&lt;title&gt;Perception of 3D scenes from pictures&lt;/title&gt;

Pizlo, Zygmunt; Scheessele, Michael R.

doi:10.1117/12.320131

Cited by 6 publications

(4 citation statements)

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“…Furthermore, it has been suggested that the perception of a 3-D object from a heavily slanted image would be largely ambiguated when attempting to match the aspect ratios of one image to another (Pizlo and Schleessele 1998). In this case the largely image-based process of forcing one to adjust for slant appeared to hinder performance.…”

Section: Discussionmentioning

confidence: 99%

Effects of 3-D Complexity on the Perception of 2-D Depictions of Objects

2004

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In a recent study, Pelli (1999 Science 285 844-846) performed a set of perceptual experiments using portrait paintings by Chuck Close. Close's work is similar to the 'Lincoln' portraits of Harmon and Julesz (1973 Science 180 1194-1197) in that they are composite images consisting of coarsely sampled, individually painted, mostly homogeneous cells. Pelli showed that perceived shape was dependent on size, refuting findings that perception of this type is scale-invariant. In an attempt to broaden this finding we designed a series of experiments to investigate the interaction of 2-D scale and 3-D structure on our perception of 3-D shape. We present a series of experiments where field of view, 3-D object complexity, 2-D image resolution, viewing orientation, and subject matter of the stimulus are manipulated. On each trial, observers indicated if the depicted objects appeared to be 2-D or 3-D. Results for face stimuli are similar to Pelli's, while more geometrically complex stimuli show a further interaction of the 3-D information with distance and image information. Complex objects need more image information to be seen as 3-D when close; however, as they are moved further away from the observer, there is a bias for seeing them as 3-D objects rather than 2-D images. Finally, image orientation, relative to the observer, shows little effect, suggesting the participation of higher-level processes in the determination of the 'solidness' of the depicted object. Thus, we show that the critical image resolution depends systematically on the geometric complexity of the object depicted.

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Section: Discussionmentioning

confidence: 99%

Effects of 3-D Complexity on the Perception of 2-D Depictions of Objects

2004

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“…This phenomenological observation has been a subject of a number of psychophysical experiments. These experiments showed that shape perception involves solving an optimization problem with the objective function containing measures of simplicity or compactness of the 3-D interpretation (Attneave & Frost, 1969;Hochberg & Brooks, 1960;Perkins, 1972;Pizlo & Scheessele, 1998). These simplicity and compactness constraints allowed a unique perceptual interpretation to be obtained from a single image.…”

Section: Discussionmentioning

confidence: 99%

Shape constancy from novel views

Pizlo

Stevenson

1999

Perception & Psychophysics

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Prior experiments on shape constancy from novel views are inconclusive: Some show that shapes of objects can be recognized reliably from novel views, whereas others show just the opposite. Our analysis of prior results suggests that shape constancy from novel views is reliable when the object has properties that constrain its shape: The object has volumetric primitives, it has surfaces, it is symmetrical, it is composed of geons, its contours are planar, and its images provide useful topological information about its three-dimensional structure. To test the role of some of these constraints, we performed a set of experiments. Solid shapes (polyhedra) were shown on a computer monitor by means of kinetic depth effect. Experiment 1 showed that shape constancy can be reliably achieved when a polyhedron is represented by its contours (most of the constraints are present), but not when it is represented by vertices or by a polygonal line connecting the vertices in a random order (all the constraints are absent). Experiments 2 and 3 tested the role of individual constraints. Results ofthese experiments show that shape constancy from novel views is reliable when the object has planar contours and when the shapes of the contours together with topological information about the relations among the contours constrain the possible interpretations of the shape. Symmetry of the object and the topological stability of its image also contribute to shape constancy.Shape constancy refers to the fact that the percept ofthe shape of a given object remains constant despite changes in the shape of the retinal image. The retinal image may change because of changes in the orientation of the object relative to the observer (see Pizlo, 1994, for a review of prior research on shape constancy). Consider an example of shape constancy. When you walk around your car, your retinal image of the car changes. Yet, your percept of the shape of the car is constant. One can argue that achieving shape constancy in the case of your car may represent a rather trivial accomplishment: After all, you have seen your car from almost all viewing directions, and, therefore, the constancy of the percept of the car's shape may simply involve matching ofthe current view with all previously seen views. To prevent the observer from matching familiar views (or images), one should use unfamiliar objects and test shape constancy from unfamiliar (novel) views. There have been a number of studies performed during the last decade that tested whether shape constancy can be reliably achieved from novel views. We will first briefly review the most representative results.Rock and DiVita (1987) used three-dimensional (3-0) wire objects as stimuli. Viewing was binocular with a This study was presented at the annual meetings of the Association for Research in Vision and Ophthalmology in 1997 and 1998. The authors thank the anonymous reviewers for their comments and suggestions, Moses Chan, Jan-Yuen Chen, Corrinne Lim, and Grant Wei who served as subjects, Filip J. Pizlo for his...

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“…It is important to note that human performance in binocular judgments about aspect ratio of such simple stimuli as triangles is not worse than the performance we measured in this study for cylinders [49]. Therefore, this simulation experiment is likely to provide an adequate comparison of the performance of the 8-point algorithm to the performance of human subjects.…”

Section: Testing the 8-point Algorithm As A Psychological Modelmentioning

confidence: 70%