Propagation of Depth Information from Local Regions in 3-D Scenes

Perception ◽  
10.1068/p3261 ◽  
2002 ◽  
Vol 31 (9) ◽  
pp. 1047-1059 ◽  
Author(s):  
Craig W Sauer ◽  
Myron L Braunstein ◽  
Asad Saidpour ◽  
George J Andersen
Keyword(s):  
Motion Parallax ◽  
Ground Plane ◽  
Linear Perspective ◽  
Depth Information ◽  
Local Linear ◽  
Real Scene ◽  
Depth Separation

The effects of regions with local linear perspective on judgments of the depth separation between two objects in a scene were investigated for scenes consisting of a ground plane, a quadrilateral region, and two poles separated in depth. The poles were either inside or outside the region. Two types of displays were used: motion-parallax dot displays, and a still photograph of a real scene on which computer-generated regions and objects were superimposed. Judged depth separations were greater for regions with greater linear perspective, both for objects inside and outside the region. In most cases, the effect of the region's shape was reduced for objects outside the region. Some systematic differences were found between the two types of displays. For example, adding a region with any shape increased judged depth in motion-parallax displays, but only high-perspective regions increased judged depth in real-scene displays. We conclude that depth information present in local regions affects perceived depth within the region, and that these effects propagate, to a lesser degree, outside the region.

scholarly journals Self-Localization of Mobile Robots Using a Single Catadioptric Camera with Line Feature Extraction

Sensors ◽  
2021 ◽  
Vol 21 (14) ◽  
pp. 4719
Author(s):  
Huei-Yung Lin ◽  
Yuan-Chi Chung ◽  
Ming-Liang Wang
Keyword(s):  
Mobile Robots ◽  
Ground Plane ◽  
Feature Correspondence ◽  
Projection Model ◽  
3D Space ◽  
Base Points ◽  
Real Scene ◽  
Correspondence Matching ◽  
Mobile Robot Localization ◽  
Catadioptric Camera

This paper presents a novel self-localization technique for mobile robots using a central catadioptric camera. A unified sphere model for the image projection is derived by the catadioptric camera calibration. The geometric property of the camera projection model is utilized to obtain the intersections of the vertical lines and ground plane in the scene. Different from the conventional stereo vision techniques, the feature points are projected onto a known planar surface, and the plane equation is used for depth computation. The 3D coordinates of the base points on the ground are calculated using the consecutive image frames. The derivation of motion trajectory is then carried out based on the computation of rotation and translation between the robot positions. We develop an algorithm for feature correspondence matching based on the invariability of the structure in the 3D space. The experimental results obtained using the real scene images have demonstrated the feasibility of the proposed method for mobile robot localization applications.

scholarly journals Projection Screen with Wide-FOV and Motion Parallax Display for Teleoperation of Construction Machinery

2021 ◽  
Vol 33 (3) ◽  
pp. 604-609
Author(s):  
Daisuke Kondo ◽  
Keyword(s):  
Motion Parallax ◽  
Field Of View ◽  
Depth Information ◽  
Wide Field ◽  
Viewing Angle ◽  
Cooperative Research ◽  
Construction Machinery ◽  
Cooperative Research Center ◽  
Projection Screen ◽  
Wide Field Of View

The teleoperation of construction machinery has been introduced to mines and disaster sites. However, the work efficiency of teleoperations is lower than that of onboard operations owing to limitations in the viewing angle and insufficient depth information. To solve these problems and realize effective teleoperations, the Komatsu MIRAI Construction Equipment Cooperative Research Center is developing the next-generation teleoperation cockpit. In this study, we develop a display for teleoperations with a wide field-of-view, a portable projection screen, and a system that reproduces motion parallax, which is suitable for depth perception in the operating range of construction machinery.

The Perception of Distance in Simulated Visual Displays:A Comparison of the Effectiveness and Accuracy of Multiple Depth Cues Across Viewing Distances

1997 ◽  
Vol 6 (5) ◽  
pp. 513-531 ◽  
Author(s):  
R. Troy Surdick ◽  
Elizabeth T. Davis ◽  
Robert A. King ◽  
Larry F. Hodges
Keyword(s):  
Relative Size ◽  
Linear Perspective ◽  
Depth Information ◽  
Texture Gradient ◽  
Viewing Distance ◽  
Relative Height ◽  
Distance Information ◽  
Depth Cues ◽  
Relative Brightness ◽  
Depth Cue

The ability effectively and accurately to simulate distance in virtual and augmented reality systems is a challenge currently facing R&D. To examine this issue, we separately tested each of seven visual depth cues (relative brightness, relative size, relative height, linear perspective, foreshortening, texture gradient, and stereopsis) as well as the condition in which all seven of these cues were present and simultaneously providing distance information in a simulated display. The viewing distances were 1 and 2 m. In developing simulated displays to convey distance and depth there are three questions that arise. First, which cues provide effective depth information (so that only a small change in the depth cue results in a perceived change in depth)? Second, which cues provide accurate depth information (so that the perceived distance of two equidistant objects perceptually matches)? Finally, how does the effectiveness and accuracy of these depth cues change as a function of the viewing distance? Ten college-aged subjects were tested with each depth-cue condition at both viewing distances. They were tested using a method of constant stimuli procedure and a modified Wheat-stone stereoscopic display. The perspective cues (linear perspective, foreshortening, and texture gradient) were found to be more effective than other depth cues, while effectiveness of relative brightness was vastly inferior. Moreover, relative brightness, relative height, and relative size all significantly decreased in effectiveness with an increase in viewing distance. The depth cues did not differ in terms of accuracy at either viewing distance. Finally, some subjects experienced difficulty in rapidly perceiving distance information provided by stereopsis, but no subjects had difficulty in effectively and accurately perceiving distance with the perspective information used in our experiment. A second experiment demonstrated that a previously stereo-anomalous subject could be trained to perceive stereoscopic depth in a binocular display. We conclude that the use of perspective cues in simulated displays may be more important than the other depth cues tested because these cues are the most effective and accurate cues at both viewing distances, can be easily perceived by all subjects, and can be readily incorporated into simpler, less complex displays (e.g., biocular HMDs) or more complex ones (e.g., binocular or see-through HMDs).

Infant Macaque Monkeys Respond to Pictorial Depth

1993 ◽  
Vol 4 (2) ◽  
pp. 93-98 ◽  
Author(s):  
Virginia M. Gunderson ◽  
Albert Yonas ◽  
Patricia L. Sargent ◽  
Kimberly S. Grant-Webster
Keyword(s):  
Relative Size ◽  
Macaca Nemestrina ◽  
Linear Perspective ◽  
Primate Species ◽  
Depth Information ◽  
Texture Gradient ◽  
Depth Cues ◽  
Western Art ◽  
Pictorial Depth ◽  
Nonhuman Primate Species

The studies described here are the first to demonstrate that a nonhuman primate species is capable of responding to pictorial depth information during infancy. In two experiments, pigtailed macaque ( Macaca nemestrina) infants were tested for responsivity to the pictorial depth cues of texture gradient/linear perspective and relative size. The procedures were adapted from human studies and are based on the proclivity of infants to reach more frequently to closer objects than to objects that are farther away. The stimulus displays included two equidistant objects that, when viewed monocularly, appear separated in space because of an illusion created by pictorial depth cues. When presented with these displays, animals reached significantly more often to the apparently closer objects under monocular conditions than under binocular conditions. These findings suggest that infant macaques are sensitive to pictorial depth information, the implication being that this ability has ancient phylogenetic origins and is not learned from exposure to the conventions of Western art.

A Distinctive Characteristic of Pictorial Perception: The Zoom Effect

Perception ◽  
1978 ◽  
Vol 7 (6) ◽  
pp. 625-633 ◽  
Author(s):  
Margaret A Hagen ◽  
Harry B Elliott ◽  
Rebecca K Jones
Keyword(s):  
Surface Texture ◽  
Flat Surface ◽  
Motion Parallax ◽  
Linear Perspective ◽  
Head Motion ◽  
Surface Information ◽  
Pictorial Perception

To investigate the role of flat surface information for the plane of projection in pictorial perception, three studies were designed in which varying amounts of such information were made available to adult subjects. The first study tested preferences for true or modified linear perspective under conditions of presence or absence of surface texture cues for the plane of projection. In the second and third studies, the absence of texture cues for the plane was coupled with the addition of motion parallax and binocular information respectively. It was found that adults showed a consistent preference for parallel perspective in pictures when the flat-surface information was provided either by visible texture or by motion parallax; but no consistent preference for either true or modified perspective in the absence of all three sources of flatness information or when the flat surface information was given only by binocular cues in the absence of visible surface texture or head motion.

Dynamic Occlusion and Motion Parallax in Depth Perception

Perception ◽  
1988 ◽  
Vol 17 (2) ◽  
pp. 255-266 ◽  
Author(s):  
Hiroshi Ono ◽  
Brian J Rogers ◽  
Masao Ohmi ◽  
Mika E Ono
Keyword(s):  
Relative Motion ◽  
Depth Perception ◽  
Motion Parallax ◽  
Three Dimensional ◽  
Depth Order ◽  
Depth Cues ◽  
Small Depth ◽  
Stationary Observer ◽  
Depth Separation ◽  
Condition B

Random-dot techniques were used to examine the interactions between the depth cues of dynamic occlusion and motion parallax in the perception of three-dimensional (3-D) structures, in two different situations: (a) when an observer moved laterally with respect to a rigid 3-D structure, and (b) when surfaces at different distances moved with respect to a stationary observer. In condition (a), the extent of accretion/deletion (dynamic occlusion) and the amount of relative motion (motion parallax) were both linked to the motion of the observer. When the two cues specified opposite, and therefore contradictory, depth orders, the perceived order in depth of the simulated surfaces was dependent on the magnitude of the depth separation. For small depth separations, motion parallax determined the perceived order, whereas for large separations it was determined by dynamic occlusion. In condition (b), where the motion parallax cues for depth order were inherently ambiguous, depth order was determined principally by the unambiguous occlusion information.

scholarly journals Drawing in Perspective: A Proposition for a Discursive Architecture in the Age of Digital Representation

2021 ◽  
Author(s):  
◽  
Laura Coates
Keyword(s):  
Computer Aided Design ◽  
Ground Plane ◽  
Three Dimensional ◽  
Picture Plane ◽  
Linear Perspective ◽  
Architectural Drawings ◽  
Digital Representation ◽  
Architectural Drawing ◽  
Architectural Representation ◽  
The Relationship

<p>Contemporary architectural practise has come to depend upon digital representation as a means of design and for the production of architectural drawings. The computer is common place in architectural offices, relegating the drawing board as a machine of the past. Today, the architect is more likely to draw with a mouse than a mechanical pencil. The proposition of this research suggests such a dramatic shift within representational technology will not only affect how architects design, but also, what they design. Digital modes of architectural representation are reliant on mathematical code designed to artificially simulate visual experience. Such software offers strict alliance with a geometrically correct perspective code making the construction of perspective as simple as taking a ‘snap shot’. The compliance of the digital drawing to codes prescribed by a programmer distance the architect from the perspectival representation, consequently removing the architect’s control of the drawing convention. The universality of perspectival views is enforced by computer programmes such as Google Sketch-Up, which use perspective as a default view. This research explores the bias of linear perspective, revealing that which architects have forgotten due to a dependence on digital software. Special attention is drawn to the lack of control the architect exerts over their limits of representation. By using manual drawing the perspective convention is able to be unpacked and critiqued against the limitations of the system first prescribed by Brunelleschi. The manual drawing is positioned as a powerful mode of representation for it overtly expresses projection and the architect’s control of the line. The hand drawing allows the convention to be interpreted erroneously. The research is methodology driven, focusing on representation as more than a rudimentary tool, but a component of the design process. Thus, representational tools are used to provide a new spatial representation of a site. Computer aided design entered wide spread architectural practice at the end of the 1980’s, a decade that provided an ideal setting for speculative drawn projects. Such projects proved fruitful to architects critically approaching issues of representation and drawing convention, treating the drawing as more than utilitarian in the production of architecture. Whilst the move into digital imagining is not a paradigm shift for the act of drawing, it fundamentally shifted the way architects draw, separating drawing conventions onto visually separate ‘sheets’. The architectural drawing known today was that discovered in the Renaissance, Renaissance architects, the first to conceive of architecture through representation, thus was their endeavour to produce a true three dimensional image. The Renaissance architect executed absolute control of perspective, control, which has since defined the modern architect. Positioned within research by design, the ‘drawing-out’ process is a critical interpretation of perspective. In particular the drawing of instrumental perspective is unpacked within the realm of scientific research. The picture plane, horizon line and ground plane remain constant as the positions of these are well documented. The stationary point, vanishing point (possibly the most speculative components of the drawing) or the relationship between the two, behave as independent variables. In breaking the assumptions that underlie linear perspective as a fixed geometric system we may ask ourselves if we are in control of representational methods, or if they control us. Since architects are controlled by their means of representation this question is paramount to the discipline, particularly today, when digital drawing has shifted the relationship between architect and representation. The implications of this new relationship may result in monotony across the architectural disciple, where the production of critical architecture is secondary to computer technology.</p>

Research on Depth Information Estimation for Video Objects

2014 ◽  
Vol 513-517 ◽  
pp. 3797-3800 ◽  
Author(s):  
Wen Bin Wang ◽  
Dao Yuan Liu ◽  
Yu Qin Yao
Keyword(s):  
Background Subtraction ◽  
Motion Parallax ◽  
Depth Map ◽  
3D Video ◽  
Block Matching ◽  
Depth Information ◽  
Motion In Depth ◽  
Video Objects ◽  
2D To 3D ◽  
Conversion Technology

Through the analyzing of the color, motion, parallax and the degree of clarity in scene-all the elements presented on the 2D video, People can produce 3D video smoothly. The paper introduces a kind of pick-up algorithm of depth map, the method of combining the abstraction of motion in depth based on the block matching and the abstraction of background in depth on the basis of background subtraction. The extracted map can be applied to the video conversion technology of "2D to 3D".

Relevant Cues for the Visual Perception of Depth: Is Where You See it Where it is?

1994 ◽  
Vol 38 (19) ◽  
pp. 1305-1309 ◽  
Author(s):  
R. Troy Surdick ◽  
Elizabeth T. Davis ◽  
Robert A. King ◽  
Gregory M. Corso ◽  
Alexander Shapiro ◽  
...  
Keyword(s):  
Spatial Perception ◽  
Relative Size ◽  
Linear Perspective ◽  
Depth Information ◽  
Texture Gradient ◽  
Viewing Distance ◽  
Stereoscopic Display ◽  
Depth Cues ◽  
Relative Brightness ◽  
Depth Cue

We tested seven visual depth cues (relative brightness, relative size, relative height, linear perspective, foreshortening, texture gradient, and stereopsis) at viewing distances of one and two meters to answer two questions. First, which cues provide effective depth information (i.e., only a small change in the depth cue results in a noticeable change in perceived depth). Second, how does the effectiveness of these depth cues change as a function of the viewing distance? Six college-aged subjects were tested with each depth cue at both viewing distances. They were tested using a method of constant stimuli procedure and a modified Wheatstone stereoscopic display. Accuracies for perceptual match settings for all cues were very high (mean constant errors were near zero), and no cues were significantly more or less accurate than any others. Effectiveness of the perspective cues (linear perspective, foreshortening, and texture gradient) was superior to that of other depth cues, while effectiveness of relative brightness was vastly inferior. Moreover, stereopsis, among the more effective cues at one meter, was significantly less so at two meters. These results have theoretical implications for models of human spatial perception and practical implications for the design and development of 3D virtual environments.

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