James Helman's Siggraph '93 Applied VR course notes, Dennis Proffitts
'94 Developing Advanced VR Applications course notes, Lou Harrison's
Siggraph '97 Stereo Computer Graphics for Virtual Reality notes, and the
IRIS Performer guide.
but first - homework for this week - due Friday 9/22 at 9pm Chicago time - Walking Small.
As you are working on
finishing up the first project this week, which involves a 1:1 scale
room, this homework lets you get a different perspective on that space.
Instead of just looking around or moving around that space at human
scale, you should scale up the room so you can stand on one of the
tables with the mug or other objects taller than you, and then try to
look around and walk around. Take a couple pictures in the space showing
the obvious scale change, and add them to a new page on your website.
Write about the experience - some of it could be from a technical point
of view - what isn't exactly aligned anymore, what textures are too low
resolution, but also what is different about the experience of seeing a
familiar space in a way that you really can't experience in the 'real
world'. What are the different issues of navigation and manipulation at
this scale. Given that almost everything we design today is done on
computers, where would this capability be useful?
The eye has a bandwidth of approx 1 gigabyte per second - much greater than the other senses
The real world
doesn't flicker. Theatrical films flicker and CRTs (old style TVs and
monitors) flicker because the image is constantly being refreshed. If
the image isn't refreshed fast enough, we perceive flickering. Some
people can perceive flickering even at 60Hz (the image being refreshed
60 times per second) for a bright display with a large field of view but
most people stop perceiving the flicker between 15Hz (for dark images)
and 50Hz (for bright images). LCD panels tend to have 60hz or 120hz
refresh rates these days (though manufacturers often claim to have
higher rates. Direct view LED tiles have similar rates.
Note that this is the rate that the hardware refreshes, which is (mostly) independent from the rate the graphics are being refreshed.
The eye can detect a
range of 10^14 in luminance, but we can only see a range of 100:1 at the
same time. The size of our pupil automatically adjusts to the amount of
light available, allowing us to shift our window of much narrower range
of luminace detection across a much larger range. If we spend 30 minutes
dark adapting we can dramatically increase our vision at the low end.
The human eye is
sensitive to ratios of intensities not absolute magnitude. Brightness =
Luminance^0.33. To make something appear n times brighter the luminance
must be increased by n^3.
Most perceptual processes are driven by intensity not colour. The human motion system is colour blind, depth perception is colour blind, object recognition is colour blind.
but uniquely coloured objects are easy to find
Displays still can not reproduce the
full colour spectrum that human beings can see, but the range increases
every year, and with the new focus on OLED displays and high contrast
displays and direct view LED displays this is getting much better.
Field of View
Each eye has
approximately 145 degrees horizontal (45 degrees towards the nose and
100 degrees to the side) and 100 degrees vertically (30 degrees up and
70 degrees down)
Current VR headsets
like the VIVE and the Rift have 110 degree stereo FoV
Google Glass display
has FoV of 15 degrees monoscopic in the corner of your vision
Microsoft HoloLens has a 20 degree stereo FoV in the center of your vision
With human scale
systems like the CAVE and CAVE2, or even a planetarium dome, the field
of view depends on the size and location of the physical displays and
the glasses used - 6 sided CAVEs surrounded the users with screens, but
the glasses typically don't cover the complete field of view (roughly
120 horizontal and 90 vertical.
We often encounter
visual acuity as measured with a Snellan Chart at the doctor's office
where correct vision is described as being 20/20 (20/X where this viewer
sees at 20 feet detail that the average person can see at x feet, 20/200
is legally blind). If you are metricly minded then the fraction is 6/6.
Back in the 90s our
monitors at normal distance were 20/40, HMDs were 20/425, BOOMs were
20/85, and the original CAVE was 20/110.
Our current consumer
HMDs are around 20/60 with a wide variety of lens distortion effects to
give us a wider field of view, while most of our laptops and phones have
so many pixels that they give us full 20/20 across a small range of our
How the Eye Works
You may have heard
this before in 422 or 424 or 428 so half way down this
are my course notes from 424 on the topic. Here is a nice page on colour
One of the major takeaways from this is that as our display technology gets better and better we will increasingly be running into the limitations of the human eye - just as we are on our smartphone or laptop screens.
One of the most important things in VR, and increasingly in AR, is creating an artificial world with a sense of depth.
Real World Depth Cues
Computer graphics give 1,2,7,8
VR gives 3,4,5
AR gives 4
some specialized multi-plane displays can give 6.
In VR, as in stereo
movies or stereo photographs, the brain is getting two different cues
about the virtual world. Some of these cues indicate this world is 3D
(convergence and stereopsis). Some of these cues indicate that the world
is flat (accommodation). The eyes are focusing on the flat screen but
they are converging depending on the position of the virtual objects.
This can lead to headaches, or more serious forms of simulator sickness,
but in general its not a serious problem, especially if you are doing it
for only a couple hours at a time.
If we start thinking
about wearing AR glasses all the time then we may run into more issues.
Note there are some potential issues
of having young children seeing this kind of mediated 3D and research is
ongoing there. Most of the current headsets are for 12 or 13 year olds
or older to be safe.
How to Generate and View Stereo Images
We have stereo vision because each eye sees a slightly different image. Well, almost all of us (90-95%) do.
Presenting stereo imagery through technology is over 150 years old. Here is a nice history of the stereopticon http://www.bitwise.net/~ken-bill/stereo.htm
The device is in charge of getting the separate views to your eyes
As a kid you might
have read some 3D comics which came with red/ blue (anaglyphic) glasses,
or you might have even seen a movie with the red/blue glasses (maybe
down at U of Chicago's Documentary Film Group with films like 'House of
Wax' or 'Creature from the Black Lagoon' or 'It Came from Outer Space').
If you have a pair of
red/cyan glasses and a correctly calibrated display then this image will
become 3D.) The coloured lenses make one image more visible to one of
your eyes and less visible to your other eye, even though both eyes are
viewing both images.
and here is another
one from an Ocean Going Core Drilling ship. The red/blue or red/cyan
trick works ok for greyscale images (like old movies or black and white
comics) but has a hard time with color.
and here is a nice movie on youtube https://www.youtube.com/watch?v=VHw-CU9Xxak
Another inexpensive way to show stereo imagery is to draw two slightly different images onto the screen (or onto a piece of paper), place them next to each other and tell the person to fuse the stereo pair into a single image without any additional hardware. This is easy for some people, very hard for other people, and impossible for a few people.
Some of these images
require your left eye to look at the left image, others require your
left eye to look at the right image (cross-eye stereo).
There are some nice
ones at https://www.lhup.edu/~dsimanek/3d/stereo/3dgallery.htm
To see the pictures below as a single stereo image look at the left image with your right eye and the right image with your left eye. If you aren't used to doing this then try this: Hold a finger up in front of your eyes between the two images on the screen and look at the finger. You should notice that the two images on the screen are now 4. As you move the finger towards or away from your head the two innermost images will move towards or away from each other. When you get them to merge together (that is you only see 3 images on the screen) then all you have to do is re-focus your eyes on the screen rather than on your finger. Remove your finger, and you should be seeing a 3D image in the middle.
Passively polarized stereo - https://en.wikipedia.org/wiki/Polarized_3D_system
In the 1950s when
stereo films like 'Creature from the Black Lagoon' were shown
theatrically, the theatres did not use red/cyan. They used a system
pretty much identical to what 3D movies used in the 80s and again today
- passive polarization. In this case one projector shows the left eye
image with a polarizing filter. A second synced projector shows the
right eye image with a different polarizing filter. The screen preserves
polarization and the viewers wear lightweight polarized glasses that
allow the correct image through and not the wrong one.
This same technique
can be used on flat panel displays where a layer is added on top of the
display with lines of alternating polarization matching up with the rows
of pixels below. The same glasses are used but now one eye only sees the
even lines of the display while the other eye only sees the odd lines.
This has the disadvantage of cutting your vertical resolution in half.
An alternative approach for both projectors and flat panels is to use Active Stereo - https://en.wikipedia.org/wiki/Active_shutter_3D_system
In active stereo the
projector or the panel shows the image for the left eye, then black,
then the image for the right eye, then black, and then repeats. The
viewer wears glasses with LCD shutters the turn either clear or opaque
and the shutter for the appropriate eye is open when the display shows
the image for that eye. This requires the display to also talk to the
glasses (usually via IR) and for the glasses to be powered.
A very important thing to keep in
mind is what kind of display you will be using, and the space that it
will be used in.
systems can give much larger fields of view, but typically need to be in
dimly lit or dark rooms. If the system is front-projection then how
close will the user be able to get to the display before they begin to
cast shadows on the screen? If its rear-projection from behind the
screen then how much space are you prepared to waste behind the screen.
Large flat panel
displays have a different problem - they are designed for on-axis
viewing and the further you are off-axis (horizontal or vertical)
increases the chance that you will see degraded colour / contrast /
stereo vision. They also tend to have borders which can be distracting.
Head mounted VR
displays avoid issues of dark rooms and off-axis viewing but you still
need enough space for the user to move around in and you need to make
sure the user doesn't hurt himself/herself while moving around without
seeing the real world.
Head mounted AR
displays allow the user to see the real world, making them safer than VR
displays, but as these displays may be used in a dim room or in bright
sunlight the graphics need to be visible across that range of use cases,
similar to how you want to be able to use your phone or smart watch in a
variety of settings, so the contrast and brightness ranges need to be
greater than for displays that are only used indoors.
Horizontal Parallax - when the retinal images of an object fall on disparate points on the two retinas, these points differ only in their horizontal position (since our eyes are at the same vertical position). The value given by R - L.
Stereo Window (Plane) - the
point at which there is no difference in parallax between the two eye
views - usually at the same depth as the monitor screen or the
projection surface. HMD optics create their own projection plane,
commonly about 1-2 meters away from the user.
Homologous Points - points which correspond to each other in the separate eye views
Interocular Distance - the
distance between the viewer's left and right eyes, usually about 2.5
inches - in order for virtual objects to appear to have the exact
correct size the VR system needs to know your specific interocular
Positive Parallax - the point lies behind the stereo window
Zero Parallax - the point is at the same depth as the stereo window
Negative Parallax - the point lies in front of the stereo window
Vertical Displacement -
vertical parallax between homologous points relative to the line that
the two eyes form - this should be zero in a correctly calibrated setup
Interocular Crosstalk (Ghosting)
- when one eye can see part of the other eye's view as well - this
should also be zero in a correctly calibrated setup, but much harder to
achieve, especially in scenes with very high contrast
<image from https://jivp-eurasipjournals.springeropen.com/articles/10.1186/s13640-017-0210-5>
In an HMD or the boom, the screens in front of each user's eye move with the user - that is the screens are always perpendicular to the eye's line of site (assuming the eyes are looking straight ahead). This allows the traditional computer graphics 'camera paradigm' to be extended so that there are 2 cameras in use - one of each eye.
In the CAVE or Fish
Tank VR, this is not the case. The projection planes stay at a fixed
position as the user moves around. The user may not be looking
perpendicular to the screen and certainly cant be looking perpendicular
to all of the screens in the CAVE simultaneously - in this case
'off-axis projection' is used, and the math/geometry is a bit more
complex to be more general. One of our former students, Robert Kooima,
has a nice page on the geometry and math involved : http://csc.lsu.edu/~kooima/articles/genperspective/
Updating Visuals based on Head Tracking
Naively we would like to update the graphics every frame in order to use the most recent head (eye) positions.
Since there will be jitter in the tracker values and latencies in getting information from the tracking hardware to deal with, this may result in the image jittering.
One way to avoid this
is to only update the image when the head has moved (or rotated) a
certain amount so the software knows that the motion was intentional.
Another option is to interpolate between the previous and current position and rotation values in order to smooth out this motion. This results in smoother transitions but will also increase the lag slightly.Another option is to extrapolate into the future by predicting how the user is going to move in the next couple seconds and proactively render for the position you believe the user will be in.
How to generate Graphics Quickly
Pipelined approach (from SGI Performer manual)
While in videogames it is good to
maintain a particular frame rate, in VR it is much more important to do
Current game engines are pretty good
at optimizing what is drawn based on where the user is in the scene. If
you create your own software from scratch you will need to take care of
Models can be replaced by models with less detail
3D models of far away objects can be replaced by texture mapped billboards
The horizon can be moved in - moving in Z-far and perhaps covering this with fog
A less complex lighting model can be
2 things are needed: a functioning vestibular system (canals in the inner ear) and a sense of motion
Symptoms: Nausea, eyestrain, blurred vision, difficulty concentrating, headache, drowsiness, fatigue
These symptoms can persist after the VR experience is finished.
Causes: still unknown but one common hypothesis is a mismatch between visual motion (what your eyes tell you) and the vestibular system (what your ears tell you)
Why would this cause us to become sick? Possibly an inherited trait - a mismatch between the eyes and ears might be caused by ingesting a poisonous substance so vomiting would be helpful in that case.
bright images are more likely to cause it than dark ones
wide field of view is more likely to cause it than narrow field of view
HMDs are more likely to cause it than projection systems
low resolution, low frame rate and high latency are also likely causes
Another hypothesis deals with the lack of a rest frame. When a user views images on a screen with an obvious border that border locates the user in the real world. Without that border the user loses his/her link to the real world and the affects of motion in the virtual world are more pronounced.
Current HMD environments default to
allowing the user to walk around a physical space but then use
teleporting rather than controller based 'flying' common in first person
shooters to move larger distances. This is primarily to reduce the
chances of people getting sick.
Fighter pilots have 20 to 40 percent sickness rates in flight simulators - but experienced pilots get sick more often than novice pilots.
In a rotating field when walking forward, people tilt their heads and feel like they are rotating in the opposite direction.
If a person is walking on a treadmill holding onto a stationary bar and you change the rate the the visuals are passing by, it will feel to the person like the bar is pushing or pulling on their hands.
Open fields are less likely to cause problems than walking through tight tunnels; tunnels are very aggressive in terms of peripheral motion. This doesn't mean that you should not have any tunnels, but you should be careful how much time the users spend there.This all affects the kinds of worlds you create and how long a person can safely stay in that world.
Its easy (and fun) to induce vertigo. Most people really seem to enjoy jumping off of high places and falling in VR.
Project 1 presentations