Construction and Evaluation of an Ultra Low Latency Frameless Renderer for VR.

© 2016 IEEE.Latency-the delay between a users action and the response to this action-is known to be detrimental to virtual reality. Latency is typically considered to be a discrete value characterising a delay, constant in time and space-but this characterisation is incomplete. Latency changes across the display during scan-out, and how it does so is dependent on the rendering approach used. In this study, we present an ultra-low latency real-time ray-casting renderer for virtual reality, implemented on an FPGA. Our renderer has a latency of 1 ms from tracker to pixel. Its frameless nature means that the region of the display with the lowest latency immediately follows the scan-beam. This is in contrast to frame-based systems such as those using typical GPUs, for which the latency increases as scan-out proceeds. Using a series of high and low speed videos of our system in use, we confirm its latency of 1 ms. We examine how the renderer performs when driving a traditional sequential scan-out display on a readily available HMO, the Oculus Rift OK2. We contrast this with an equivalent apparatus built using a GPU. Using captured human head motion and a set of image quality measures, we assess the ability of these systems to faithfully recreate the stimuli of an ideal virtual reality system-one with a zero latency tracker, renderer and display running at 1 kHz. Finally, we examine the results of these quality measures, and how each rendering approach is affected by velocity of movement and display persistence. We find that our system, with a lower average latency, can more faithfully draw what the ideal virtual reality system would. Further, we find that with low display persistence, the sensitivity to velocity of both systems is lowered, but that it is much lower for ours

Categorical perception of tactile distance

The tactile surface forms a continuous sheet covering the body. And yet, the perceived distance between two touches varies across stimulation sites. Perceived tactile distance is larger when stimuli cross over the wrist, compared to when both fall on either the hand or the forearm. This effect could reflect a categorical distortion of tactile space across body-part boundaries (in which stimuli crossing the wrist boundary are perceptually elongated) or may simply reflect a localised increased in acuity surrounding anatomical landmarks (in which stimuli near the wrist are perceptually elongated). We tested these two interpretations, by comparing a well-documented bias to perceive mediolateral tactile distances across the forearm/hand as larger than proximodistal ones along the forearm/hand at three different sites (hand, wrist, and forearm). According to the ‘categorical’ interpretation, tactile distances should be elongated selectively in the proximodistal axis thus reducing the anisotropy. According to the ‘localised acuity’ interpretation, distances will be perceptually elongated in the vicinity of the wrist regardless of orientation, leading to increased overall size without affecting anisotropy. Consistent with the categorical account, we found a reduction in the magnitude of anisotropy at the wrist, with no evidence of a corresponding specialized increase in precision. These findings demonstrate that we reference touch to a representation of the body that is categorically segmented into discrete parts, which consequently influences the perception of tactile distance

Perceived Acceleration in Stereoscopic Animation

In stereoscopic media, a sensation of depth is produced through the differences of images presented to the left and the right eyes. These differences are a result of binocular parallax caused by the separation of the cameras used to capture the scene. Creators of stereoscopic media face the challenge of producing compelling depth while restricting the amount of parallax to a comfortable range. Control of camera separation is a key manipulation to control parallax. Sometimes, stereoscopic warping is used in post-production process to selectively increase or decrease depth in certain regions of the image. However, mismatches between camera geometry and natural stereoscopic geometry can theoretically produce nonlinear distortions of perceived space. The relative expansion or compression of the stereoscopic space, in theory, should affect the perceived acceleration of objects moving through that space. This thesis suggests that viewers are tolerant of effects of distortions when perceiving acceleration in a stereoscopic scene