shows that both RVM and RVM-I improved audience efficiency, with RVM-I transforming the circumferential, space-based art appreciation found in PM and RVM into a stationary, space-based form, making RVM-I more engaging than RVM. These findings offer valuable insights for the design and development of virtual museum experiences that maintain spatial fidelity to physical exhibitions while enhancing user engagement through interactivity.

Cinematic Shot Attribute Analysis aims to analyze the intrinsic attributes of movie shots, such as movement and scale. In previous methods, specialized architectures were designed for each specific task and relied on the use of optical flow maps. In this paper, we consider shot attribute analysis as a unified task of motion–static weight allocation, and propose a motion–static dual-path architecture for recognizing various shot attributes. In this architecture, we design a new action cue generation module for adapting the end-to-end training process instead of a pre-trained optical flow network; and, to address the issue of limited samples in movie shot datasets, we design a fixed-size adjustment strategy to enable the network to directly utilize pre-trained vision transformer models while adapting to shot data inputs at arbitrary sample rates. In addition, we quantitatively analyze the sensitivity of different shot attributes to motion and static features for the first time. Subsequent experimental results on two datasets, MovieShots and AVE, demonstrate that our proposed method outperforms all previous approaches without increasing computational cost.

Most existing virtual reality exergames rely on generic VR devices, which can limit the physical exertion in VR-based exercises. In contrast, physical props can enhance exercise intensity, yet their impact on users’ performance and experience remains understudied, particularly in skill-based tasks. Meanwhile, physical props offer richer tactile and kinesthetic feedback, which, combined with the visual effects of head-mounted displays, presents a potential solution for improving user experience in VR. To explore this, this study developed a sensor-driven experimental framework for investigating high-skill VR tasks. By integrating vision sensors with standard VR devices, we constructed a VR archery system that enables objective quantification of motor performance. Leveraging the sensor-driven framework, we investigate the effects of physical props and physics-associated visual feedback on players’ performance and experience in VR tasks through an experiment involving 33 participants. By objectively quantifying performance, we reveal a dual-pathway mechanism: physical props significantly increased hand tremor, which in turn impaired aiming accuracy, but this negative effect was effectively moderated by time and physics-associated visual feedback that enabled real-time sensorimotor compensation. While complex physical props reduced task performance, they substantially enhanced enjoyment and presence, particularly demonstrating a synergistic effect on users’ flow experience when combined with physics-associated visual feedback. These findings elucidate the complex interplay between physical prop interfaces and visual feedback in high-skill VR tasks, providing valuable insights for designing VR experiences which balance performance requirements and engagement enhancement.

Recent advances in neural rendering have created new possibilities for constructing highly realistic and efficient virtual environments. Among them, 3D Gaussian Splatting (3DGS) has emerged as a promising technique, combining photorealistic reconstruction with real-time rendering performance. This study evaluates the potential of 3DGS in virtual reality (VR) systems by comparing it against traditional 3D modeling and 360-degree panoramic imaging. We adopt a dual-pathway user experience framework, in which high-fidelity environments influence behavioral outcomes through two distinct routes: an affective route, grounded in immersion and emotional resonance, and a cognitive route, based on information credibility and evaluative judgment. Experimental results show that 3DGS-based VR most strongly activates the affective pathway, enhancing immersion and emotional engagement, while the cognitive pathway provides a reinforcing influence. These findings demonstrate how rendering fidelity translates into measurable differences in user perception and behavioral intention. Beyond user studies, this research highlights the potential of 3DGS for scalable, high-performance VR applications, providing guidance for both system developers and applied domains such as digital heritage and cultural tourism.

The intensity of feeling and comfort are two contrasting aspects of 3D movies. This paper studies 3D comfort according to crosstalk, basic parallax, space motion, and depth of field based on pixels. A method for calculating 3D motion based on the XYZ axes is presented, and a pixel-based evaluation model of 3D comfort is established with parallax, motion, and other indexes. In order to support the production and evaluation process of 3D films, a 3D comfort evaluation tool is designed according to time series. As demonstrated experimentally, basic parallax, depth of field, and average crosstalk have certain impact on the entire 3D comfort, while space motion has a relatively salient effect. When applying our method, a steady control on 3D comfort is found in high-quality 3D films: About 92% of comfort is within the range of 1-3.5 points for Transformers: Age of Extinction (USA), whereas about 74% of comfort is within the range of 1-3.5 points for The Monkey King (China). Large depth of field for slow moving lens and small depth of field for fast moving lens were used in Avatar and Transformers, and these 3D art rules are not followed closely in The Monkey King. As a basic tool for 3D film production, our proposed method can be applied in creating, shooting, producing, and monitoring for a 3D film.