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I am a Staff Researcher at Meta, working in Ajit Ninan's Applied Perception Science team in Reality Labs. I previously worked in the Core Display Incubation team at Apple, the Applied Vision Science team at Dolby Laboratories, and the Stereo and Displays group at Disney Research Zurich. I did my PhD in Markus Gross' Computer Graphics Laboratory at ETH Zurich. I got my master's in applied math at IMPA/Visgraf, and my bachelors in math at the Federal University of Juiz de Fora. |
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I am interested in perception and computer graphics, especially anything involving computational display and psychophysics. Prior work involved perceptual metrics, brightness and color, stereo 3D, and display topics like virtual and augmented reality, frame rate, high dynamic range and more. |
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We created a perceptual framework that determines the optimal parameters for a tone mapper in real time (>1ms per frame on Quest2). We use this system and the Starburst HDR VR prototype to demonstrate that content shown with an optimized version of the Photographic TMO is preferred to heuristics or unoptimized versions even when display luminance is reduced tenfold. |
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In this work, we examined tattoos through the lens of computational fabrication. To build our model, we created an automatic tattoo robot, and processes to generate synthetic skins to experiment on. We created a framework to predict and modify tattoo color for different skin tones, which we hope will lead to better tattoo quality for everyone. This work also has medical and robotics applications! |
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Flicker is a common temporal artifact that is affected by many parameters like luminance and retinal eccentricity. We gathered a high-luminance dataset for flicker fusion thresholds, showing that the popular Ferry-Porter law does not generally hold above 1,000 nits, and the increase in sensitivity saturates. |
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Studies on spatial and temporal sensitivity are often done using different types of stimuli. We studied how experiments conducted using discs can be predicted using data for Gabors. This can lead to more comprehensive models calibrated on both types of data. |
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We study the perception of geometric distortions. We create a novel demographically-balanced dataset of human faces, and find the perceived magnitudes of several relevant distortions through a large-scale subjective study. |
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We used the Starburst HDR VR 20,000+ nits prototype display to run a study measuring user preferences for realism when immersed in natural scenes. We found that user preference extends beyond what is available in VR today, and changes significantly between indoor and outdoor scenes. |
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Our HDR VR prototype display can reach brightness values over 20,000 nits. This work won "best in show" in the Emerging Technologies section of SIGGRAPH'22, and has received widespread media attention: Adam Savage's Tested, CNET, UploadVR, DigitalTrends, TechRadar, Mashable, RoadToVR. |
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We unified contrast sensitivity datasets from the literature, which allowed us to create the most comprehensive and precise CSF model to date. This new model can be used to improve many applications in visual computing, such as metrics. Data, code, and additional information available on our project page. |
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We created a new foveated spatiotemporal metric, following the VDP line of work. This metric is fast, easy to use and has been carefully calibrated on several large datasets. |
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We studied the main perceptual components of judder, the perceptual artifact of non-smooth motion. In particular, adaptation luminance is a strong factor on judder that has changed significantly with modern generations of displays. Errata: In the table of coefficients in Sec. A3, the two-before-last coefficient should be ~0 instead of 1.01. The coefficient is correctly written out in the supplementary material, but not in the manuscript. |
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Author's version available here, link to ACM TAP version above. We studied the influence of screen size and distance on perceived brightness for screens as large as cinema and as small as mobile phones, an issue that affects artistic intent and appearance matching. |
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We created an immersive gaming system out of a legacy console. This work was presented at the Eurographics 2015 banquet, and the Ludicious game festival in Zurich. It also received wide media attention: arstechnica, engadget, 20minuten, konbini, xataca, gamedeveloper, factornews, boingboing, and has over 200,000 views on YouTube. |
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We defined the production and distribution challenges facing the content creation industry in the current HDR landscape and proposed Continuous Dynamic Range video as a solution. |
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We developed a pipeline to segment and analyze video. Our technique could be applied for smarter editing. |
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We use non-photorealistic shading as an alternative 3D cue, augmenting the feeling of depth in stereoscopic images. |
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We conducted perceptual experiments to quantify cardboarding - an artifact that occurs when not enough depth is given to a stereoscopic 3D image region. |
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We measured perceptual aspects of autostereo content and created a depth re-mapping algorithm that tries to optimize content so that the most important regions have a fuller sense of depth while staying within the limits of the technology. |
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We created a capture and processing pipeline to generate HDR video on a mobile phone by taking sequential multiple exposures. |
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We improved our edge detector by using eigenvalues. |
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We detected high frequencies using an orientation tensor and multiresolution. |
Posters: |
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We found that visual saliency can be used as a predictor for video watching behavior in online platforms. |
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We used an aditional per-pixel parameter to avoid ghosting from motion when generating exposure-fusion videos on a mobile phone. (Student research competition semi-finalist) |
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We created a capture and processing pipeline to generate HDR video on a mobile phone by taking sequential multiple exposures. |
| Additional publications available upon request. |
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