We exploit the falloff of acuity in the visual periphery to accelerate graphics computation by a factor of 5-6 on a desktop HD display (1920×1080). Our method tracks the user's gaze point and renders three image layers around it at progressively higher angular size but lower sampling rate. The three layers are then magnified to display resolution and smoothly composited. We develop a general and efficient antialiasing algorithm easily retrofitted into existing graphics code to minimize "twinkling" artifacts in the lower-resolution layers. A standard psychophysical model for acuity falloff assumes that minimum detectable angular size increases linearly as a function of eccentricity. Given the slope characterizing this falloff, we automatically compute layer sizes and sampling rates. The result looks like a full-resolution image but reduces the number of pixels shaded by a factor of 10-15.We performed a user study to validate these results. It identifies two levels of foveation quality: a more conservative one in which users reported foveated rendering quality as equivalent to or better than non-foveated when directly shown both, and a more aggressive one in which users were unable to correctly label as increasing or decreasing a short quality progression relative to a high-quality foveated reference. Based on this user study, we obtain a slope value for the model of 1.32-1.65 arc minutes per degree of eccentricity. This allows us to predict two future advantages of foveated rendering: (1) bigger savings with larger, sharper displays than exist currently (e.g. 100 times speedup at a field of view of 70°and resolution matching foveal acuity), and (2) a roughly linear (rather than quadratic or worse) increase in rendering cost with increasing display field of view, for planar displays at a constant sharpness.
This paper describes the application of space time constraints to creating transitions between segments of human body motion. The motion transition generation uses a combination of spacetime constraints and inverse kinematic constraints to generate seamless and dynamically plausible transitions between motion segments. We use a fast recursive dynamics formulation which makes it possible to use spacetime constraints on systems with many degrees of freedom, such as human figures. The system uses an interpreter of a motion expression language to allow the user to manipulate motion data, break it into pieces, and reassemble it into new, more complex, motions. We have successfully used the system to create basis motions, cyclic data, and seamless motion transitions on a human body model with 44 degrees of freedom. Additional
High contrast images are common in night scenes and other scenes that include dark shadows and bright light sources. These scenes are difficult to display because their contrasts greatly exceed the range of most display devices for images. As a result, the image contrasts are compressed or truncated, obscuring subtle textures and details. Humans view and understand high contrast scenes easily, "adapting" their visual response to avoid compression or truncation with no apparent loss of detail. By imitating some of these visual adaptation processes, we developed methods for the improved display of high-contrast images. The first builds a display image from several layers of lighting and surface properties. Only the lighting layers are compressed, drastically reducing contrast while preserving much of the image detail. This method is practical only for synthetic images where the layers can be retained from the rendering process. The second method interactively adjusts the displayed image to preserve local contrasts in a small "foveal" neighborhood. Unlike the first method, this technique is usable on any image and includes a new tone reproduction operator. Both methods use a sigmoid function for contrast compression. This function has no effect when applied to small signals but compresses large signals to fit within an asymptotic limit. We demonstrate the effectiveness of these approaches by comparing processed and unprocessed images.
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