Techniques for the production of point-light and fully illuminated video displays from identical recordings

Emotion Perception from Dynamic and Static Body Expressions in Point-Light and Full-Light Displays

Research on emotion recognition has been dominated by studies of photographs of facial expressions. A full understanding of emotion perception and its neural substrate will require investigations that employ dynamic displays and means of expression other than the face. Our aims were: (i) to develop a set of dynamic and static whole-body expressions of basic emotions for systematic investigations of clinical populations, and for use in functional-imaging studies; (ii) to assess forced-choice emotion-classification performance with these stimuli relative to the results of previous studies; and (iii) to test the hypotheses that more exaggerated whole-body movements would produce (a) more accurate emotion classification and (b) higher ratings of emotional intensity. Ten actors portrayed 5 emotions (anger, disgust, fear, happiness, and sadness) at 3 levels of exaggeration, with their faces covered. Two identical sets of 150 emotion portrayals (full-light and point-light) were created from the same digital footage, along with corresponding static images of the ‘peak’ of each emotion portrayal. Recognition tasks confirmed previous findings that basic emotions are readily identifiable from body movements, even when static form information is minimised by use of point-light displays, and that full-light and even point-light displays can convey identifiable emotions, though rather less efficiently than dynamic displays. Recognition success differed for individual emotions, corroborating earlier results about the importance of distinguishing differences in movement characteristics for different emotional expressions. The patterns of misclassifications were in keeping with earlier findings on emotional clustering. Exaggeration of body movement (a) enhanced recognition accuracy, especially for the dynamic point-light displays, but notably not for sadness, and (b) produced higher emotional-intensity ratings, regardless of lighting condition, for movies but to a lesser extent for stills, indicating that intensity judgments of body gestures rely more on movement (or form-from-movement) than static form information.

The relative influences of movement kinematics and extrinsic object characteristics on the perception of lifted weight

Humans are able to perceive unique types of biological motion presented as point-light displays (PLDs). Thirty years ago, Runeson and Frykholm (Human Perception and Performance, 7(4), 733, 1981, Journal of Experimental Psychology: General, 112(4), 585, 1983) studied observers' perceptions of weights lifted by actors and identified that the kinematic information in a PLD is sufficient for an observer to form an accurate perception of the object weight. However, research has also shown that extrinsic object size characteristics also influence the perception of object weight (Gordon, Forssberg, Johansson, & Westling in Experimental Brain Research, 83(3), 477-482, 1991). This study addresses the relative contributions of these two types of visual information to observers' perceptions of lifted weight, through an experiment in which participants viewed an actor lifting boxes of various sizes (small, medium, or large) and weights (25, 50, or 75 lb) under four PLD conditions-box-at-rest, moving-box, actor-only, and actor-and-box-and one full-vision video condition, and then provided a weight estimate for each box lifted. The results indicated that lift kinematics and box size contributed independently to weight perception. Interestingly, the most robust weight differentiations were elicited in the conditions in which both types of information were presented concurrently, despite their converse natures. Furthermore, full-vision video presentation, which contained visual information beyond kinematics and object information, elicited the best estimates.

Creating stimuli for the study of biological-motion perception

In the perception of biological motion, the stimulus information is confined to a small number of lights attached to the major joints of a moving person. Despite this drastic degradation of the stimulus information, the human visual apparatus organizes the swarm of moving dots into a vivid percept of a moving biological creature. Several techniques have been proposed to create point-light stimuli: placing dots at strategic locations on photographs or films, video recording a person with markers attached to the body, computer animation based on artificial synthesis, and computer animation based on motion-capture data. A description is given of the technique we are currently using in our laboratory to produce animated point-light figures. The technique is based on a combination of motion capture and three-dimensional animation software (Character Studio, Autodesk, Inc., 1998). Some of the advantages of our approach are that the same actions can be shown from any viewpoint, that point-light versions, as well as versions with a full-fleshed character, can be created of the same actions, and that point lights can indicate the center of a joint (thereby eliminating several disadvantages associated with other techniques).