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

Predicting Audio Advertisement Quality

Online audio advertising is a particular form of advertising used abundantly in online music streaming services. In these platforms, which tend to host tens of thousands of unique audio advertisements (ads), providing high quality ads ensures a better user experience and results in longer user engagement. Therefore, the automatic assessment of these ads is an important step toward audio ads ranking and better audio ads creation. In this paper we propose one way to measure the quality of the audio ads using a proxy metric called Long Click Rate (LCR), which is defined by the amount of time a user engages with the follow-up display ad (that is shown while the audio ad is playing) divided by the impressions. We later focus on predicting the audio ad quality using only acoustic features such as harmony, rhythm, and timbre of the audio, extracted from the raw waveform. We discuss how the characteristics of the sound can be connected to concepts such as the clarity of the audio ad message, its trustworthiness, etc. Finally, we propose a new deep learning model for audio ad quality prediction, which outperforms the other discussed models trained on hand-crafted features. To the best of our knowledge, this is the first large-scale audio ad quality prediction study.Comment: WSDM '18 Proceedings of the Eleventh ACM International Conference on Web Search and Data Mining, 9 page

Auditory-visual interaction in computer graphics

Generating high-fidelity images in real-time at reasonable frame rates, still remains one of the main challenges in computer graphics. Furthermore, visuals remain only one of the multiple sensory cues that are required to be delivered simultaneously in a multi-sensory virtual environment. The most frequently used sense, besides vision, in virtual environments and entertainment, is audio. While the rendering community focuses on solving the rendering equation more quickly using various algorithmic and hardware improvements, the exploitation of human limitations to assist in this process remain largely unexplored. Many findings in the research literature prove the existence of physical and psychological limitations of humans, including attentional, perceptual and limitations of the Human Sensory System (HSS). Knowledge of the Human Visual System (HVS) may be exploited in computer graphics to significantly reduce rendering times without the viewer being aware of any resultant image quality difference. Furthermore, cross-modal effects, that is the influence of one sensory input on another, for example sound and visuals, have also recently been shown to have a substantial impact on viewer perception of virtual environment. In this thesis, auditory-visual cross-modal interaction research findings have been investigated and adapted to graphics rendering purposes. The results from five psychophysical experiments, involving 233 participants, showed that, even in the realm of computer graphics, there is a strong relationship between vision and audition in both spatial and temporal domains. The first experiment, investigating the auditory-visual cross-modal interaction within spatial domain, showed that unrelated sound effects reduce perceived rendering quality threshold. In the following experiments, the effect of audio on temporal visual perception was investigated. The results obtained indicate that audio with certain beat rates can be used in order to reduce the amount of rendering required to achieve a perceptual high quality. Furthermore, introducing the sound effect of footsteps to walking animations increased the visual smoothness perception. These results suggest that for certain conditions the number of frames that need to be rendered each second can be reduced, saving valuable computation time, without the viewer being aware of this reduction. This is another step towards a comprehensive understanding of auditory-visual cross-modal interaction and its use in high-fidelity interactive multi-sensory virtual environments

Electronic Dance Music in Narrative Film

As a growing number of filmmakers are moving away from the traditional model of orchestral underscoring in favor of a more contemporary approach to film sound, electronic dance music (EDM) is playing an increasingly important role in current soundtrack practice. With a focus on two specific examples, Tom Tykwer’s Run Lola Run (1998) and Darren Aronofsky’s Pi (1998), this essay discusses the possibilities that such a distinctive aesthetics brings to filmmaking, especially with regard to audiovisual rhythm and sonic integration

Spartan Daily, January 24, 1985

Volume 84, Issue 1https://scholarworks.sjsu.edu/spartandaily/7254/thumbnail.jp

Prominence Driven Character Animation

This paper details the development of a fully automated system for character animation implemented in Autodesk Maya. The system uses prioritised speech events to algorithmically generate head, body, arms and leg movements alongside eyeblinks, eyebrow movements and lip-synching. In addition, gaze tracking is also generated automatically relative to the definition of focus objects- contextually important objects in the character\u27s worldview. The plugin uses an animation profile to store the relevant controllers and movements for a specific character, allowing any character to run with the system. Once a profile has been created, an audio file can be loaded and animated with a single button click. The average time to animate is between 2-3 minutes for 1 minute of speech, and the plugin can be used either as a first pass system for high quality work or as part of a batch animation workflow for larger amounts of content as exemplified in television and online dissemination channels

Animating the Frenzy of the Possible Via Internet Collaboration and the Super Mario Afterlife

The research found in this paper poses inquiries into postmodern animation in relation to the aesthetic effects of stylistic constraints. I propose that contemporary consumers of animation possess an inherent awareness of the limitations of what can and will be depicted based purely on their knowledge of what is technically possible. Using philosopher Gilles Deleuze's concept of the virtual and striated space, and contemporary theorist Jean-Luc Comolli's understanding of the ways in which technologies are adopted and abandoned, I introduce the idea of the “frenzy of the possible.” This idea pertains to a state wherein a viewer facing a work that adheres to a singular, unified style experiences a level of comfort that is based on limitation. This paper and its accompanying animation Pratfall Origarch are investigations into hybridity that by contrast function primarily through a process of discomforting the viewer. By combining diverse styles such as hand-drawn and computer assisted animation, green-screen live action footage, video game hacking, and more, I have crafted an aesthetic which establishes expectations just long enough to subvert them. In addition to Deleuze’s and Comolli’s concepts, I draw on the importance of community-based online collaboration in the context of a long history and sustained knowledge of gaming. To this end, the Grand Guignol theatre's combination of violence and comedy is contrasted with the modern examples of the Electric Retard webcomic and the animated program Xavier: Renegade Angel. Further to this, the act of playing the video game Super Mario Bros. is reflected upon as a way of demonstrating the striated virtual (a concept developed in this paper), and the role of intuition in learning how to use technology for artmaking. Instability, as a concept and as a method, is both the point of arrival and departure for investigation

The robustness of animated text CAPTCHAs

PhD ThesisCAPTCHA is standard security technology that uses AI techniques to tells computer and human apart. The most widely used CAPTCHA are text-based CAPTCHA schemes. The robustness and usability of these CAPTCHAs relies mainly on the segmentation resistance mechanism that provides robustness against individual character recognition attacks. However, many CAPTCHAs have been shown to have critical flaws caused by many exploitable invariants in their design, leaving only a few CAPTCHA schemes resistant to attacks, including ReCAPTCHA and the Wikipedia CAPTCHA. Therefore, new alternative approaches to add motion to the CAPTCHA are used to add another dimension to the character cracking algorithms by animating the distorted characters and the background, which are also supported by tracking resistance mechanisms that prevent the attacks from identifying the main answer through frame-toframe attacks. These technologies are used in many of the new CAPTCHA schemes including the Yahoo CAPTCHA, CAPTCHANIM, KillBot CAPTCHAs, non-standard CAPTCHA and NuCAPTCHA. Our first question: can the animated techniques included in the new CAPTCHA schemes provide the required level of robustness against the attacks? Our examination has shown many of the CAPTCHA schemes that use the animated features can be broken through tracking attacks including the CAPTCHA schemes that uses complicated tracking resistance mechanisms. The second question: can the segmentation resistance mechanism used in the latest standard text-based CAPTCHA schemes still provide the additional required level of resistance against attacks that are not present missed in animated schemes? Our test against the latest version of ReCAPTCHA and the Wikipedia CAPTCHA exposed vulnerability problems against the novel attacks mechanisms that achieved a high success rate against them. The third question: how much space is available to design an animated text-based CAPTCHA scheme that could provide a good balance between security and usability? We designed a new animated text-based CAPTCHA using guidelines we designed based on the results of our attacks on standard and animated text-based CAPTCHAs, and we then tested its security and usability to answer this question. ii In this thesis, we put forward different approaches to examining the robustness of animated text-based CAPTCHA schemes and other standard text-based CAPTCHA schemes against segmentation and tracking attacks. Our attacks included several methodologies that required thinking skills in order to distinguish the animated text from the other animated noises, including the text distorted by highly tracking resistance mechanisms that displayed them partially as animated segments and which looked similar to noises in other CAPTCHA schemes. These attacks also include novel attack mechanisms and other mechanisms that uses a recognition engine supported by attacking methods that exploit the identified invariants to recognise the connected characters at once. Our attacks also provided a guideline for animated text-based CAPTCHAs that could provide resistance to tracking and segmentation attacks which we designed and tested in terms of security and usability, as mentioned before. Our research also contributes towards providing a toolbox for breaking CAPTCHAs in addition to a list of robustness and usability issues in the current CAPTCHA design that can be used to provide a better understanding of how to design a more resistant CAPTCHA scheme