WHICH DATA YOU KNOW I I WANT EVERYTHING AND THEN I'LL DECIDE WHAT I WANT SO THIS WAS THAT FACE TO FACE MEETING UM BUT IT UH IT DOESN'T THERE ISN'T TH SO THERE ARE THINGS IN THE EYE TRACKER RECORD THAT WE DEFINITELY DON'T WANT IN THE G. D. F. FORMAT UM LIKE THE FRAME RATE EYE MOVEMENT YOU KNOW WE WE UH UH I WE'RE IF WE'RE EXPECTING THE G. D. F. FORMAT TO BE UM SORT OF A PARSED VERSION OF EVENTS AND YOU KNOW THERE'S JUST TOO MUCH RAW FRAME F FRAME RATE STUFF COMING OUT OF THIS YOU WOULDN'T PROB YOU WOULDN'T WANT IT IN THIS KIND OF FORMAT FOR UP TRANSLATION TO THE OTHER THINGS YEAH WE YEAH YOU CAN GET BACK TO IT YEAH WE'RE NOT THROWING ANYTHING AWAY THIS IS JUST THE STUFF YEAH MECHA METHOD WE'LL STILL HAVE THE ORIGINAL AND A METHOD OF UH OF FILTERING SO MM-HMM MM-HMM MM-HMM MM-HMM OKAY AS LONG AS THE FORMAT IN WHICH WE PICK IT UP IS A FORMAT WHICH COULD BE GENERALISED TO A FINER TAKE BECAUSE THE WORST THING THAT CAN EVER HAPPEN TO YOU IS YOU DISCOVER THAT YOU'VE DONE HUGE AMOUNTS OF ANALYSIS AND TH YOU ACTUALLY HAD THE DATA BUT YOU THREW IT AWAY BECAUSE YOU TREATED IT SO GROSSLY OKAY SO WHATEVER WE SHOULD BE ABLE TO B YOU KNOW BACKTRACK AND SAY OKAY INSTEAD OF EVERY SECOND EVERY TENTH OF A SECOND OR SOME SUCH THING BUT YOU KNOW TH I DON'T KNOW I I HAD THOUGHT WE WERE YEAH THE EYE TRACKER DOES BUT MM-HMM YEAH BUT RIGHT W WHAT W UM THE KINDS OF EVENTS THAT WE HAD R UH BEFORE TALKED ABOUT PUTTING INTO THE RECORD FOR THEN USE IN ELAN AND N. X. T. ISN'T BASED ON SAYING EVERY X. SECONDS SOMETHING YOU KNOW GIVE ME GIVE ME WHAT'S HAPPENING EVERY X. SECONDS IT'S MORE LIKE YOU KNOW GIVE ME THE FIXATIONS AND THE UM THE BLINKS YEAH OH YEAH DURATIONS ARE IN THERE BUT IT'S NOT THERE'S A DIFFERENCE BETWEEN UM SAYING THAT SOMETHING IS IN A PARTICULAR STATE EVERY FRAME WHATEVER THE FRAME RATE IS YOU KNOW TEN SECONDS A MINUTE YOU KNOW THAT'S THAT'S ONE KIND OF W WAY OF LOOKING AT DATA AND UM A PARSED VERSION OF THE DATA WHICH ISN'T AT UM ANY PARTICULAR LENGTH IT RELIES ON THIS REALLY CLOSE FRAME RATE THAT'S UNDERNEATH WHAT I'M WE'RE TRYING TO FIGURE OUT IS WHETHER WE'VE THROWN TIME AWAY NO NO THE TIME THE TIME IS STILL IN THERE BUT YOU'LL GET UH WHAT YOU WANT IS TO FIGURE OUT WHAT ARE THE UM THE CONCEPTS BEHIND THAT DATA THAT YOU WANT REPRESENTED SO RATHER THAN SAYING THE EYE WAS AT THIS PARTICULAR PLACE YOU KNOW HERE AND THEN A TENTH OF A SECOND LATER HERE AND THEN A TENTH OF A SECOND LATER HERE YOU SAY THERE WAS A FIXATION FROM THIS TIME TO THAT TIME AND THERE WAS BLINK FROM THIS TIME TO THAT TIME AND OKAY SO YOU ACTUALLY HAVE TO BE SHU HAVE TO SHOW AT SOME TIME SLICE RATE WHETHER THE EYE WAS ON THE SAME TARGET AS THE OTHER GUY A SIMILAR TARGET WHAT WE'D BOTH BEEN DEALI YOU KNOW SO WE HAVE TO B WE HAVE ALL THE PARTS THE INTERESTING PARTS OF THE SCREEN IDENTIFIED AND BE ABLE TO SHOW DISTRIBUTION OF GAZE OVER TIME ALRIGHT NOW WE COULD BE REALLY UNLUCKY AND SOMEBODY WOULD EXPECT US TO DO THAT AT THE REAL FRAME RATE BUT I THINK THAT'S REALLY UNLUCKY BUT BUT MY POINT IS THAT WE MUSTN'T THROW AWAY IN OR LOSE THE CAPACITY OF BEING ABLE TO DELIVER THAT KIND OF DATA MM-HMM MM WOULD YOU BE SO THE MORE YOU CAN PLAN MM-HMM AND YOU AND SO WHEN YOU SAY THE EYE WAS ON THIS FROM HERE TO HERE WHAT'S GONNA HAPPEN IS THAT IS THAT IF YOU USE THE REAL FRAME RATE IT'S GONNA JIGGLE ALL OVER THE PLACE IT'S GONNA BE ON THIS LANDMARK UH IT'S ON THIS OBJECT THAT OBJECT THIS FIXED THING THAT FIXED THING OKAY YOU'RE GONNA GET LOTS AND LOTS OF STUFF AND IT'S PERCENTAGE DISTRIBUTION THAT YOU'RE GOING TO WANT IT'S NOT UH I WENT HERE I S YOU KNOW IT'S NOT LIKE PERSON WALKING I WENT HERE I STAYED HERE IT'S IT'S MORE LIKE A FLY HOVERING SO YOU NEED TO KNOW THE PERCENTAGE OF TIME IT WAS ON DURING THAT FIXATION YEAH UH M M I UH I YEAH BUT THE P SORT OF START AND END TIMES WILL GIVE YOU BACK TO THAT OUTPUT A AS A AND THEN YOU JUST MEASURE IT AGAINST YOU KNOW THE C THE C YEAH THE CUMULATIVE TOTAL TIME RECORD OR SOMETHING SO IT'S A CUT OFF FOR WHETHER OR NOT IT COUNTS AS A FIXATION IS THAT THERE ARE TWO WAYS OF DOING IT ONE IS THAT THERE'S ALWAYS A CUT OFF RIGHT BUT THE OTHER IS THAT THERE WILL BE A TIME SPAN A KIND OF REACTION TO SOME EVENT SPAN RIGHT RIGHT AND SO I MEAN THERE ARE THERE ARE REALLY TWO WAYS OF LOOKING AT THIS ONE WOULD LIKE TO KNOW FOR EXAMPLE THE PERCENTAGE OF TIME OVERALL IN WHICH TWO PEOPLE ARE LOOKING AT THE SAME THING OKAY AND ONE WOULD LIKE TO KNOW SEQUENCES OF THEY DIDN'T LOOK AT THE SAME THING AND THEN THEY BROKE IT OR THEY DID LOOK AT THE SAME THING AND THEN THEY DID OR DIDN'T BREA YOU KNOW ONE ONE COULD IMAGINE THOSE TWO CATEGORIES THAT'S THAT'S A KIND OF TESTING OF OUR HYPOTHESES BUT THERE'S A CERTAIN AMOUNT OF UM DUES YOU PAY TO THE WAY THEY DO THINGS IN THE LITERATURE TO GET YOUR PAPERS PUBLISHED AND ONE OF THE THINGS THEY WILL WANT TO KNOW IS AN EVENT SERIES AFTER SOME CRITICAL EVENT RIGHT WHAT PERCENTAGE OF TIME IS GIVEN TO LOOKING WHERE THE OTHER GUY IS LOOKING AND WHAT PERCENTAGE OF TIME OVER SOME YOU KNOW REASONABLE TIME SPAN OF A COUPLE OF SECONDS ALRIGHT SO THEY'LL BE THEY THEY'LL WANT TO SEE ESSENTIALLY THE GAZE SETTLING ON PARTICULAR INCIDENTS ON PARTICULAR PLACES SO WE HAVE TO BE ABLE TO DELIVER THOSE TWO THINGS AND THEY'RE RATHER DIFFERENT DEMANDS RIGHT THE IT SHOULD STILL COME OUT THAT THE LITTLE SKETCH I ASKED THIS P FOR FOR LAST WEEK ABOUT N. X. T. AND WHETHER IT WOULD HAVE THAT SORT OF TIERED EFFECT SO YOU COULD SEE THE OVERLAP OF WHERE ONE PERSON IS LOOKING COMPARED TO THE OTHER AND THEIR MOUSE MOVEMENTS AND THINGS THAT THAT SHOULD RA UH ADDRESS ALL THAT MM-HMM BUT BUT BECAUSE IT'S ALSO IN THE I BASED ON THE THE TIME COURSE OF THE PROCEDURE YOU'LL BE ABLE TO BASICALLY GET THE SCAN PATH OF THE PATTERN OF EVENTS FROM THAT AS WELL YEAH YEAH SO I DID HAVE IT SOMEWHERE I DIDN'T HAVE IT R UH HAVEN'T BROUGHT IT TRYING TO REMEMBER IT WE LOVE THIS THING SEE IF THE PENS WORK SO UM THIS IS UM A. 'S EYES RIGHT AND B. 'S EYES