monocular depth cue

They use monocular depth cues like motion, relative size, shadows and overlapping figures to stimulate a 3-D world.

They rely instead on monocular depth cues to perceive motion in space (see also: kinetic depth effect).

Monocular depth cues like relative size, partial occlusion, or movement relative to other objects in the scene are relational attributes.

Béla Julesz in 1971 used random dot stereograms to find that monocular depth cues, such as shading, are not required for stereoscopic vision.

Depth Cues Depth cues can be divided into two different categories, the first being monocular depth cues.

MV displays eliminate all binocular depth cues (i.e. eye convergence and disparity), as well as several monocular depth cues (i.e. texture gradient).

Depending on the exact location of the task on the spectrum, it may or may not be possible to learn how to use the monocular depth cues to accomplish the task.

Furthermore, it is known that binocular depth cues play a fundamental role in the calibration of the monocular depth cues, and that binocular disparity is perceived more quickly than any other visual cue (Clapp 1986, 1987).

This bias of seeing faces as convex is so strong it counters competing monocular depth cues, such as shading and shadows, and also very considerable unambiguous information from the two eyes signalling stereoscopically that the object is hollow.

For situations where binocular depth cues are relatively unimportant, it was suggested that the benefits of SV would be temporary, and would last only as long as it would take operators to learn how use the monocular depth cues of a MV display.

Nonetheless, there are indications that the lack of stereo vision may lead persons to compensate by other means: in particular, stereo blindness may give people an advantage when depicting a scene using monocular depth cues of all kinds, and among artists there appear to be a disproportionately high number of persons lacking stereopsis.