Coarse-fine dichotomies in human stereopsis

Wilcox, Laurie M.; Allison, Robert S.

doi:10.1016/j.visres.2009.06.004

Cited by 78 publications

(88 citation statements)

References 61 publications

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“…These IA settings are quite large-much larger than would normally be used to film such a scene in typical film industry practice (disparities of the poles were never divergent). It is well established that as disparity increases beyond an upper limit, depth percepts plateau and eventually decrease [Wilcox and Allison 2009]. …”

Section: Resultsmentioning

confidence: 99%

Perceptual Tolerance to Stereoscopic 3D Image Distortion

Allison

Wilcox

2015

ACM Trans. Appl. Percept.

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An intriguing aspect of picture perception is the viewer's tolerance to variation in viewing position, perspective, and display size. These factors are also present in stereoscopic media, where there are additional parameters associated with the camera arrangement (e.g., separation, orientation). The predicted amount of depth from disparity can be obtained trigonometrically; however, perceived depth in complex scenes often differs from geometric predictions based on binocular disparity alone. To evaluate the extent and the cause of deviations from geometric predictions of depth from disparity in naturalistic scenes, we recorded stereoscopic footage of an indoor scene with a range of camera separations (camera interaxial (IA) ranged from 3 to 95 mm) and displayed them on a range of screen sizes. In a series of experiments participants estimated 3D distances in the scene relative to a reference scene, compared depth between shots with different parameters, or reproduced the depth between pairs of objects in the scene using reaching or blind walking. The effects of IA and screen size were consistently and markedly smaller than predicted from the binocular viewing geometry, suggesting that observers are able to compensate for the predicted distortions. We conclude that the presence of multiple realistic monocular depth cues drives normalization of perceived depth from binocular disparity. It is not clear to what extent these differences are due to cognitive as opposed to perceptual factors. However, it is notable that these normalization processes are not task specific; they are evident in both perception-and actionoriented tasks.

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Section: Resultsmentioning

confidence: 99%

Perceptual Tolerance to Stereoscopic 3D Image Distortion

Allison

Wilcox

2015

ACM Trans. Appl. Percept.

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“…However, sensitivities to these large disparities have been shown to primarily reflect matching of temporally abrupt contrast envelopes, with little or no contributions of the orientation-specific information within the envelopes (Wilcox & Allison, 2009). In contrast, our pseudoplaid Gabor elements were presented with gradual temporal onsets and within stationary envelopes.…”

Section: Discussionmentioning

confidence: 99%

Motion processing with two eyes in three dimensions

et al. 2011

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The movement of an object toward or away from the head is perhaps the most critical piece of information an organism can extract from its environment. Such 3D motion produces horizontally opposite motions on the two retinae. Little is known about how or where the visual system combines these two retinal motion signals, relative to the wealth of knowledge about the neural hierarchies involved in 2D motion processing and binocular vision. Canonical conceptions of primate visual processing assert that neurons early in the visual system combine monocular inputs into a single cyclopean stream (lacking eye-of-origin information) and extract 1D ("component") motions; later stages then extract 2D pattern motion from the cyclopean output of the earlier stage. Here, however, we show that 3D motion perception is in fact affected by the comparison of opposite 2D pattern motions between the two eyes. Three-dimensional motion sensitivity depends systematically on pattern motion direction when dichoptically viewing gratings and plaids-and a novel "dichoptic pseudoplaid" stimulus provides strong support for use of interocular pattern motion differences by precluding potential contributions from conventional disparity-based mechanisms. These results imply the existence of eye-of-origin information in later stages of motion processing and therefore motivate the incorporation of such eye-specific pattern-motion signals in models of motion processing and binocular integration.

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Section: Double Images and Depth Perceptionmentioning

confidence: 99%

“…Later research revealed subtleties in the way this information is used. Ogle (1952a, 1952b, 1953) 1956;Mitchell, 1966a;Blakemore, 1970;Siderov and Harwerth, 1993;Wilcox and Allison, 2009), showing the processes to be tolerant to great differences in content between the stimuli presented to each eye (Mitchell, 1969), and how they are grounded in neurophysiology (Poggio and Fischer, 1977;Neri, 2005).The visual system can also generate stereopsis from scenes when a nearer object occludes a further object such that one eye sees part of the scene that is not available to the other -a phenomenon first noted by Leonardo da Vinci and now known as ‗da Vince Stereopsis ' (Nakajama and Shimojo, 1990). These so-called unpaired images Despite our being largely unaware of their appearance in everyday visual experience, doubled or unpaired images are a rich source of information about the spatial properties of the world we see.…”

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Double Vision as a Pictorial Depth Cue

Pepperell

Ruschkowski

2013

Art Percept

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"Double images" are a little-noticed feature of human binocular vision caused by nonconvergence of the eyes outside of the point of fixation. Double vision, or psychological diplopia, is closely linked to the perception of depth in natural vision as its" perceived properties vary depending on proximity of the stimulus to the viewer. Very little attention, however, has been paid to double images in art or in scientific studies of pictorial depth. Double images have rarely been depicted and do not appear among the list of commonly cited monocular depth cues. In this study we discuss some attempts by artists to capture the doubled appearance of objects in pictures, and some of the relevant scientific work on double vision. We then present the results of a study designed to test whether the inclusion of double images in twodimensional pictures can enhance the illusion of three-dimensional space. Our results suggest that double images can significantly enhance depth perception in pictures when combined with other depth cues such as blur. We conclude that double images could be added to the list of depth cues available to those wanting to create a greater sense of depth in pictures.1 Email address for correspondence: rpepperell@cardiffmet.ac.uk Double vision and artArtists have various techniques at their disposal for conveying a sense of depth in pictures. These include occlusion, shading and shadows, relative size within the picture plane, and various kinds of perspective. Through skillful use of these techniques the artist can create a highly convincing illusion of three-dimensional space on a two-dimensional surface (Pirenne, 1970). These so called ‗pictorial depth cues' have also been of long-standing interest to scientists studying visual perception, and there is a well-established list of such cues to be found in standard texts on vision (Palmer, 1999).Pictorial depth cues, however, suffer from the limitation that they are monocular, that is, they present image of the world as it appears to one eye only. Very few attempts In a painting such as ‗Self Portrait with Candles' (Fig. 1) We owe a great debt to Walters' former partner Erna Meinel for promoting a wider understanding of his work. After Walters' death Meinel published a paper describing his methods (Meinel, 1973) and wrote a well-informed book summarizing its' theoretical underpinning, which sadly was also never published (Meinel, undated).Meinel's writings offer both a first hand account of the artists' thinking process and corroboration of his findings in contemporary vision science research. In this she benefitted from intimate acquaintance with Walters himself and her own scientific training.In Meinel's and Walters' view the inclusion of double images in pictures can significantly enhance the illusion of depth (Walters, 1940). Like others, they recognised that a flat picture can never fully replicate fully three-dimensional space (Wade and Ono, 2012). In natural vision double images are seen separately by each eye and outside the ‗focal pla...

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Coarse-fine dichotomies in human stereopsis

Cited by 78 publications

References 61 publications

Perceptual Tolerance to Stereoscopic 3D Image Distortion

Perceptual Tolerance to Stereoscopic 3D Image Distortion

Motion processing with two eyes in three dimensions

Double Vision as a Pictorial Depth Cue

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