Quality-controlled audio-visual depth in stereoscopic 3D media

BACKGROUND: The literature proposes several algorithms that produce “quality-controlled” stereoscopic depth in 3D films by limiting the stereoscopic depth to a defined depth budget. Like stereoscopic displays, spatial sound systems provide the listener with enhanced (auditory) depth cues, and are now commercially available in multiple forms. AIM: We investigate the implications of introducing auditory depth cues to quality-controlled 3D media, by asking: “Is it important to quality-control audio-visual depth by considering audio-visual interactions, when integrating stereoscopic display and spatial sound systems?” MOTIVATION: There are several reports in literature of such “audio-visual interactions”, in which visual and auditory perception influence each other. We seek to answer our research question by investigating whether these audio-visual interactions could extend the depth budget used in quality-controlled 3D media. METHOD/CONCLUSIONS: The related literature is reviewed before presenting four novel experiments that build upon each other’s conclusions. In the first experiment, we show that content created with a stereoscopic depth budget creates measurable positive changes in audiences’ attitude towards 3D films. These changes are repeatable for different locations, displays and content. In the second experiment we calibrate an audio-visual display system and use it to measure the minimum audible depth difference. Our data is used to formulate recommendations for content designers and systems engineers. These recommendations include the design of an auditory depth perception screening test. We then show that an auditory-visual stimulus with a nearer auditory depth is perceived as nearer. We measure the impact of this effect upon a relative depth judgement, and investigate how the impact varies with audio-visual depth separation. Finally, the size of the cross-modal bias in depth is measured, from which we conclude that sound does have the potential to extend the depth budget by a small, but perceivable, amount

Engineering data compendium. Human perception and performance. User's guide

The concept underlying the Engineering Data Compendium was the product of a research and development program (Integrated Perceptual Information for Designers project) aimed at facilitating the application of basic research findings in human performance to the design and military crew systems. The principal objective was to develop a workable strategy for: (1) identifying and distilling information of potential value to system design from the existing research literature, and (2) presenting this technical information in a way that would aid its accessibility, interpretability, and applicability by systems designers. The present four volumes of the Engineering Data Compendium represent the first implementation of this strategy. This is the first volume, the User's Guide, containing a description of the program and instructions for its use

Evaluation of Psychoacoustic Sound Parameters for Sonification

Sonification designers have little theory or experimental evidence to guide the design of data-to-sound mappings. Many mappings use acoustic representations of data values which do not correspond with the listener's perception of how that data value should sound during sonification. This research evaluates data-to-sound mappings that are based on psychoacoustic sensations, in an attempt to move towards using data-to-sound mappings that are aligned with the listener's perception of the data value's auditory connotations. Multiple psychoacoustic parameters were evaluated over two experiments, which were designed in the context of a domain-specific problem - detecting the level of focus of an astronomical image through auditory display. Recommendations for designing sonification systems with psychoacoustic sound parameters are presented based on our results

Understanding concurrent earcons: applying auditory scene analysis principles to concurrent earcon recognition

Two investigations into the identification of concurrently presented, structured sounds, called earcons were carried out. One of the experiments investigated how varying the number of concurrently presented earcons affected their identification. It was found that varying the number had a significant effect on the proportion of earcons identified. Reducing the number of concurrently presented earcons lead to a general increase in the proportion of presented earcons successfully identified. The second experiment investigated how modifying the earcons and their presentation, using techniques influenced by auditory scene analysis, affected earcon identification. It was found that both modifying the earcons such that each was presented with a unique timbre, and altering their presentation such that there was a 300 ms onset-to-onset time delay between each earcon were found to significantly increase identification. Guidelines were drawn from this work to assist future interface designers when incorporating concurrently presented earcons

Smoothness perception : investigation of beat rate effect on frame rate perception

Despite the complexity of the Human Visual System (HVS), research over the last few decades has highlighted a number of its limitations. These limitations can be exploited in computer graphics to significantly reduce computational cost and thus required rendering time, without a viewer perceiving any difference in resultant image quality. Furthermore, cross-modal interaction between different modalities, such as the influence of audio on visual perception, has also been shown as significant both in psychology and computer graphics. In this paper we investigate the effect of beat rate on temporal visual perception, i.e. frame rate perception. For the visual quality and perception evaluation, a series of psychophysical experiments was conducted and the data analysed. The results indicate that beat rates in some cases do affect temporal visual perception and that certain beat rates can be used in order to reduce the amount of rendering required to achieve a perceptual high quality. This is another step towards a comprehensive understanding of auditory-visual cross-modal interaction and could be potentially used in high-fidelity interactive multi-sensory virtual environments

The Sound Manifesto

Computing practice today depends on visual output to drive almost all user interaction. Other senses, such as audition, may be totally neglected, or used tangentially, or used in highly restricted specialized ways. We have excellent audio rendering through D-A conversion, but we lack rich general facilities for modeling and manipulating sound comparable in quality and flexibility to graphics. We need co-ordinated research in several disciplines to improve the use of sound as an interactive information channel. Incremental and separate improvements in synthesis, analysis, speech processing, audiology, acoustics, music, etc. will not alone produce the radical progress that we seek in sonic practice. We also need to create a new central topic of study in digital audio research. The new topic will assimilate the contributions of different disciplines on a common foundation. The key central concept that we lack is sound as a general-purpose information channel. We must investigate the structure of this information channel, which is driven by the co-operative development of auditory perception and physical sound production. Particular audible encodings, such as speech and music, illuminate sonic information by example, but they are no more sufficient for a characterization than typography is sufficient for a characterization of visual information.Comment: To appear in the conference on Critical Technologies for the Future of Computing, part of SPIE's International Symposium on Optical Science and Technology, 30 July to 4 August 2000, San Diego, C