Practical field use of eye-tracking devices for consumer research in the retail environment

Eye-tracking equipment is now affordable and portable, making it a practical instrument for consumer research. Engineered to best analyze gaze on a plane (e.g., a retail shelf), both portable eye-tracking glasses and computer monitor–mounted hardware can play key roles in analyzing merchandise displays to better understand what consumers view. Researchers and practitioners can use that information to improve the sales efficacy of displays. Eye-tracking hardware was nearly exclusively used to investigate the reading process but can now be used for a broader range of study, namely in retail settings. This article presents an approach to using glasses eye tracker (GET) and light eye tracker (LET) eye-tracking hardware for applied consumer research in the field. We outline equipment use, study construction, data extraction as well as benefits and limitations of the technology collected from several pilot studies.

LGT/VOT tracking performance evaluation of depth images

This paper presents object tracking in depth, RGB and normal-maps images using LGT tracker. The depth and RGB images are rendered using depth imaging plugins. A series of experiments were held to evaluate the tracker performance in tracking objects in different image sequences. The experiments conducted were from the Visual Object Tracking (VOT) challenge that was arranged in association with ICCV'13 The accuracy was chosen as the evaluation measure, where the the tracker's bounding box was compared against the ground truth bounding box. Results show that tracking object using depth images gives better results and is more accurate than tracking using either the RGB or nomal maps images.

Eye tracking the sublime in spectacular moments of science fiction film

In this chapter I will explore science fiction film spectacle as a particular type of endangering sensorial experience. Employing eye-tracking technology to assess where a small group of viewers look, I will contend that through its spectacular set pieces, science fiction film creates two distinct gazing regimes. First, such spectacular scenes create an experience of sublime contemplation where the viewer is (haptically) lost in the wondrous images liquefying before them. These moments of sublime contemplation create the condition where the viewer feels as if they have had an outer-body experience; one that has been cut free from the borders of the linguistic-led self of everyday life. Second, I will argue that certain scenes of science fiction spectacle work to commodify the viewing experience, creating a gazing pattern that is ‘driven’ by the mechanics of the event moment, by the theme park ride aesthetic and the logic of late capitalism. Set in this sensible, empirical context, the sublime dangers of science fiction film can be considered in two distinct ways. On the one hand, when the viewer is caught gazing in a moment of sublime contemplation there is embodied transgression and transcendence: here I will postulate that the viewer exists purely as a carnal being, or are newly if momentarily constituted as post-human, in the impossible present or possible future world that has been spectacularly imagined for them. On the other hand, when the viewer is presented with a spectacle that demands attention to the mechanics and drivers of the scene as it unfolds, a viewing position is created where the very rhythms of the theme park ride is created, where capitalist life is simply being re-engineered. Sublime and spectacular science fiction endangerment, then, liberates and destroys, and it is the encounter between these two vexing poles that is of central concern in this chapter. My focus will predominately be on the eyes, on vision. Undertaking a small-scale empirical study that uniquely utilizes eye tracking technology, this chapter will concentrate on what viewers attend to, gaze at and ‘contemplate’ when viewing two differently constituted ‘spectacle’ sequences: the sun explodes scene from Sunshine (Boyle, 2007) and the Godzilla enters Manhattan scene from Godzilla (Emmerich, 1998).

Seeing, sensing sound: eye tracking soundscapes in saving private Ryan and monsters inc.

Drawing largely on cinematic theories of sound, film aesthetics, and neuroscientific understandings of the eye and the gaze, we undertake a comparative analysis of two film sequences to address these questions: the chase sequence" from the animated film, Monsters, Inc. (Pete Docter, David Silverman, and Lee Unkrich, 2001); and the Omaha Beach landing sequence from Saving Private Ryan (Steven Spielberg, 1998).