SIGGRAPH 2022 论文列表

We suggest a new type of subdivision schemes based on matrix dilation for generating smooth surfaces. At each iteration, the number of the nodes in the mesh is doubled and the direction of their weighted averaging changes. The scheme has a low complexity because of a small number of coefficients (four, five or six). Using the recent techniques related to the notion of joint spectral characteristics of matrices, we find the smoothness of generated surfaces which in some cases is surprisingly better than for classical schemes.

In this poster, we present a live 360° panoramic-video based empathic Mixed Reality (MR) collaboration system that shares various Near-Gaze non-verbal communication cues including gaze, hand pointing, gesturing, and heart rate visualisations in real-time. The preliminary results indicate that the interface with the partner’s communication cues visualised close to the gaze point allows users to focus without dividing attention to the collaborator’s physical body movements yet still effectively communicate. Shared gaze visualisations coupled with deictic languages are primarily used to affirm joint attention and mutual understanding, while hand pointing and gesturing are used as secondary. Our approach provides a new way to help enable effective remote collaboration through varied empathic communication visualisations and modalities which covers different task properties and spatial setups.

We introduce MetaPo, a mobile robot with spheric display, 360° media I/O and robotic hands for creating a unified model of interspace communication. MetaPo works as a portal between pairs of physical-physical, cyber-cyber and cyber-physical spaces to provide 1) panoramic communication for multiple remote users, and 2) immersive interspace migration with mobility functionality. The paper overviews our concept and first prototype of MetaPo with its hardware and software implementation.

The accuracy of hand pose and shape recovery algorithms depends on how closely the geometric hand model resembles the user’s hand. Most existing methods rely on learned shape space, e.g. MANO; but this shape model fails to generalize to unseen hand shapes with large deviations from the training set. We introduce a new hand shape model, aMANO, that augments MANO by introducing local scale adaptation that enables modeling substantially different hand sizes. We use both MANO and aMANO for calibrating the shape to new users from a stream of depth images and observe the improvement of aMANO over MANO. We believe that our new hand shape model is a significant step in improving the robustness and accuracy of existing hand tracking solutions.

Figure 1: Using our personalized prior forMichelle Obama, we solve inpainting, super-resolution, and semantic editing (smile), while faithfully preservingher key facial characteristic. Each example shows the original input image,whichmaybe corrupted (top left), and the output based on our personalized (right) and generic (bottom left) face priors. The generic face prior is learned from a diverse set of images and produces results that do not preserve Obama’s key facial characteristics. Left and middle blocks ©U.S. Government, right block ©Tim Pierce.

In this study we implemented Kuchibashi, the New Caledonian Crow beak-like tweezers, and conducted a user study to evaluate the prototype's usability. We proved that Kuchibashi is superior in interacting with large spherical objects than hands and tweezers. Also, impressions of security and safeness were perceived positively by the participants.

Recent advances in computer vision have made 3D structure-aware editing of still photographs a reality. Such computational photography applications use a depth map that is automatically generated by monocular depth estimation methods to represent the scene structure. In this work, we present a lightweight, web-based interactive depth editing and visualization tool that adapts low-level conventional image editing operations for geometric manipulation to enable artistic control in the 3D photography workflow. Our tool provides real-time feedback on the geometry through a 3D scene visualization to make the depth map editing process more intuitive for artists. Our web-based tool is open-source1 and platform-independent to support wider adoption of 3D photography techniques in everyday digital photography.

We present Immersive-Labeler, an environment for the annotation of large-scale 3D point cloud scenes of urban environments. Our concept is based on the full immersion of the user in a VR-based environment that represents the 3D point cloud scene while offering adapted visual aids and intuitive interaction and navigation modalities. Through a user-centric design, we aim to improve the annotation experience and thus reduce its costs. For the preliminary evaluation of our environment, we conduct a user study (N=20) to quantify the effect of higher levels of immersion in combination with the visual aids we implemented on the annotation process. Our findings reveal that higher levels of immersion combined with object-based visual aids lead to a faster and more engaging annotation process.

Barrier-grid animation is a primitive animation technique that utilizes an interlaced image with a transparent striped overlay. Ombro-Cinéma, a toy developed in 1921, utilizes this technique effectively with a scroll of graphics. By rotating an attached hand-crank, it presents a scrolling animated story, the narrative of which is often tightly associated with its mechanical structure. This paper describes High-Low Tech Ombro-Cinéma, a prototype device that extends Ombro-Cinéma using an embedded system. Conductive adhesive tape strips are affixed to the back side of a scroll and used to trigger various sonic events to enhance its narrativity. Such an investigation into the reproduction of an obsolete toy with digital technology may provide an interesting opportunity to review the narrative of an obsolete device and to reconsider the effects tangible interfaces have on narratives.

Permission to make digital or hard copies of part or all of this work for personal or classroom use is granted without fee provided that copies are not made or distributed for profit or commercial advantage and that copies bear this notice and the full citation on the first page. Copyrights for third-party components of this work must be honored. For all other uses, contact the owner/author(s). SIGGRAPH ’22 Posters, August 07-11, 2022, Vancouver, BC, Canada © 2022 Copyright held by the owner/author(s). ACM ISBN 978-1-4503-9361-4/22/08. https://doi.org/10.1145/3532719.3543226 users’ browsing habits. For example, if a user wants to find a certain approach at an academic conference, they will most likely obtain multiple results with video thumbnail and title after long-time searching. These interfaces may not allow users to intuitively know the video contents. We propose a video browsing interface, HiVideo, for academic presentations and educational videos, as shown in Fig. 1. When users retrieve the specified contents, the poster layer can help them explore the general video content rather than watching the whole video. To extract slides from a video, the proposed system leverages a frame detection approach, and a deep learning based document layout analysis approach [Shen et al. 2021] to extract visual information from the slides. In the user study, we verify that this proposed HiVideo interface can accommodate a wide range of usage scenarios for different users. In contrast to a previous video browsing interface [Weng et al. 2022], we adopt responsive web design so that users can achieve the better user experience even with mobile browsers.

Figure 1: A) HYFAR for haptic clothing interfaces. B) Uniaxial tensile test of HYFAR, its constitutive materials, and finite element (FE) simulation. C) Experimental data and simulation of the inflation of a circular actuator. D) Mapping of material parameter matrices to the FE mesh for an actuator embroidered with a cross-pattern (c.p.), and simulation results. E) Simulation ofHYFARwith various embroidered patterns inflated at 40 kPa. F) Blocked force versus bending angle for stadium-shaped HYFARs integrated in a unidirectional joint. Upper-body functional garments integrated with HYFAR G) (Design B) for kinesthetic haptic feedback, and with H) circular actuator (r = 4.5 cm; c.p. and four LEDs) for showcasing shape shifting behavior.

We present a technique to reduce the dynamic range of an HDRI lighting environment map in an efficient, energy-preserving manner by spreading out the light of concentrated light sources. This allows us to display a reasonable approximation of the illumination of an HDRI map in a lighting reproduction system with limited dynamic range such as virtual production LED Stage. The technique identifies regions of the HDRI map above a given pixel threshold, dilates these regions until the average pixel value within each is below the threshold, and finally replaces each dilated region’s pixels with the region’s average pixel value. The new HDRI map contains the same energy as the original, spreads the light as little as possible, and avoids chromatic fringing.

Previous works have done several kinds of haptic techniques for simulating the touching experience of the virtual object. However, the feedback on the object’s weight has less been explored. This paper presents GravityPack, a wearable gravity display to simulate grabbing, holding, and releasing the virtual object in the virtual world using the liquid-based system consisting of pumps, pipes, valves, a water tank, and water packs. This system can provide a wide weight range from 110g to 1.8 kg in 40 seconds. Additionally, we design and investigate the visual feedback of weight transition for the delay time of liquid transfer to understand the feasibility of visualization by a user study. With the revealing of design consideration and implementation, the paper also shows the potential use of the liquid-based system and its possibility of the visualization technique to simulate the weight sensations.

Permission to make digital or hard copies of part or all of this work for personal or classroom use is granted without fee provided that copies are not made or distributed for profit or commercial advantage and that copies bear this notice and the full citation on the first page. Copyrights for third-party components of this work must be honored. For all other uses, contact the owner/author(s). SIGGRAPH ’22 Posters, August 07-11, 2022, Vancouver, BC, Canada © 2022 Copyright held by the owner/author(s). ACM ISBN 978-1-4503-9361-4/22/08. https://doi.org/10.1145/3532719.3543221 Figure 2: Example wagara images. Most wagara are inspired by patterns and textures in our daily life. In each pair of four examples, wagara (right) is inspired by the scene shown in the left photo. Photos are fromAdobe Stock, and wagara images are from [Jogan 2009, 2010].