castleCSF - A contrast sensitivity function of color, area, spatiotemporal frequency, luminance and eccentricity.

The contrast sensitivity function (CSF) is a fundamental visual model explaining our ability to detect small contrast patterns. CSFs found many applications in engineering, where they can be used to optimize a design for perceptual limits. To serve such a purpose, CSFs must explain possibly a complete set of stimulus parameters, such as spatial and temporal frequency, luminance, and others. Although numerous contrast sensitivity measurements can be found in the literature, none fully explains the complete space of stimulus parameters. Therefore, in this work, we first collect and consolidate contrast sensitivity measurements from 18 studies, which explain the sensitivity variation across the parameters of interest. Then, we build an analytical contrast sensitivity model that explains the data from all those studies. The proposed castleCSF model explains the sensitivity as the function of spatial and temporal frequencies, an arbitrary contrast modulation direction in the color space, mean luminance, and chromaticity of the background, eccentricity, and stimulus area. The proposed model uses the same set of parameters to explain the data from 18 studies with an error of 3.59 dB. The consolidated contrast sensitivity data and the code for the model are publicly available at https://github.com/gfxdisp/castleCSF/.

Impact of focus cue presentation on perceived realism of 3-D scene structure: Implications for scene perception and for display technology.

Stereoscopic imagery often aims to evoke three-dimensional (3-D) percepts that are accurate and realistic-looking. The "gap" between 3-D imagery and real scenes is small, but focus cues typically remain incorrect because images are displayed on a single focal plane. Research has concentrated on the resulting vergence-accommodation conflicts. Yet, incorrect focus cues may also affect the appearance of 3-D imagery. We investigated whether incorrect focus cues reduce perceived realism of 3-D structure ("depth realism"). Experiment 1 used a multiple-focal-planes display to compare depth realism with correct focus cues vs. conventional stereo presentation. The stimuli were random-dot stereograms, which isolated the role of focus cues. Depth realism was consistently lower with incorrect focus cues, providing proof-of-principle evidence that they contribute to perceptual realism. Experiments 2 and 3 examined whether focus cues play a similar role with realistic objects, presented with an almost complete set of visual cues using a high-resolution, high-dynamic-range multiple-focal-planes display. We also examined the efficacy of approximating correct focus cues via gaze-contingent depth-of-field rendering. Improvements in depth realism with correct focus cues were less clear in more realistic scenes, indicating that the role of focus cues in depth realism depends on scene content. Rendering-based approaches, if anything, reduced depth realism, which we attribute to their inability to present higher-order aspects of blur correctly. Our findings suggest future general 3-D display solutions may need to present focus cues correctly to maximise perceptual realism.

Spatio-chromatic contrast sensitivity under mesopic and photopic light levels.

Contrast sensitivity functions (CSFs) characterize the sensitivity of the human visual system at different spatial scales, but little is known as to how contrast sensitivity for achromatic and chromatic stimuli changes from a mesopic to a highly photopic range reflecting outdoor illumination levels. The purpose of our study was to further characterize the CSF by measuring both achromatic and chromatic sensitivities for background luminance levels from 0.02 cd/m2 to 7,000 cd/m2. Stimuli consisted of Gabor patches of different spatial frequencies and angular sizes, varying from 0.125 to 6 cpd, which were displayed on a custom high dynamic range (HDR) display with luminance levels up to 15,000 cd/m2. Contrast sensitivity was measured in three directions in color space, an achromatic direction, an isoluminant "red-green" direction, and an S-cone isolating "yellow-violet" direction, selected to isolate the luminance, L/M-cone opponent, and S-cone opponent pathways, respectively, of the early postreceptoral processing stages. Within each session, observers were fully adapted to the fixed background luminance (0.02, 2, 20, 200, 2,000, or 7,000 cd/m2). Our main finding is that the background luminance has a differential effect on achromatic contrast sensitivity compared to chromatic contrast sensitivity. The achromatic contrast sensitivity increases with higher background luminance up to 200 cd/m2 and then shows a sharp decline when background luminance is increased further. In contrast, the chromatic sensitivity curves do not show a significant sensitivity drop at higher luminance levels. We present a computational luminance-dependent model that predicts the CSF for achromatic and chromatic stimuli of arbitrary size.

From pairwise comparisons and rating to a unified quality scale.

The goal of psychometric scaling is the quantification of perceptual experiences, understanding the relationship between an external stimulus, the internal representation and the response. In this paper, we propose a probabilistic framework to fuse the outcome of different psychophysical experimental protocols, namely rating and pairwise comparisons experiments. Such a method can be used for merging existing datasets of subjective nature and for experiments in which both measurements are collected. We analyze and compare the outcomes of both types of experimental protocols in terms of time and accuracy in a set of simulations and experiments with benchmark and real-world image quality assessment datasets, showing the necessity of scaling and the advantages of each protocol and mixing. Although most of our examples focus on image quality assessment, our findings generalize to any other subjective quality-of-experience task.

Temporal Resolution Multiplexing: Exploiting the limitations of spatio-temporal vision for more efficient VR rendering.

Rendering in virtual reality (VR) requires substantial computational power to generate 90 frames per second at high resolution with good-quality antialiasing. The video data sent to a VR headset requires high bandwidth, achievable only on dedicated links. In this paper we explain how rendering requirements and transmission bandwidth can be reduced using a conceptually simple technique that integrates well with existing rendering pipelines. Every even-numbered frame is rendered at a lower resolution, and every odd-numbered frame is kept at high resolution but is modified in order to compensate for the previous loss of high spatial frequencies. When the frames are seen at a high frame rate, they are fused and perceived as high-resolution and high-frame-rate animation. The technique relies on the limited ability of the visual system to perceive high spatio-temporal frequencies. Despite its conceptual simplicity, correct execution of the technique requires a number of non-trivial steps: display photometric temporal response must be modeled, flicker and motion artifacts must be avoided, and the generated signal must not exceed the dynamic range of the display. Our experiments, performed on a high-frame-rate LCD monitor and OLED-based VR headsets, explore the parameter space of the proposed technique and demonstrate that its perceived quality is indistinguishable from full-resolution rendering. The technique is an attractive alternative to reprojection and resolution reduction of all frames.

Naturally glossy: Gloss perception, illumination statistics, and tone mapping.

Recognizing materials and understanding their properties is very useful-perhaps critical-in daily life as we encounter objects and plan our interactions with them. Visually derived estimates of material properties guide where and with what force we grasp an object. However, the estimation of material properties, such as glossiness, is a classic ill-posed problem. Image cues that we rely on to estimate gloss are also affected by shape, illumination and, in visual displays, tone-mapping. Here, we focus on the latter two. We define some commonalities present in the structure of natural illumination, and determine whether manipulation of these natural "signatures" impedes gloss constancy. We manipulate the illumination field to violate statistical regularities of natural illumination, such that light comes from below, or the luminance distribution is no longer skewed. These manipulations result in errors in perceived gloss. Similarly, tone mapping has a dramatic effect on perceived gloss. However, when objects are viewed against an informative (rather than plain gray) background that reflects these manipulations, there are some improvements to gloss constancy: in particular, observers are far less susceptible to the effects of tone mapping when judging gloss. We suggest that observers are sensitive to some very simple statistics of the environment when judging gloss.