Humans rely heavily on spatial information to perform everyday tasks. Developing good spatial understanding is highly dependent on how the viewer's attention is deployed to specific locations in a scene. Bailey et al. [2009] showed that it is possible to influence exactly where attention is allocated using a technique called Subtle Gaze Direction (SGD). The SGD approach combines eye tracking with subtle image-space modulations to guide viewer gaze about a scene. The modulations are presented to peripheral regions of the field of view, in order to attract the viewer's attention, but are terminated before the viewer can scrutinize them with their high acuity foveal vision. It was observed that subjects who were guided using SGD performed significantly better in recollecting the count and location of target objects, however no significant performance improvement was observed in identifying the shape of the target objects [Bailey et al. 2012]. Also, in previous studies involving SGD, the target locations were manually chosen by researchers. This paper addresses these two limitations. We present a novel technique for automatically selecting target regions using visual saliency and key features in the image. The shape recollection issue is solved by modulating a rough outline of the target object obtained using an edge map composed from a pyramid of low spatial frequency maps of the original image. Results from a user study show that the influence of this approach significantly improved accuracy of target count recollection, location recollection, as well as shape recollection without any manual intervention. Furthermore our technique correctly predicted 81% of the target regions without any prior knowledge of the recollection task being assigned to the viewer. This work has implications for a wide range of applications including spatial learning in virtual environments as well as image search applications, virtual training and perceptually based rendering.
人类在执行日常任务时严重依赖空间信息。发展良好的空间理解高度依赖于观众的注意力如何部署到场景中的特定位置。Bailey等人[2009]表明，使用一种称为微妙凝视方向(SGD)的技术，可以准确地影响注意力分配的位置。SGD方法将眼动追踪与微妙的图像空间调制相结合，以引导观看者注视场景。调制呈现在视野的外围区域，以吸引观看者的注意力，但在观看者能够以其高灵敏度的中央凹视觉仔细检查它们之前终止。我们观察到，使用SGD引导的受试者在回忆目标物体的数量和位置方面表现明显更好，但在识别目标物体的形状方面没有明显的表现改善[Bailey et al. 2012]。此外，在先前涉及SGD的研究中，目标位置是由研究人员手动选择的。本文解决了这两个限制。提出了一种利用图像的视觉显著性和关键特征自动选择目标区域的新技术。通过调制由原始图像的低空间频率图组成的边缘图获得的目标物体的粗略轮廓来解决形状回忆问题。用户研究结果表明，该方法在不需要人工干预的情况下显著提高了目标计数记忆、位置记忆和形状记忆的准确性。此外，我们的技术正确预测了81%的目标区域，而无需事先了解分配给观看者的回忆任务。这项工作对广泛的应用有影响，包括虚拟环境中的空间学习以及图像搜索应用、虚拟训练和基于感知的渲染。
{"title":"Automatic target prediction and subtle gaze guidance for improved spatial information recall","authors":"S. Sridharan, Reynold J. Bailey","doi":"10.1145/2804408.2804415","DOIUrl":"https://doi.org/10.1145/2804408.2804415","url":null,"abstract":"Humans rely heavily on spatial information to perform everyday tasks. Developing good spatial understanding is highly dependent on how the viewer's attention is deployed to specific locations in a scene. Bailey et al. [2009] showed that it is possible to influence exactly where attention is allocated using a technique called Subtle Gaze Direction (SGD). The SGD approach combines eye tracking with subtle image-space modulations to guide viewer gaze about a scene. The modulations are presented to peripheral regions of the field of view, in order to attract the viewer's attention, but are terminated before the viewer can scrutinize them with their high acuity foveal vision. It was observed that subjects who were guided using SGD performed significantly better in recollecting the count and location of target objects, however no significant performance improvement was observed in identifying the shape of the target objects [Bailey et al. 2012]. Also, in previous studies involving SGD, the target locations were manually chosen by researchers. This paper addresses these two limitations. We present a novel technique for automatically selecting target regions using visual saliency and key features in the image. The shape recollection issue is solved by modulating a rough outline of the target object obtained using an edge map composed from a pyramid of low spatial frequency maps of the original image. Results from a user study show that the influence of this approach significantly improved accuracy of target count recollection, location recollection, as well as shape recollection without any manual intervention. Furthermore our technique correctly predicted 81% of the target regions without any prior knowledge of the recollection task being assigned to the viewer. This work has implications for a wide range of applications including spatial learning in virtual environments as well as image search applications, virtual training and perceptually based rendering.","PeriodicalId":283323,"journal":{"name":"Proceedings of the ACM SIGGRAPH Symposium on Applied Perception","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126900950","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Haley Adams, Chelsey Thompson, David Thomas, Farah Sharis, Catherine Grace Jernigan, Corrie Moore, B. Sanders
Immersive virtual environments (VEs) allow people to experience situations which because of danger, expense, time, or distance would not otherwise be available. Moreover, IVEs have been shown to be useful tools for learning and training. However, there are still many unanswered questions about how humans experience and interact with these environments and how this experience differs from the real world. In the experiment presented in this work, we are specifically interested in how effectively two people will collaborate within an environment given that they have never met or even seen each other prior to the experiment. We postulate that participants who never meet their partner in a collaborative environment will perform worse than those who are able to interact with their partner prior to the performance of a task. If this holds true, then it could have important implications for long distance collaboration.
{"title":"The effect of interpersonal familiarity on cooperation in a virtual environment","authors":"Haley Adams, Chelsey Thompson, David Thomas, Farah Sharis, Catherine Grace Jernigan, Corrie Moore, B. Sanders","doi":"10.1145/2804408.2814185","DOIUrl":"https://doi.org/10.1145/2804408.2814185","url":null,"abstract":"Immersive virtual environments (VEs) allow people to experience situations which because of danger, expense, time, or distance would not otherwise be available. Moreover, IVEs have been shown to be useful tools for learning and training. However, there are still many unanswered questions about how humans experience and interact with these environments and how this experience differs from the real world. In the experiment presented in this work, we are specifically interested in how effectively two people will collaborate within an environment given that they have never met or even seen each other prior to the experiment. We postulate that participants who never meet their partner in a collaborative environment will perform worse than those who are able to interact with their partner prior to the performance of a task. If this holds true, then it could have important implications for long distance collaboration.","PeriodicalId":283323,"journal":{"name":"Proceedings of the ACM SIGGRAPH Symposium on Applied Perception","volume":"184 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131780973","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Collaborative immersive virtual environments allow the behavior of one user to be observed by other users. In particular, behavior of users in such an environment is represented by each user possessing a self-avatar, a digital representation of themself. In this study we examined dyadic interactions in a collaborative immersive virtual environment when both users were present in the same physical space. This collocation in physical space allows for physical interaction between users as well as virtual interaction. In the context of a common physical gesture, high fiving, we examined the question of whether the form of the self-avatar was important, and whether collocation in the physical world provided benefits or not. We find that the form of the avatar is important but that physical collocation is not. These results reinforce the growing body of evidence that indicates that having a full-body avatar in a virtual environment provides benefits, and these results are significant because they demonstrate this in the context of a dyadic interaction.
{"title":"Dyadic interactions with avatars in immersive virtual environments: high fiving","authors":"M. Young, J. Rieser, Bobby Bodenheimer","doi":"10.1145/2804408.2804410","DOIUrl":"https://doi.org/10.1145/2804408.2804410","url":null,"abstract":"Collaborative immersive virtual environments allow the behavior of one user to be observed by other users. In particular, behavior of users in such an environment is represented by each user possessing a self-avatar, a digital representation of themself. In this study we examined dyadic interactions in a collaborative immersive virtual environment when both users were present in the same physical space. This collocation in physical space allows for physical interaction between users as well as virtual interaction. In the context of a common physical gesture, high fiving, we examined the question of whether the form of the self-avatar was important, and whether collocation in the physical world provided benefits or not. We find that the form of the avatar is important but that physical collocation is not. These results reinforce the growing body of evidence that indicates that having a full-body avatar in a virtual environment provides benefits, and these results are significant because they demonstrate this in the context of a dyadic interaction.","PeriodicalId":283323,"journal":{"name":"Proceedings of the ACM SIGGRAPH Symposium on Applied Perception","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117027229","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Greg Rauhoeft, Markus Leyrer, W. Thompson, Jeanine K. Stefanucci, R. Klatzky, B. Mohler
Many have experienced vastness, the feeling when the visual space seems to extend without limits away from you, making you feel like a small element within the space. For over 200 years, people have been writing about this experience, for example stating that vastness is important to the experience of awe [Mikulak 2015]. Yet vastness has received little attention in empirical research. Specifically, it is unknown which aspects of the visual stimulus contribute to perceived vastness. This may be due to the inherent difficulties in presenting a variety of vast stimuli while varying only specific visual cues. Using virtual reality addresses these difficulties, as this technology provides precise control over the presented visual stimuli. Here we investigate whether the feeling of vastness can be evoked using virtual reality and explore potential objective measures to assess vastness. We used three different measures during this experiment: 1) An avatar height adjustment task where participants had to adjust an avatar to be equivalent to their own height as viewed from a distance, 2) a distance estimation task and 3) a subjective vastness rating task. These tasks were performed in four environments: a plain (used in all subsequent environments for the ground and sky surfaces), a forest, a mountain and the mountain and forest environments combined. Our results indicate that the feeling of vastness can indeed be experienced to various degrees in virtual environments, demonstrating the potential of VR as a tool for exploring the perception of vastness. Yet the results combined suggest that the percept of vastness is a rather complex construct.
{"title":"Evoking and assessing vastness in virtual environments","authors":"Greg Rauhoeft, Markus Leyrer, W. Thompson, Jeanine K. Stefanucci, R. Klatzky, B. Mohler","doi":"10.1145/2804408.2804425","DOIUrl":"https://doi.org/10.1145/2804408.2804425","url":null,"abstract":"Many have experienced vastness, the feeling when the visual space seems to extend without limits away from you, making you feel like a small element within the space. For over 200 years, people have been writing about this experience, for example stating that vastness is important to the experience of awe [Mikulak 2015]. Yet vastness has received little attention in empirical research. Specifically, it is unknown which aspects of the visual stimulus contribute to perceived vastness. This may be due to the inherent difficulties in presenting a variety of vast stimuli while varying only specific visual cues. Using virtual reality addresses these difficulties, as this technology provides precise control over the presented visual stimuli. Here we investigate whether the feeling of vastness can be evoked using virtual reality and explore potential objective measures to assess vastness. We used three different measures during this experiment: 1) An avatar height adjustment task where participants had to adjust an avatar to be equivalent to their own height as viewed from a distance, 2) a distance estimation task and 3) a subjective vastness rating task. These tasks were performed in four environments: a plain (used in all subsequent environments for the ground and sky surfaces), a forest, a mountain and the mountain and forest environments combined. Our results indicate that the feeling of vastness can indeed be experienced to various degrees in virtual environments, demonstrating the potential of VR as a tool for exploring the perception of vastness. Yet the results combined suggest that the percept of vastness is a rather complex construct.","PeriodicalId":283323,"journal":{"name":"Proceedings of the ACM SIGGRAPH Symposium on Applied Perception","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116751040","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The majority of the materials we encounter in the real-world have variable reflectance when rotated along a surface normal. This view and illumination azimuthally-variable behavior is known as visual anisotropy. Such behavior can be represented by a four-dimensional anisotropic BRDF that characterizes the anisotropic appearance of homogeneous materials. Unfortunately, most past research has been devoted to simplistic three dimensional isotropic BRDFs. In this paper, we analyze and categorize basic types of BRDF anisotropy, use a psychophysical study to assess at which conditions can isotropic appearance be used without loss of details in material appearance. To this end, we tested the human impression of material anisotropy on various shapes and under two illuminations. We conclude that subjects sensitivity to anisotropy declines with increasing complexity of 3D geometry and increasing uniformity of illumination environment. Finally, we derive and perceptually validate a computationally efficient measure of material visual anisotropy.
{"title":"Analyzing and predicting anisotropic effects of BRDFs","authors":"J. Filip","doi":"10.1145/2804408.2804419","DOIUrl":"https://doi.org/10.1145/2804408.2804419","url":null,"abstract":"The majority of the materials we encounter in the real-world have variable reflectance when rotated along a surface normal. This view and illumination azimuthally-variable behavior is known as visual anisotropy. Such behavior can be represented by a four-dimensional anisotropic BRDF that characterizes the anisotropic appearance of homogeneous materials. Unfortunately, most past research has been devoted to simplistic three dimensional isotropic BRDFs. In this paper, we analyze and categorize basic types of BRDF anisotropy, use a psychophysical study to assess at which conditions can isotropic appearance be used without loss of details in material appearance. To this end, we tested the human impression of material anisotropy on various shapes and under two illuminations. We conclude that subjects sensitivity to anisotropy declines with increasing complexity of 3D geometry and increasing uniformity of illumination environment. Finally, we derive and perceptually validate a computationally efficient measure of material visual anisotropy.","PeriodicalId":283323,"journal":{"name":"Proceedings of the ACM SIGGRAPH Symposium on Applied Perception","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116561023","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Anna C. Wellerdiek, M. Breidt, Michael Geuss, S. Streuber, Uwe Kloos, Michael J. Black, B. Mohler
We investigated the influence of body shape and pose on the perception of physical strength and social power for male virtual characters. In the first experiment, participants judged the physical strength of varying body shapes, derived from a statistical 3D body model. Based on these ratings, we determined three body shapes (weak, average, and strong) and animated them with a set of power poses for the second experiment. Participants rated how strong or powerful they perceived virtual characters of varying body shapes that were displayed in different poses. Our results show that perception of physical strength was mainly driven by the shape of the body. However, the social attribute of power was influenced by an interaction between pose and shape. Specifically, the effect of pose on power ratings was greater for weak body shapes. These results demonstrate that a character with a weak shape can be perceived as more powerful when in a high-power pose.
{"title":"Perception of strength and power of realistic male characters","authors":"Anna C. Wellerdiek, M. Breidt, Michael Geuss, S. Streuber, Uwe Kloos, Michael J. Black, B. Mohler","doi":"10.1145/2804408.2804413","DOIUrl":"https://doi.org/10.1145/2804408.2804413","url":null,"abstract":"We investigated the influence of body shape and pose on the perception of physical strength and social power for male virtual characters. In the first experiment, participants judged the physical strength of varying body shapes, derived from a statistical 3D body model. Based on these ratings, we determined three body shapes (weak, average, and strong) and animated them with a set of power poses for the second experiment. Participants rated how strong or powerful they perceived virtual characters of varying body shapes that were displayed in different poses. Our results show that perception of physical strength was mainly driven by the shape of the body. However, the social attribute of power was influenced by an interaction between pose and shape. Specifically, the effect of pose on power ratings was greater for weak body shapes. These results demonstrate that a character with a weak shape can be perceived as more powerful when in a high-power pose.","PeriodicalId":283323,"journal":{"name":"Proceedings of the ACM SIGGRAPH Symposium on Applied Perception","volume":"214 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122620429","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Petr Kellnhofer, Thomas Leimkühler, Tobias Ritschel, K. Myszkowski, H. Seidel
Different from classic reconstruction of physical depth in computer vision, depth for 2D-to-3D stereo conversion is assigned by humans using semi-automatic painting interfaces and, consequently, is often dramatically wrong. Here we seek to better understand why it still does not fail to convey a sensation of depth. To this end, four typical disparity distortions resulting from manual 2D-to-3D stereo conversion are analyzed: i) smooth remapping, ii) spatial smoothness, iii) motion-compensated, temporal smoothness, and iv) completeness. A perceptual experiment is conducted to quantify the impact of each distortion on the plausibility of the 3D impression relative to a reference without distortion. Close-to-natural videos with known depth were distorted in one of the four above-mentioned aspects and subjects had to indicate if the distortion still allows for a plausible 3D effect. The smallest amounts of distortion that result in a significant rejection suggests a conservative upper bound on the quality requirement of 2D-to-3D conversion.
{"title":"What makes 2D-to-3D stereo conversion perceptually plausible?","authors":"Petr Kellnhofer, Thomas Leimkühler, Tobias Ritschel, K. Myszkowski, H. Seidel","doi":"10.1145/2804408.2804409","DOIUrl":"https://doi.org/10.1145/2804408.2804409","url":null,"abstract":"Different from classic reconstruction of physical depth in computer vision, depth for 2D-to-3D stereo conversion is assigned by humans using semi-automatic painting interfaces and, consequently, is often dramatically wrong. Here we seek to better understand why it still does not fail to convey a sensation of depth. To this end, four typical disparity distortions resulting from manual 2D-to-3D stereo conversion are analyzed: i) smooth remapping, ii) spatial smoothness, iii) motion-compensated, temporal smoothness, and iv) completeness. A perceptual experiment is conducted to quantify the impact of each distortion on the plausibility of the 3D impression relative to a reference without distortion. Close-to-natural videos with known depth were distorted in one of the four above-mentioned aspects and subjects had to indicate if the distortion still allows for a plausible 3D effect. The smallest amounts of distortion that result in a significant rejection suggests a conservative upper bound on the quality requirement of 2D-to-3D conversion.","PeriodicalId":283323,"journal":{"name":"Proceedings of the ACM SIGGRAPH Symposium on Applied Perception","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134399061","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Virtual reality has reached the consumer market and exhibited the potential to become a large social and commercial platform for mainstream markets. New, low-cost devices for virtual reality or mixed reality such as the Oculus Rift, Sony's Project Morpheus, or Microsoft's HoloLens are already available or have been announced and might even outperform previous high-cost systems [Young et al. 2014]. Techniques to measure hand motions are in the making with the goal of being able to control virtual hands using one's own hand movements as well as interact with objects in virtual reality applications. Prototypes such as the combination of the Leap Motion Controller and the Oculus Rift are already available. Applications for these devices will certainly follow.
虚拟现实已经进入消费市场，并显示出成为主流市场大型社交和商业平台的潜力。新的、低成本的虚拟现实或混合现实设备，如Oculus Rift、索尼的Project Morpheus或微软的HoloLens已经上市或已经发布，甚至可能超过之前的高成本系统[Young et al. 2014]。测量手部运动的技术正在开发中，其目标是能够使用自己的手部运动来控制虚拟的手，并在虚拟现实应用中与物体进行交互。Leap Motion Controller和Oculus Rift的组合等原型产品已经上市。这些设备的应用程序肯定会随之而来。
{"title":"Do cartoons feel pain?: using the virtual hand illusion to test human response to degrees of realism","authors":"Lorraine Lin, S. Jörg","doi":"10.1145/2804408.2814182","DOIUrl":"https://doi.org/10.1145/2804408.2814182","url":null,"abstract":"Virtual reality has reached the consumer market and exhibited the potential to become a large social and commercial platform for mainstream markets. New, low-cost devices for virtual reality or mixed reality such as the Oculus Rift, Sony's Project Morpheus, or Microsoft's HoloLens are already available or have been announced and might even outperform previous high-cost systems [Young et al. 2014]. Techniques to measure hand motions are in the making with the goal of being able to control virtual hands using one's own hand movements as well as interact with objects in virtual reality applications. Prototypes such as the combination of the Leap Motion Controller and the Oculus Rift are already available. Applications for these devices will certainly follow.","PeriodicalId":283323,"journal":{"name":"Proceedings of the ACM SIGGRAPH Symposium on Applied Perception","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133127724","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
There is growing interest in capturing and projecting movies at higher frame rates than the traditional 24 frames per second. Yet there has been little scientific assessment of the impact of higher frame rates (HFR) on the perceived quality of cinema content. Here we investigated the effect of frame rate, and associated variables (shutter angle and camera motion) on viewers' ability to discriminate letters in S3D movie clips captured by a professional film crew. The footage was filmed and projected at varying combinations of frame rate, camera speed and shutter angle. Our results showed that, overall, legibility improved with increased frame rate and reduced camera velocity. However, contrary to expectations, there was little effect of shutter angle on legibility. We also show that specific combinations of camera parameters can lead to dramatic reductions in legibility for localized regions in a scene.
{"title":"Evaluation of the impact of high frame rates on legibility in S3D film","authors":"Michael Marianovski, L. Wilcox, R. Allison","doi":"10.1145/2804408.2804411","DOIUrl":"https://doi.org/10.1145/2804408.2804411","url":null,"abstract":"There is growing interest in capturing and projecting movies at higher frame rates than the traditional 24 frames per second. Yet there has been little scientific assessment of the impact of higher frame rates (HFR) on the perceived quality of cinema content. Here we investigated the effect of frame rate, and associated variables (shutter angle and camera motion) on viewers' ability to discriminate letters in S3D movie clips captured by a professional film crew. The footage was filmed and projected at varying combinations of frame rate, camera speed and shutter angle. Our results showed that, overall, legibility improved with increased frame rate and reduced camera velocity. However, contrary to expectations, there was little effect of shutter angle on legibility. We also show that specific combinations of camera parameters can lead to dramatic reductions in legibility for localized regions in a scene.","PeriodicalId":283323,"journal":{"name":"Proceedings of the ACM SIGGRAPH Symposium on Applied Perception","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129463178","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This study explored whether people misremember having seen a physical object when they actually had viewed a virtual one in augmented reality (and vice versa). Participants viewed uniquely shaped objects in a virtual form or a physical, 3D-printed form. A camera mounted behind a computer monitor showed either the physical object or an augmented reality version of it on the display. After viewing the full set of objects, participants viewed photographs of each object (taken from the physical version) and judged whether they had originally seen it as a physical or virtual object. On average, participants correctly identified the object format for 60% of the photographs. When participants were allowed to manipulate the physical or virtual object (using a Leap Motion Controller), accuracy increased to 73%. In both cases, participants were biased to remember the objects as having been virtual.
{"title":"Remembering the physical as virtual: source confusion and physical interaction in augmented reality","authors":"Ajoy S. Fernandes, R. Wang, D. Simons","doi":"10.1145/2804408.2804423","DOIUrl":"https://doi.org/10.1145/2804408.2804423","url":null,"abstract":"This study explored whether people misremember having seen a physical object when they actually had viewed a virtual one in augmented reality (and vice versa). Participants viewed uniquely shaped objects in a virtual form or a physical, 3D-printed form. A camera mounted behind a computer monitor showed either the physical object or an augmented reality version of it on the display. After viewing the full set of objects, participants viewed photographs of each object (taken from the physical version) and judged whether they had originally seen it as a physical or virtual object. On average, participants correctly identified the object format for 60% of the photographs. When participants were allowed to manipulate the physical or virtual object (using a Leap Motion Controller), accuracy increased to 73%. In both cases, participants were biased to remember the objects as having been virtual.","PeriodicalId":283323,"journal":{"name":"Proceedings of the ACM SIGGRAPH Symposium on Applied Perception","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128577907","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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