With innovations in the field of gaze and eye tracking, a new concentration of research in the area of gaze-tracked systems and user interfaces has formed in the field of Extended Reality (XR). Eye trackers are being used to explore novel forms of spatial human–computer interaction, to understand human attention and behavior, and to test expectations and human responses. In this article, we review gaze interaction and eye tracking research related to XR that has been published since 1985, which includes a total of 215 publications. We outline efforts to apply eye gaze for direct interaction with virtual content and design of attentive interfaces that adapt the presented content based on eye gaze behavior and discuss how eye gaze has been utilized to improve collaboration in XR. We outline trends and novel directions and discuss representative high-impact papers in detail.

The Eye in Extended Reality: A Survey on Gaze Interaction and Eye Tracking in Head-worn Extended Reality

Atmospheric cloud modeling methods in computer graphics: A review, trends, taxonomy, and future directions

Painting as painting

In this thesis I develop methods of generating digital 3D landscapes in the style of the artist, Eyvind Earle, who is perhaps most well-known for his art direction and background paintings on Sleeping Beauty. I develop a variety of trees and other terrain elements, each tailored to match the graphic shapes and rendered accordingly to match the style of reference artwork. Creation of both terrain and trees can be highly generative in nature – complex in a way that lends to being defined by a logical systematic approach. I provide procedural methods for matching the shapes of the objects, relying on noise, L-systems, and other constraints. In general, the process is divided into base geometry generation and shading details. Shading methods include simple custom shaders and geometry-based stippling and linework. The various systems are implemented in Side Effects Software’s Houdini as its procedural capabilities allows the creation of many scenes with the same tools.

Procedural Generation and Rendering of Trees and Landscapes in the Style of Eyvind Earle

As described by this now famous quote "The art challenges technology, and the technology inspires art", technology has always played an important part in Pixar's movie making process. This course will show how we develop and utilize new technical advancements to tell more appealing stories, using real-world examples from our latest movie Incredibles 2. This is a direct refresher of the previous course from Siggraph Asia 2015. Since that time, Pixar's pipeline has been heavily restructured, switching its main rendering algorithm to pathtracing. We will describe how that technology has now matured, and how we were able to reintroduce complete artistic control in this new physically based world. At the same time, the pipeline kept evolving and we introduced a new stage that didn't exist before, in the form of deep compositing. Finally we'll focus on USD, OpenSubdiv and the Hydra render engine, to showcase how the whole pipeline is moving toward real-time feedback, not only for rendering, but also for many other departments such as animation, simulation and crowds.

Art and technology at Pixar: SIGGRAPH ASIA 2018 course notes

The soul characters in Disney/Pixar’s Soul have a stylized appearance that sets them into a unique world, which introduced many new challenges. Everyone from the art department and character modelers and shaders to the technical directors and developers in the effects, lighting, and software groups collaborated to bring this new visual style to screen. The soul world is abstract and ethereal; this needed to be balanced with visual clarity and design appeal. As our character rigging and animation tools use rigged surfaces, a key challenge was presenting a new representation derived from this data that meets our visual goals. To achieve softness of volumetric form and dynamically changing linework, we built a system to procedurally generate this data in Houdini. Significant numerical computation was required to create this data at the fidelity required. We developed an automated system for managing this computation in a configurable way, while keeping data for downstream renders in sync with changes to character performances.

Making Souls: Methods and a Pipeline for Volumetric Characters

This work in progress is investigating new ways to manage visual clutter in Augmented Reality (AR) applications through the use of eye tracking.

Investigating the use of eye-tracking for view management

classroom use is granted without fee provided that copies are not made or distributed for 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. SIGGRAPH 2014, August 10 – 14, 2014, Vancouver, British Columbia, Canada. 2014 Copyright held by the Owner/Author. ACM 978-1-4503-2958-3/14/08 Stylized Trees and Landscapes

Stylized trees and landscapes

This work uses Houdini to explore methods of generating and rendering landscapes stylized to mimic the artwork of artist Eyvind Earle (1916-2000). I present general guidelines and procedural characterizations of various trees, a forest, cliffs, mountains, an ocean, and waves. I developed methods for matching the shapes of the objects, relying on noise, L-systems, and other constraints. The graphic style places importance on the shape of the geometry, as it is rendered with simple toon-based shading techniques. Additionally, any intricate details are portrayed with point or line geometry instead of a traditional shader to mimic fine illustrative brushwork. Carefully chosen color palettes, separate shadow geometry, and level-of-detail rules also add to the likeness of Earle's style.

Developing stylized trees and landscapes inspired by Eyvind Earle

For Lightyear, Space Ranger Buzz Lightyear’s exploits take him on a journey around the planet, T’Kani Prime and its neighboring star. In order to create realistic planets as seen from his star ship, we built a new workflow for creating procedural planet terrains and volumetric clouds as seen from space. These techniques needed to produce realistic results but also be highly art directable to help the audience believe Buzz could get to Infinity and Beyond.

Creating a Planet and Clouds Lightyears Away

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