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Chapter 2 Principles of Stereoscopic Depth Perception and ...

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2.2. Human depth perception<br />

although many <strong>of</strong> the applied concepts <strong>and</strong> evaluations are also relevant<br />

to other application areas.<br />

This chapter first presents an overview <strong>of</strong> the basic concepts underlying<br />

human stereoscopic depth perception (2.2). Next, a brief review <strong>and</strong> categorization<br />

<strong>of</strong> stereoscopic display techniques is presented (2.3) followed<br />

by an account <strong>of</strong> stereoscopic video production, including stereoscopic<br />

cameras (2.4.1), <strong>and</strong> camera geometry (2.4.2) for both parallel <strong>and</strong> converging<br />

camera configurations.<br />

2.2 Human depth perception<br />

2.2.1 <strong>Stereoscopic</strong> vision<br />

When considering three-dimensional vision, we are faced with an interesting<br />

paradox. How can the essentially two-dimensional mosaic <strong>of</strong> retinal<br />

receptors curved around the back <strong>of</strong> an eyeball give rise to the perception<br />

<strong>of</strong> a three-dimensional world How do we make this inferential leap<br />

from image to environment Researchers in the area <strong>of</strong> 3-D vision assume<br />

that the third dimension is reconstructed by the brain through associating<br />

visual sources <strong>of</strong> information, <strong>of</strong>ten called cues, with information from<br />

other modalities, most notably touch (Bruce, Green & Georgeson 1996). In<br />

<strong>Chapter</strong> 5 the link between motor activity <strong>and</strong> visual perception is considered<br />

in more detail, as it relates directly to the way we construct <strong>and</strong><br />

experience space.<br />

Complex, natural scenes contain a wide variety <strong>of</strong> visual cues to depth.<br />

Our visual system utilises monocularly available information such as accommodation,<br />

occlusion, linear <strong>and</strong> aerial perspective, relative size, relative<br />

density, <strong>and</strong> motion parallax to construct a perception <strong>of</strong> depth. The<br />

effectiveness <strong>of</strong> monocular cues is illustrated by the fact that we can close<br />

one eye <strong>and</strong> still have a considerable appreciation <strong>of</strong> depth. These cues<br />

are already available in monoscopic displays, such as traditional 2-D television.<br />

The binocular cues, stereopsis <strong>and</strong> vergence, require both eyes to<br />

work in concert. R<strong>and</strong>om-dot stereograms or Julesz patterns (Julesz 1971)<br />

demonstrate that in the absence <strong>of</strong> consistent monocular information,<br />

stereopsis alone provides the visual system with enough information to<br />

extract a fairly accurate estimate <strong>of</strong> depth <strong>and</strong> shape.<br />

Binocular disparity is available because the human eyes are horizontally<br />

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