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New material avoids AR/VR glasses ‘bug eyes’

Researchers have come up with a new technology to deliver augmented and virtual reality glasses that don’t look like “bug eyes.”

“Image” is everything in the $20 billion market for AR/VR glasses. Consumers are looking for glasses that are compact and easy to wear, delivering high-quality imagery with socially acceptable optics.

In a new paper in Science Advances, researchers describe imprinting freeform optics with a nanophotonic optical element called “a metasurface.”

The metasurface is a veritable forest of tiny, silver, nanoscale structures on a thin metallic film that conforms, in this advance, to the freeform shape of the optics—realizing a new optical component the researchers call a metaform.

The metaform is able to defy the conventional laws of reflection, gathering the visible light rays entering an AR/VR eyepiece from all directions, and redirecting them directly into the human eye.

Freeform optics is an emerging technology that uses lenses and mirrors with surfaces that lack an axis of symmetry within or outside the optics diameter to create optical devices that are lighter, more compact, and more effective than ever before.

Applications include 3D imaging and visualization, augmented and virtual reality, infrared and military optical systems, efficient automotive and LED lighting, energy research, remote sensing, semiconductor manufacturing and inspection, and medical and assistive technologies.

Nick Vamivakas, a professor of quantum optics and quantum physics at the University of Rochester, likens the new nanoscale structures to small-scale radio antennas.

The diagram shows how a person could see augmented and virtual reality with the new glasses
A metaform is a new optical component that researchers say can combine with freeform optics to create the next generation of AR/VR headsets and eyewear. (Credit: Michael Osadciw/U. Rochester)

“When we actuate the device and illuminate it with the right wavelength, all of these antennas start oscillating, radiating a new light that delivers the image we want downstream,” Vamivakas says.

“Metasurfaces are also called ‘flat optics’ so writing metasurfaces on freeform optics is creating an entirely new type of optical component,” says Jannick Rolland, professor of optical engineering and director of the Center for Freeform Optics.

Adds Rolland, “This kind of optical component can be applied to any mirrors or lenses, so we are already finding applications in other types of components” such as sensors and mobile cameras.

The first demonstration required many years to complete.

The goal is to direct the visible light entering the AR/VR glasses to the eye. The new device uses a freespace optical combiner to help do that. However, when the combiner is part of freeform optics that curve around the head to conform to an eyeglass format, not all of the light is directed to the eye. Freeform optics alone cannot solve this specific challenge.

That’s why the researchers had to leverage a metasurface to build a new optical component.

“Integrating these two technologies, freeform and metasurfaces, understanding how both of them interact with light, and leveraging that to get a good image was a major challenge,” says lead author Daniel Nikolov, an optical engineer in Rolland’s research group.

Another obstacle was bridging “from macroscale to nanoscale,” Rolland says. The actual focusing device measures about 2.5 millimeters across. But even that is 10,000 times larger than the smallest of the nanostructures imprinted on the freeform optic.

“From a design standpoint that meant changing the shape of the freeform lens and distributing the nanostructures on the lens in a way that the two of them work in synergy, so you get an optical device with a good optical performance,” Nikolov says.

This required Aaron Bauer, an optical engineer in Rolland’s group, to find a way to circumvent the inability to directly specify metasurfaces in optical design software. In fact, different software programs were used to achieve an integrated metaform device.

Fabrication was daunting, Nikolov says. It required using electron-beam lithography, in which beams of electrons were used to cut away sections of the thin-film metasurface where the silver nanostructures needed to be deposited. Writing with electron beams on curved freeform surfaces is atypical and required developing new fabrication processes.

The researchers used a JEOL electron-beam lithography (EBL) machine at the University of Michigan’s Lurie Nanofabrication Facility. To write the metasurfaces on a curved freeform optic they first created a 3D map of the freeform surface using a laser-probe measuring system. The 3D map was then programmed into the JEOL machine to specify at what height each of the nanostructures needed to be fabricated.

“We were pushing the capabilities of the machine,” Nikolov says. Fei Cheng, a postdoctoral associate in the Vamivakas group; Hitoshi Kato, a JEOL representative from Japan, and the Michigan staff of the nanofabrication lab, collaborated with Nikolov on achieving successful fabrication “after multiple iterations of the process.”

“This is a dream come true,” Rolland says. “This required integrated teamwork where every contribution was critical to the success of this project.”

The research was supported partially by a fellowship to Nikolov from the Link Foundation and funding from the Center for Emerging and Innovative Sciences at the University of Rochester. Also, the research critically benefitted from advanced knowledge in freeform optics developed in collaboration with the NSF Center for Freeform Optics (CeFO).

Source: University of Rochester

  • VR could act as a digital physical therapist at home
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    New game takes virtual reality beyond sight and sound

    (Credit: Getty Images)

    A new virtual reality game makes players use more of their senses than other VR games, including touch, sense of heat, and smell.

    Four sensory streams are fused together simultaneously in the game to achieve remarkable realism.

    Called The Lost Foxfire, the 10-minute game engages a player’s senses of vision, audition (sense of hearing), olfaction (sense of smell), somatosensation (sense of touch), and thermoception (ability to sense intensity of heat). Besides relying on their vision and hearing, game players will also need to take cues from their senses of smell and touch to successfully complete the game.

    “The additional sensory cues in the form of heat and smell create a more immersive gameplay environment for the players, something rarely seen in current games.”

    Most conventional virtual reality games use headsets and haptic bodysuits to mimic and amplify sensory feedback, for instance, to deliver the sensation of a cool breeze to match the visual scene of the moment. In contrast, the game set researchers from Keio-NUS CUTE Center at the National University of Singapore developed brings VR multisensory bodysuits to a new level where players use real-time, life-like sensory feedback to make decisions that will directly affect the outcome of the gameplay.

    The entire game system comprises a virtual reality headset that researchers paired with a configurable multisensory suit that delivers thermal, wind, and olfactory stimuli to the players in order to assist them in the game.

    The adjustable suit has five heat modules that enable players to sense heat on the front, back, and the sides of their necks, as well as on their faces. The thermal stimuli can be calibrated and customized to an individual’s tolerance of warmth. When players encounter a fox character in the game, they will catch a whiff of the scent of apples, a favorite fruit of foxes. As players get close to fire in the game, they can feel the heat it emits.

    “The set up for The Lost Foxfire game system is entirely portable so it can be put up in any room. The additional sensory cues in the form of heat and smell create a more immersive gameplay environment for the players, something rarely seen in current games,” says Yen Ching-Chiuan, an associate professor and codirector of the Keio-NUS CUTE Center who supervises on the project.

    The team comprising hardware and product engineers, artists, technology researchers, and designers took nine months to develop the experimental game—from its conception, coding, and building of special hardware, to graphic designing and animating. They have filed a patent for the technology behind the configurable multisensory suit.

    Although “The Lost Foxfire” was first developed as an experimental game, its immersive simulation and experiential technology can be potentially extended to other applications. Besides paving the way for more immersive gaming experience to come, it could, for instance, be used to simulate unique scenarios for training purposes or to demonstrate fire safety so that users can safely experience a first-hand feel of the full scenario without the danger.

    The Lost Foxfire debuted at the Tokyo Game Show 2019 in September.

    The National Research Foundation, Prime Minister’s Office, Singapore under its International Research Centres in Singapore Funding Initiative, supported the work.

    Source: National University of Singapore