University of Education

Multan Campus,
Lahore
Department of Information Sciences

Internship Report
TECH STUDIO

A REPORT SUBMITTED TO THE DEPARTMENT OF INFORMATION SCIENCES, UNIVERSITY OF

EDUCATION, Multan CAMPUS, LAHORE IN THE PARTIAL FULFILLMENT OF THE REQUIREMENTS
FOR THE DEGREE OF BACHELOR OF INFORMATION TECHNOLOGY (HONS)

Submitted By:
BSF-1804313
Muhammad Sadeed Ansar
SESSION 2018-2022
Submission 22-02-2022
 University of Education
Multan Campus, Lahore
Department of Information Sciences

LETTER OF UNDERTAKING

This internship report was submitted by Muhammad Sadeed Ansar S/o.

Ansar Mehmood Roll No. Bsf1804313 for the partial fulfillment of the requirements for the

degree of

BS-IT
Session (2018-2022)
with specialization in
Software Engineering and Development

and is hereby accepted by the evaluation committee.

Internship Supervisor

HOD / Coordinator

External Examiner

Principal
 Acknowledgement

All praise to Almighty Allah, the most merciful and compassionate, who give me skills and
abilities to complete this report successfully I am grateful to my parents who are always been a
source of encouragement for me throughout my life and from start to the end of this report I
am thankful to all my staff members so TECH STUDIO. I found every one very co-operative and
helpful for providing me the Theoretical as well as practical knowledge about the function and
operation of the TECH STUDIO.I like to express our gratitude to the whole TECH STUDIO Team
that helped me by providing all the needed information I needed to complete this report. I
express my greatest gratitude to my kindhearted Supervisor Dr. Sajid Ali, Who was the Person
who made me able to write this report, His enthusiasm shows the way forward to me to
achieve this success and who kept me in high spirit through his appreciation. He helped me a lot
each time I went up to him.
 Executive Summary

In 1982 the foundation of the Internet of Things (IoT) started with the advent of “smart
devices.” Then around 2008, IoT was introduced for machine - machine communications.
Embedded computer companies quickly realized that to maximize the value they provide their
customers, they need to tightly integrate IoT with their embedded computer portfolios.
Additionally, they found mainstream consumer connectivity couldn’t simply be applied to the
embedded world as-is. IoT communications and capabilities require a number of specialized
technologies within embedded devices. These capabilities include over the air updates remote
device management predictive diagnostics through strategically implemented on-device
sensors environmentally sound enclosures. Moving machine learning, data processing and
decision making to the edge minimizes response times in critical applications and the amount of
data ultimately transmitted via the IoT. There is a business model benefit associated with TECH
STUDIO providing a complete IoT, AI and embedded solution.

Since TECH STUDIO realizes recurring revenue streams from its customers, it
doesn’t need to try and make all of its revenue and profit on the front-end engineering services.
This model means that a significant portion of TECH STUDIO’s financial success is
tied to the customer’s financial success – both parties are in complete alignment.

Knowing how critical all-in-one embedded, IoT and AI solutions are to our customer’s business,
TECH STUDIO has also made the necessary investments to ensure 24x7 coverage anywhere in
the world as part of its TECH STUDIO Care initiative.

Find out how TECH STUDIO can enable your business with a complete IoT/AI embedded
solution which minimizes development costs, quickens time to deployment, maximizes
reliability, and lowers total cost of ownership.
 Table of Contents

1. Definitions
2. Introduction
3. Project Aims
4. Academic and Professional Contexts
5. Technical Workshops and Network
6. VR as an Emerging Creative Industry
7. Online Course and How-To Guides
8. VR-enhanced Seminars
9. Findings
10. Recommendations
11. Further Reading and Resources
12. VR & AR Technologies Compared
13. Walk With a Rhomaleosaurus in VR
14. Tour the Monash Science Precinct in 360°
15. Walk With Elephants in 360° VR
 1) Definitions
Virtual Reality (VR):
A combination of video and audio, filling a single person’s field of sensation, that works
with their perceptual process to give the illusion of being in a computer generated, and yet
believable, reality. As the participant moves their head around the visuals (and sometimes the
audio) changes naturally to give the sense of being in a real world. VR may also provide physical
feedback through touch surfaces, tactile interfaces allowing objects in the virtual world to be
manipulated, and haptic feedback between manipulated objects and the body of the
participant. VR experiences are usually undertaken individually, however in the future social VR
will be more common, with people able to interact with each other.

Binaural Sound:
Audio recorded and played back in 3D, with responsiveness to the movements of the
participant. This achieves the deepest degrees of immersion. Sound design is a key factor in the
effectiveness of VR
360 video:
Special video cameras can record video as a near continuous 360o image. This may then
be viewed through a VR headset. With current technologies very little interactivity is possible in
such videos. Viewing is a more passive experience.

Microsoft HoloLens (@ Microsoft)

Augmented Reality (AR):

Not to be confused with VR. In this case a screen, a headset or a visor is used to overlay
digital 3D images onto the user’s view of the real world. AR has a very different purpose to VR.
Microsoft HoloLens is an AR system.

Untethered Virtual Reality:

The Oculus Rift and first generation HTC Vive systems use a headset that is connected to
a powerful PC using cables. This restricts the physical movement of the participant. HTC Vive
does have a system of sensors that will track the movement of the participant around a space,
and map that onto their movement in the virtual world. Future versions of these systems will
be “untethered" allowing greater mobility and multi-person VR. Microsoft's HoloLens is an
untethered AR visor.
Tactile and Haptic Virtual Reality:
The more sophisticated systems include hand-held controllers that allow the user to
manipulate objects in the virtual world. Haptic controllers provide physical feedback to simulate
touching virtual objects.

Room-scale VR (@ Deposit Photos)

 2) Introduction
By Dr Robert O’Toole NTF, project lead:
My first encounter with Virtual Reality at Warwick, indeed the first time I heard about it
anywhere, was way back in 1995 at an interdisciplinary conference for futurologists. The World
Wide Web had just arrived. In 1993 we had built the Philosophy Department’s first web site.
The talk I gave at the conference was, unbelievably, streamed out onto the Internet, most likely
to a tiny pioneering audience prepared to put up with a stuttering low resolution transmission.
So many things seemed, and proved to be, possible. Within such a small time span computers
shrunk down and became many thousands of times more powerful.
Phones became mobile, minituarised, got the internet, went smart, suddenly grew-up
again into the tablet computer, and gave us ubiquitous computing connected anywhere and
everywhere. And yet what happend to VR? Image libraries have contained photos depicting
people lost in VR (see top image) for many many years before the technology bacame a reality.
Only in the last couple of years have we seen the arrival of affordable devices with
acceptable quality. And even more novel, there’s actually now a good selection of content to
play on them. A new creative profession is forming to enable this, as people learn about what
works well and what doesn’t, bringing practices from film, gaming, theatre, science and
education into a new synthesis. A transdisciplinary synthesis producing exciting new kinds of
experience (as with the BBC’s Easter Rising, above). And potentially, a new kind of education, or
at least new possibilities for education.

This project represents the beginnings of our work to explore the possibilities.

3) Project Aims
The project began with four aims:
● Stimulate VR based activity and the formation of a network of practitioners at the
University of Warwick - an email-based discussion group has been created, with
members from across the University, however the VR community at Warwick is small,
and further work will be needed to sustain and expand the group.

● Prompt discussions around the application and value of VR for enhancing learning,
teaching and the student experience - achieved through the workshops, the email list
and presentations at learning and teaching enhancement events - this is an ongoing
process which will need further support
 ● Identify the “threshold conditions” that must be passed in order to see VR (use and
creation) becoming commonplace amongst early adopters, and eventually ubiquitous as
an extension of our educational platform (not meaning that it becomes the main
platform, but rather that it becomes just an ordinary

tool within the wider repertoire we commonly use) - this was achieved through the
workshops and through the evaluation of VR production techniques, including 360
cameras, and we can now specify the conditions necessary for more widespread
adoption

● To understand how developments outside of education, especially in the entertainment

industry, might impact positively or negatively on VR in education - achieved through
tracking news via the 360 Rumours web site and other sources, this is as yet an
uncertain and fast evolving dimension of the project.

This diagram illustrates the core challenge we addressed (points 3 and 4 above). With high
levels of investment coming into VR from entertainment-oriented companies like Google,
Samsung and Facebook, education will most likely continue to be a low priority, being a more
complex domain from which profit may be extracted. Entertainments of various forms may well
act to push educational applications down below the horizon. There is also the possibility of a
widespread negative reaction to VR, if we see the entertainment (especially games) industry
push hard for its application in more aggressive genres. We could be seeing the beginnings of
the kind of moral panic that sometimes accompanies radical new technologies (Allen, 2017).
We therefore want to do something to counteract these tendencies before it is too late.
 4) VR-Enhanced
Overview
For these workshops we brought an influential VR industry expert to Warwick (Catherine Allen,
see the inset at the bottom of this page), along with a range of VR kit (including high-end Oculus
Rift headsets). The aim was to observe its use in a real seminar-style situation, to listen to views
from a broad range of people (covering arts, science, technology and social science), and to
capture their critical and imaginative responses to the seminar. Catherine’s experience in
designing and running VR activities for arts and entertainment formed the basis of our initial
seminar design. We were aware of the importance of six key factors:

● room layout, providing just the right environment for effective and comfortable
immersive experiences; session design, so as to ensure everyone had enough time,
without rushing, and that we could come back together for a discussion at the
end;
● choice of VR experiences, aiming to give a good enough range of lo-fi and hi-fi examples;
● reliability of the equipment, so as not to detract with glitches and interruptions;
● clear guidelines and advice for participants;
● refreshments and energy boosters (enough sweets to keep us all going!).

he six participants then split into two groups of three. One group moved to the Oculus area for
15 minutes and did the Easter Rising Voice of a Rebel historical VR experience (BBC 2016,
produced by Catherine, see inset below for an overview). The other group explored a range of
lower-fi VR including Google Cardboard and a Samsung Gear VR. The lo-fi experiences were
facilitated by either Catherine or Robert, and guided by a set of 3 how-to sheets. The Oculus
group were watched over at all times by the other facilitator, so as to ensure that assistance
could be given as required. Following a short break, we came back together as a group for a
plenary discussion (audio recorded). Many of these discussions lasted longer than the 30
minutes we had planned for. The room layout was carefully planned to ensure a degree of
privacy for the participants, with a partition between the VR areas. Noise from the road next to
the building was a problem, windows open on a warm day.
 5) Findings
There are many ways in which VR will usefully augment and extend teaching across all of our
academic disciplines. Some of these uses will tend towards the immersive “story-doing” kind of
experience (in the style of Easter Rising). Others will be more interactive, using haptic
interfaces (for example, the bio- molecular systems being developed in Life Sciences).

People are now getting limited access to simple VR experiences (360 video on Google
cardboard). Games- based VR is also taking-off fast amongst dedicated games players.
However, we found very few people who have had a significant, meaningful, satisfying VR
experience.
This, in combination with media hype, has resulted in distorted expectations
and understandings becoming commonplace.

VR technology is not like other familiar digtal technologies (television, laptops,

tablets, smart phones etc). It relates to the body, the brain, experience and identity in a much
more radical way.
 Adoption of VR technologies is more challenging, and will take longer and require
more experimentation and reflection. We may find that people do not use VR in everyday
places - for example at home or at public events. VR is valuable, but needs to occur in the right
setting.

VR needs a physical home at Warwick, a space designed and supported specifically for good
quality VR experiences. This is equivalent to the need for dedicated theatre spaces - a specialised space,
not a generic space. When experienced in poorly designed spaces, VR can be worse than disatisfactory,
it can be emotionally and psychologically damaging.

6) References
VR for publishers 101: Why diverse teams will help you make better virtual experiences
http://tinyurl.com/y7v8cmpm

VR for publishers 101: How to distribute your virtual reality story

http://tinyurl.com/y6unckco

VR for publishers 101: What works well in virtual reality?

http://tinyurl.com/yak9r5g8

With VR, publishers must focus on storydoing, not storytelling

http://tinyurl.com/yaeqzl5y

5 key considerations for ethical virtual reality storytelling

http://tinyurl.com/y9mpo7go