Motion parallax, the differential motion of retinal images of objects at different distances resulting from natural observer movement, is a powerful depth cue. In conclusion, depth ordering performance is enhanced by all of the dynamic perspective cues but not by using more naturalistic 1/f textures. Removal of any of the three cues impaired performance. We also examined the effects of removing each of the three cues that distinguish dynamic perspective from orthographic rendering: (a) small vertical displacements, (b) lateral gradients of speed across the corrugations, and (c) speed differences in rendered near versus far surfaces. Depth ordering performance with naturalistic 1/f textures was slightly lower than with the random dots however, with depth-related size scaling of the micropatterns, performance was comparable to that with random dots. For both textures, depth perception was better with dynamic perspective than with orthographic rendering, particularly at larger depths. Four observers performed a two-alternative forced choice depth ordering task with monocular viewing, in which they reported which part of the texture appeared in front of the other. Relative texture motion (shearing) with square wave corrugation patterns was synchronized to horizontal head movement. We compared depth perception for orthographic and perspective rendering, using textures composed of two types of elements: random dots and Gabor micropatterns. Here we examine depth from motion parallax in more naturalistic conditions using textures with an overall 1/f spectrum and dynamic perspective rendering. This entry was posted in Vision on Maby Kristie R O'Cone.Motion parallax, the perception of depth resulting from an observer's self-movement, has almost always been studied with random dot textures in simplified orthographic rendering. Motion parallax is used to determine absolute depth perception and helps display the discrepancy in motion of near objects and of objects that are much farther away. Everything that was much farther away was moving with a slower speed compared to the ground right next to the bus. However, when I looked beyond what was just in front of me and into the distance I did not feel as if we were still moving with that same speed. When I was looking directly out the window right next to the bus the area on the ground made it seem like we were moving at such an great speed. When I was coming back home for spring break and was looking out the window I seemed to notice this a lot. Motion parallax is when an object closer to you tends to move at a speed much faster than an object that is farther away. One other cue is motion parallax, which for me seems to be the most common and easy to understand. People often get this mixed up with convergence but they are not the same thing and should not be mixed up. This can be seen a lot when creating roads or long distances in paintings. Another cue we discussed was linear perspective, which is when parallel lines are used to converge in the distance. Interposition, which is also referred to, as occlusion is when one object is in front of or blocking the other object, meaning that the object being blocked is behind that is blocking it. The one that is smaller, therefore casting a smaller image on the retina is seen and perceived as farther away then the object that is bigger. Relative sized is used when two or more objects are being compared. Each of these cues helps portray depth in different ways and they are all used and perceived in many different ways all of the time. Artists use these cues to help portray depth in their work and create a more realistic creation. There are many types of cues for example relative size, interposition, aerial perspective, linear perspective, texture gradient, and motion parallax. Monocular Cues are used to help perceive depth by only using one eye. One subject we discussed that I seemed to find very interesting was the discussion about Monocular Cues. As part of the second unit in the class we discussed vision and many different aspects involved with our vision.
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