{"id":35411,"date":"2014-10-13T05:36:25","date_gmt":"2014-10-13T05:36:25","guid":{"rendered":"http:\/\/www.labri.fr\/perso\/barla\/blog\/?p=35411"},"modified":"2014-10-13T05:36:59","modified_gmt":"2014-10-13T05:36:59","slug":"prism4","status":"publish","type":"post","link":"https:\/\/www.labri.fr\/perso\/barla\/blog\/?p=35411","title":{"rendered":"PRISM4 2014"},"content":{"rendered":"<p id=\"top\" \/><b>Shin&#8217;ya Nishida<\/b><\/p>\n<ul>\n<li>For linear details smaller than aperture, low frequencies matter more than high frequencies. <i>Is there a smooth transition from high- to low-frequency regime?<\/i><\/li>\n<li>Local velocity is a good cue to viscosity. <i>Probably because surface features are more numerous with high- compared to low-viscosity fluids.<\/i><\/li>\n<li>First-order component of motion field is indicative of global displacement. <i>Second-order component then characterizes viscosity?<\/i><\/li>\n<li><i>What is the congruence of effects due to reflections and refractions? What about background motion? Should be like an isotropic distribution when integrated over time.<\/i><\/li>\n<\/ul>\n<p><b>Roland Fleming<\/b><\/p>\n<ul>\n<li>Computing statistics on lighting direction reveals that cavities are the most stable locations. <i>Not only because of ambient occlusion, but also due to local inter-reflections!<\/i><\/li>\n<li>Humans are somewhat able to discount correlation between shading and reflectance. <i>This is all connected to first-order shape properties though&#8230;<\/i><\/li>\n<\/ul>\n<p><b>Jenifer Bizlay<\/b><\/p>\n<ul>\n<li>Timbre is everything that isn&#8217;t anything else. <i>It is a property of the emitter though, not of a material (a sound reflector and\/or absorber).<\/i><\/li>\n<\/ul>\n<p><b>Julie Haris<\/b><\/p>\n<ul>\n<li>Training permits to better discount the effect of the light field on lightness perception. <i>Would one get different results if the task was different from training but the light field stayed the same (or the opposite)?<\/i><\/li>\n<\/ul>\n<p><b>Qasim Zaidi<\/b><\/p>\n<ul>\n<li>A subset of cues are sufficient to perceive the deformations of a flexible object, but contours are not enough. <i>It might mean that there is a lot of redundancy in the full cued case when dealing with simple deformations.<\/i><\/li>\n<\/ul>\n<p><b>Karl Gegenfurtner<\/b><\/p>\n<ul>\n<li>CIE Luv seems to be the best color space as far as saturation perception is concerned.<\/li>\n<\/ul>\n<p><b>Phillip Marlow<\/b><\/p>\n<ul>\n<li>Assuming that inflections in silhouettes may be propagated to internal suggestive and occluding contours, then one can use correlation with shading to ensure consistency.<\/li>\n<li>Gradient sharpness may be perceived as a shinier material in front illumination, and as a diffuse material with a collimated light source in grazing illumination. <i>Looks like the latter case is a non-generic configuration. Would the differential analysis explain this effect in some way?<\/i><\/li>\n<\/ul>\n<p><b>Larry Maloney<\/b><\/p>\n<ul>\n<li>Light field motion, if coherent, is integrated globally in a 3D scene. <i>What kind of (differential?) analysis could be performed to unveil the available information for light field motion? In the light canvas metaphor, it&#8217;s as if the canvas was revealing properties of the paint itself!<\/i><\/li>\n<\/ul>\n<p><b>Richard Murray<\/b><\/p>\n<ul>\n<li>Lighting inconsistencies, where a noise lighting pattern occurs at the same scale than shape features, makes shape perception difficult. <i>This could be explained by conflicting lighting and material spatial gradients. Could be used to intentionally disrupt surface details by carefully designing a spatially-varying light source.<\/i><\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Shin&#8217;ya Nishida For linear details smaller than aperture, low frequencies matter more than high frequencies. Is there a smooth transition from high- to low-frequency regime? Local velocity is a good cue to viscosity. Probably because surface features are more numerous with high- compared to low-viscosity fluids. First-order component of motion field is indicative of global &#8230; <a title=\"PRISM4 2014\" class=\"read-more\" href=\"https:\/\/www.labri.fr\/perso\/barla\/blog\/?p=35411\" aria-label=\"Read more about PRISM4 2014\">Read more<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[81],"tags":[],"class_list":["post-35411","post","type-post","status-publish","format-standard","hentry","category-talks"],"_links":{"self":[{"href":"https:\/\/www.labri.fr\/perso\/barla\/blog\/index.php?rest_route=\/wp\/v2\/posts\/35411","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.labri.fr\/perso\/barla\/blog\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.labri.fr\/perso\/barla\/blog\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.labri.fr\/perso\/barla\/blog\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.labri.fr\/perso\/barla\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=35411"}],"version-history":[{"count":3,"href":"https:\/\/www.labri.fr\/perso\/barla\/blog\/index.php?rest_route=\/wp\/v2\/posts\/35411\/revisions"}],"predecessor-version":[{"id":35441,"href":"https:\/\/www.labri.fr\/perso\/barla\/blog\/index.php?rest_route=\/wp\/v2\/posts\/35411\/revisions\/35441"}],"wp:attachment":[{"href":"https:\/\/www.labri.fr\/perso\/barla\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=35411"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.labri.fr\/perso\/barla\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=35411"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.labri.fr\/perso\/barla\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=35411"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}