5 research outputs found
ADADA 2016 14TH international Conference for Asia Digital Art and Design Association - Perception of impossible figures focusing on inconsistent rectangles
Impossible figures are known to be motifs of the Dutch artist M. C. Escher's lithographs. However, impossible figures
cannot be strictly defined geometrically because they are mental images of solid objects. In other words, viewers perceive
two-dimensional (2D) drawings as three-dimensional (3D) structures, although these structures cannot be realized in 3D
space. Regardless of the mental images, viewersâ differing perceptions of impossible figures have not been sufficiently
researched; thus, we performed two experiments to address this gap. In the first experiment, the participants observed each
sample figure individually in random order and then stated whether, according to them, it was an impossible or possible
figure. Approximately half the participants labeled some sample figures as possible figures in spite of them being impossible
geometrically. The results indicated that perceptions of impossible figures differ according to the individual and the
figures themselves. We also obtained widely differing results between four inconsistent rectangles that had the external
contours of possible rectangles. To address this variability, we focused on the inconsistent rectangles in the second experiment.
The four rectangles were sub-classified into 28 categories, and the participants were asked whether each of the 28
figures was impossible or possible, similar to the procedure followed in the first experiment. The sub-classified rectangles
were broken down into polygons to analyze the results. Finally, we extracted an element that led to participants' perception
of possible figures and two elements that led to their perception of impossible figures
The Effects of Object Shape, Fidelity, Color, and Luminance on Depth Perception in Handheld Mobile Augmented Reality
Depth perception of objects can greatly affect a user's experience of an
augmented reality (AR) application. Many AR applications require depth matching
of real and virtual objects and have the possibility to be influenced by depth
cues. Color and luminance are depth cues that have been traditionally studied
in two-dimensional (2D) objects. However, there is little research
investigating how the properties of three-dimensional (3D) virtual objects
interact with color and luminance to affect depth perception, despite the
substantial use of 3D objects in visual applications. In this paper, we present
the results of a paired comparison experiment that investigates the effects of
object shape, fidelity, color, and luminance on depth perception of 3D objects
in handheld mobile AR. The results of our study indicate that bright colors are
perceived as nearer than dark colors for a high-fidelity, simple 3D object,
regardless of hue. Additionally, bright red is perceived as nearer than any
other color. These effects were not observed for a low-fidelity version of the
simple object or for a more-complex 3D object. High-fidelity objects had more
perceptual differences than low-fidelity objects, indicating that fidelity
interacts with color and luminance to affect depth perception. These findings
reveal how the properties of 3D models influence the effects of color and
luminance on depth perception in handheld mobile AR and can help developers
select colors for their applications.Comment: 9 pages, In proceedings of IEEE International Symposium on Mixed and
Augmented Reality (ISMAR) 202
Depth, shading, and stylization in stereoscopic cinematography
Due to the constantly increasing focus of the entertainment industry on stereoscopic imaging, techniques and tools that enable precise control over the depth impression and help to overcome limitations of the current stereoscopic hardware are gaining in importance. In this dissertation, we address selected problems encountered during stereoscopic content production, with a particular focus on stereoscopic cinema. First, we consider abrupt changes of depth, such as those induced by cuts in films. We derive a model predicting the time the visual system needs to adapt to such changes and propose how to employ this model for film cut optimization. Second, we tackle the issue of discrepancies between the two views of a stereoscopic image due to view-dependent shading of glossy materials. The suggested solution eliminates discomfort caused by non-matching specular highlights while preserving the perception of gloss. Last, we deal with the problem of filmgrainmanagement in stereoscopic productions and propose a new method for film grain application that reconciles visual comfort with the idea of medium-scene separation.Aufgrund der stĂ€ndig steigenden Beachtung der stereoskopische Abbildung durch die Unterhaltungsindustrie, gewinnen Techniken und Werkzeuge an Bedeutung, die eine prĂ€zise Steuerung der Tiefenwahrnehmung ermöglichen und EinschrĂ€nkungen der gegenwĂ€rtigen stereoskopischen GerĂ€te ĂŒberwinden. In dieser Dissertation adressieren wir ausgewĂ€hlte Probleme, die wĂ€hrend der Erzeugung von stereoskopischen Inhalten auftreten, mit besonderem Schwerpunkt auf der stereoskopischen Kinematographie. Zuerst betrachten wir abrupte TiefenĂ€nderungen, wie sie durch Filmschnitte hervergerufen werden. Wir leiten ein Modell her, das die Zeit vorhersagt, die fĂŒr das menschliche Sehsystem notwendig ist, um sich an solche Ănderungen der Tiefe zu adaptieren, und schlagen vor wie dieses Modell fĂŒr Schnittoptimierung angewendet werden kann. Danach gehen wir das Problem der Unstimmigkeiten zwischen den zwei Ansichten eines stereoskopischen Bildes, infolge der sichtabhĂ€ngigen Schattierung von glĂ€nzenden Materialien, an. Die vorgeschlagene Lösung eliminiert das visuelle Unbehagen, welches von nicht zusammenpassenden Glanzlichtern verursacht wird, indessen bewahrt sie die Glanzwahrnehmung. Zuletzt behandeln wir das Problem des Filmkornsmanagements in stereoskopischen Produktionen und schlagen eine neue Methode fĂŒr das HinzufĂŒgen vom Filmkorn vor, die die visuelle Behaglichkeit mit der Idee der Medium-Szenen-Trennung in Einklang bringt
Towards Better Methods of Stereoscopic 3D Media Adjustment and Stylization
Stereoscopic 3D (S3D) media is pervasive in film, photography and art. However, working with
S3D media poses a number of interesting challenges arising from capture and editing. In this thesis
we address several of these challenges. In particular, we address disparity adjustment and present
a layer-based method that can reduce disparity without distorting the scene. Our method was
successfully used to repair several images for the 2014 documentary âSoldiersâ Storiesâ directed by
Jonathan Kitzen. We then explore consistent and comfortable methods for stylizing stereo images.
Our approach uses a modified version of the layer-based technique used for disparity adjustment
and can be used with a variety of stylization filters, including those in Adobe Photoshop. We
also present a disparity-aware painterly rendering algorithm. A user study concluded that our
layer-based stylization method produced S3D images that were more comfortable than previous
methods. Finally, we address S3D line drawing from S3D photographs. Line drawing is a common
art style that our layer-based method is not able to reproduce. To improve the depth perception of
our line drawings we optionally add stylized shading. An expert survey concluded that our results
were comfortable and reproduced a sense of depth