Motion V5 0 7

Motion is the powerful motion graphics tool that makes it easy to create cinematic 2D, 3D, and 360° titles, fluid transitions, and realistic effects in real time. And with its Metal engine and improved performance and efficiency on Mac computers with Apple silicon, Motion lets you build and play back effects at incredible speeds.

1. Motion V5 0 7 Sezonas
2. Motion V5 0 7 Pro
3. 0.7 As A Fraction

Your graphics in Motion.

Carbide Motion V3 for OS X 10.8 or later Build 366 Carbide Motion V3 for Windows 7, 8, 10 Build 368 Note that Carbide Motion V3 only supports GRBL 1.0 and earlier.

Designed with editors in mind, Motion's streamlined interface and incredible performance lets you create and play back titles, transitions, and effects in real time. Acorn 5 5 download free. Take the guesswork out by seeing your designs without the need to render.

The latest is 5.0.7, as you know. If you're not there, and the App Store is not showing an update, which it occationally does (it can be buggy for updates), do this. Move the Motion app from the Applications folder to the Trash. Re-launch the App Store, then click 'Install' for Motion 5. You'll be up to date. Cam Motion provides superior quality, high performance camshafts and valve train components for GM LS & Gen 5 LT engines. Founded in 1978, Cam Motion has a long history of helping racers win major championships at the highest levels of racing.

Design in a modern interface that matches the look of Final Cut Pro and puts the focus on your work. Easily locate assets using visual content browsers, then build motion graphics with a logical layers list, full-length timeline, and keyframe editor. It's simple to customize the interface to match the way you work.

Motion is the best way to build effects for Final Cut Pro projects, including titles, transitions, generators, filters, and more. Save any effect to make it immediately available in Final Cut Pro, where you can apply adjustments right in the video editor. And instantly jump back to Motion at any time for more advanced changes.

Create Smart Motion Templates that include USDZ 3D objects and use them in Final Cut Pro. Publish any parameter to a template, or create rigs that let you control a group of parameters with a simple slider, pop-up menu, or checkbox. If you set up templates with multiple aspect ratios, Final Cut Pro automatically uses the correct layout based on your footage.

Motion boasts an enormous ecosystem of third-party plug-ins and templates that complement the power of the app. Download tools for enhanced tracking and 3D object creation, or choose from thousands of templates with gorgeous titles, transitions, and effects to use as is or customize to fit your project.

With its modern Metal architecture, Motion uses the power of today's high-performance GPUs to speed up tasks throughout the app and play back motion graphics in real time as you create them. Combine 3D objects, cameras, lights, and emitters with other complex elements, and view your results instantly. And since Motion shares a render engine with Final Cut Pro, you'll get consistent speed and quality across applications.

3D Objects

Quickly import USDZ 3D models, then easily and precisely adjust their position, rotation, and scale using Behaviors or the Keyframe Editor. For even more stunning results, add cameras to a scene or combine objects with emitters, replicators, cameras, and more.

Stroke Filter

Easily outline the edges of any video, image, or text element with the Stroke Filter. Create a custom look by choosing from a solid or gradient color, or add multiple strokes using a gradient outline.

Advanced Color Correction

Fine-tune hue, saturation, and brightness with the same advanced color wheels available in Final Cut Pro. Target and adjust specific color ranges by using the eye dropper with color, hue, and saturation curves. Then, view your pristine graphics in stunning HDR on Mac or Pro Display XDR.

Optimized for Mac Pro

Design and create faster than ever before with Motion on the new Mac Pro. Motion takes advantage of all the GPUs in your Mac and uses up to 28 CPU cores in processor-intensive ProRes workflows. Motion is also optimized for the Afterburner card to accelerate ProRes projects, so you can design motion graphics and watch your results instantly in groundbreaking 8K resolution.

Powerful design tools.

Motion features a real-time design engine that lets you see your work immediately, along with a deep set of tools and content for creating and animating complex motion graphics.

Build brilliant 2D, 3D, and 360° compositions by choosing from more than 1,900 Apple-designed, royalty-free graphics — including vector artwork, high-resolution images, animations, and 60 USDZ 3D models that come pre-installed in Motion.

Control the timing and position of elements in your animation using intuitive keyframe tools. Use flexible curve interpolation for smooth parameter changes. Draw curves using a freehand tool, or move, stretch, and condense groups of keyframes using the Transform box.

Create natural-looking motion without the need for complex calculations using preset behaviors like Gravity, Throw, and Vortex. Use Text behaviors that animate letters, words, or lines across the screen. Or apply the Overshoot behavior to easily create spring-loaded animations. You can even combine behaviors for more advanced motion animations.

Create high-quality animated backgrounds with built-in generators — each with parameters to customize the look and style of the animation. Choose from a collection of standard shapes or unique designs. All generators can be used as bump maps or textures on other objects — including 3D text.

A 2D and 3D view of your titles.

Easily create beautiful 2D and 3D titles that you can animate with drag-and-drop behaviors and intuitive text animation tools.

Create text using your favorite fonts and adjust its position, opacity, and rotation. Manipulate vector-based characters with pristine sharpness, and apply Text behaviors to add complex word and character animations easily. Motion is built on the CoreText engine, which ensures that glyphs, characters, and emoji render correctly every time.

Build 3D titles from scratch, design them with easy-to-use templates, or instantly convert any existing 2D title to 3D. Customize your 3D text with over 90 Apple-designed organic and artificial materials — or create your own — and see your results instantly. You can even choose from a variety of lighting rigs or create depth-of-field effects to give your titles an ultrarealistic look that matches the environment perfectly.

Quickly animate text on or off the screen by choosing from more than 100 behaviors including Type On, Blur Out, and Text-on-a-Path, which sets your text in motion on a trajectory that angles, bends, or twists. You can also create unique animations by moving letters just where you want them.

With text generators you can automate tasks that would take hours to complete by hand. Count up and down in sequence, change text randomly, add a timecode sequence, and more.

Use Credit Rolls to set up a scroll in just a few steps — even for long lists of production credits. Import a text file or type the credits directly into a Motion project, then use the Scroll behavior to automatically animate the speed of the credits based on your project length.

Stunning effects.

Just drag and drop to assemble impressive animations, with a choice of more than 200 filters and effects built into Motion. Then fine-tune your work with precise controls.

Use realistic particle systems to create effects including smoke and sparkles — or add dazzling details to any animation. Choose from over 200 particle presets or design your own and see your creations in real time. Or, create stunning geometric patterns in 2D or 3D using replicators. Go to the next level by adding 3D objects to both particle systems and replicators.

Choose from over 140 paintbrush presets or design your own using color gradients or QuickTime files. Create pressure-sensitive brushstrokes that paint gradient colors or particle dabs. And easily make vector‑based strokes weave through 3D space.

Motion suggests the best tracking points so you can quickly create paths to track moving objects in any clip. You can attach images, particles, filters, paint strokes, or the control points of a mask to any tracking path.

Image stabilization lets you smooth a bumpy camera move or lock down a shaky shot, without time‑consuming setup. And SmoothCam eliminates jitters and bumps — so it looks like your footage was shot on a tripod while still retaining camera moves like pans, tilts, and zooms.

Create an accurate chroma key in a single step with the easy drag-and-drop Keying filter. If the green- or blue-screen background in your footage is unevenly lit, you can use advanced controls, including an intuitive color wheel, to fine-tune adjustments. Plus, you can play back the results without needing to render.

360° video.
A new spin on your projects.

Motion features a robust 360 VR motion graphics workflow with real-time visualization for a VR headset, so you can design 360° titles, generators, and filters that perfectly map to your VR scene. Instantly apply those effects to your Final Cut Pro timeline and export a video optimized for YouTube, Facebook, and other popular video destinations.

Create 360° titles in 2D and 3D. View them in real time with a VR headset or use the Look Around view to pan across your project in the viewer. 360° titles resize automatically when you move them within your VR scene and can be keyframed to change their look and position over time. Save your work as a 360° Motion template to access it easily in Final Cut Pro.

Design custom 360° graphics or apply bundled effects like 360° blurs, glows, and particle systems to add realism to your VR scene. You can even create 360° generators and place any graphic, still, USDZ 3D object, or video into a 360° project — then reposition and resize to fit.

Create mind-bending effects with 360° video in non-360° projects. Adjust tilt, pan, roll, and field of view for spherical looks and animations. Then apply keyframes for perspective-inverting effects that change over time.

3D

Instantly transition from 2D to 3D space by adding a camera or cameras to any 2D project while preserving your 2D groups. Animate and adjust the cameras to create smooth, realistic 3D movement.

Shadows

Xstand 6 5 3. Set up point lights and spot lights to cast shadows across objects. Fine-tune shadow appearance by specifying colors and edge types. When you set your elements in motion, shadows animate dynamically with the movement of objects and lights.

Reflections

Turn any shape, video plane, or paint stroke into a reflective surface. Add blur to soften reflections and use the Falloff feature to fade reflections as the object moves away from the light.

FxPlug

FxPlug is a powerful Apple‑designed plug‑in architecture for filters and effects. Choose from more than 130 built-in FxPlug filters and generators. And explore the thriving ecosystem of third‑party FxPlug effects that work in Motion and Final Cut Pro with custom interfaces and incredible real‑time performance.

Third-party tools to make your workflow flow.

Choose from thousands of custom transitions, titles, and motion graphics. Work directly with third-party applications through workflow extensions. Or use third-party tools for advanced tracking, EDL and AAF interchange, and more.

Five amazing apps.
One powerful collection.

Unleash your creative potential with the Pro Apps Bundle for qualifying college students, teachers, and education institutions. Get all five professional applications for video and music creation at a special price — including Final Cut Pro, Motion, and Compressor, along with Logic Pro and MainStage.

Quickly animate text on or off the screen by choosing from more than 100 behaviors including Type On, Blur Out, and Text-on-a-Path, which sets your text in motion on a trajectory that angles, bends, or twists. You can also create unique animations by moving letters just where you want them.

With text generators you can automate tasks that would take hours to complete by hand. Count up and down in sequence, change text randomly, add a timecode sequence, and more.

Use Credit Rolls to set up a scroll in just a few steps — even for long lists of production credits. Import a text file or type the credits directly into a Motion project, then use the Scroll behavior to automatically animate the speed of the credits based on your project length.

Stunning effects.

Just drag and drop to assemble impressive animations, with a choice of more than 200 filters and effects built into Motion. Then fine-tune your work with precise controls.

Use realistic particle systems to create effects including smoke and sparkles — or add dazzling details to any animation. Choose from over 200 particle presets or design your own and see your creations in real time. Or, create stunning geometric patterns in 2D or 3D using replicators. Go to the next level by adding 3D objects to both particle systems and replicators.

Choose from over 140 paintbrush presets or design your own using color gradients or QuickTime files. Create pressure-sensitive brushstrokes that paint gradient colors or particle dabs. And easily make vector‑based strokes weave through 3D space.

Motion suggests the best tracking points so you can quickly create paths to track moving objects in any clip. You can attach images, particles, filters, paint strokes, or the control points of a mask to any tracking path.

Image stabilization lets you smooth a bumpy camera move or lock down a shaky shot, without time‑consuming setup. And SmoothCam eliminates jitters and bumps — so it looks like your footage was shot on a tripod while still retaining camera moves like pans, tilts, and zooms.

Create an accurate chroma key in a single step with the easy drag-and-drop Keying filter. If the green- or blue-screen background in your footage is unevenly lit, you can use advanced controls, including an intuitive color wheel, to fine-tune adjustments. Plus, you can play back the results without needing to render.

360° video.
A new spin on your projects.

Motion features a robust 360 VR motion graphics workflow with real-time visualization for a VR headset, so you can design 360° titles, generators, and filters that perfectly map to your VR scene. Instantly apply those effects to your Final Cut Pro timeline and export a video optimized for YouTube, Facebook, and other popular video destinations.

Create 360° titles in 2D and 3D. View them in real time with a VR headset or use the Look Around view to pan across your project in the viewer. 360° titles resize automatically when you move them within your VR scene and can be keyframed to change their look and position over time. Save your work as a 360° Motion template to access it easily in Final Cut Pro.

Design custom 360° graphics or apply bundled effects like 360° blurs, glows, and particle systems to add realism to your VR scene. You can even create 360° generators and place any graphic, still, USDZ 3D object, or video into a 360° project — then reposition and resize to fit.

Create mind-bending effects with 360° video in non-360° projects. Adjust tilt, pan, roll, and field of view for spherical looks and animations. Then apply keyframes for perspective-inverting effects that change over time.

3D

Instantly transition from 2D to 3D space by adding a camera or cameras to any 2D project while preserving your 2D groups. Animate and adjust the cameras to create smooth, realistic 3D movement.

Shadows

Xstand 6 5 3. Set up point lights and spot lights to cast shadows across objects. Fine-tune shadow appearance by specifying colors and edge types. When you set your elements in motion, shadows animate dynamically with the movement of objects and lights.

Reflections

Turn any shape, video plane, or paint stroke into a reflective surface. Add blur to soften reflections and use the Falloff feature to fade reflections as the object moves away from the light.

FxPlug

FxPlug is a powerful Apple‑designed plug‑in architecture for filters and effects. Choose from more than 130 built-in FxPlug filters and generators. And explore the thriving ecosystem of third‑party FxPlug effects that work in Motion and Final Cut Pro with custom interfaces and incredible real‑time performance.

Third-party tools to make your workflow flow.

Choose from thousands of custom transitions, titles, and motion graphics. Work directly with third-party applications through workflow extensions. Or use third-party tools for advanced tracking, EDL and AAF interchange, and more.

Five amazing apps.
One powerful collection.

Unleash your creative potential with the Pro Apps Bundle for qualifying college students, teachers, and education institutions. Get all five professional applications for video and music creation at a special price — including Final Cut Pro, Motion, and Compressor, along with Logic Pro and MainStage.

Akinetopsia (Greek: a for 'without', kine for 'to move' and opsia for 'seeing'), also known as cerebral akinetopsia or motion blindness, is a neuropsychological disorder in which a patient cannot perceive motion in their visual field, despite being able to see stationary objects without issue.^[1] There are varying degrees of akinetopsia: from seeing motion as frames of a cinema reel^[2] to an inability to discriminate any motion. There is currently no effective treatment or cure for akinetopsia.

Signs and symptoms[edit]

Akinetopsia can be separated into two categories, 'inconspicuous akinetopsia' or 'gross akinetopsia', based on symptom severity and the amount the akinetopsia affects the patient's quality of life.^{[citation needed]}

Inconspicuous akinetopsia[edit]

Inconspicuous akinetopsia is often described by seeing motion as a cinema reel or a multiple exposure photograph. This is the most common kind of akinetopsia and many patients consider the stroboscopic vision as a nuisance. The akinetopsia often occurs with visual trailing (palinopsia), with afterimages being left at each frame of the motion. It is caused by prescription drugs, hallucinogen persisting perception disorder (HPPD), and persistent aura without infarction. The pathophysiology of akinetopsia palinopsia is not known, but it has been hypothesized to be due to inappropriate activation of physiological motion suppression mechanisms which are normally used to maintain visual stability during eye movements (e.g. saccadic suppression).^[3][4]

Gross akinetopsia[edit]

Gross akinetopsia is an extremely rare condition. Patients have profound motion blindness and struggle in performing the activities of daily living. Instead of seeing vision as a cinema reel, these patients have trouble perceiving gross motion. Most of what is known about this extremely rare condition was learned through the case study of one patient, LM. LM described pouring a cup of tea or coffee difficult 'because the fluid appeared to be frozen, like a glacier'.^[5] She did not know when to stop pouring, because she could not perceive the movement of the fluid rising. LM and other patients have also complained of having trouble following conversations, because lip movements and changing facial expressions were missed.^[5][6] LM stated she felt insecure when more than two people were walking around in a room: 'people were suddenly here or there but I have not seen them moving'.^[5] Movement is inferred by comparing the change in position of an object or person. LM and others have described crossing the street and driving cars to also be of great difficulty.^[5][6] LM started to train her hearing to estimate distance.

A change in brain structure (typically lesions) disturbs the psychological process of understanding sensory information, in this case visual information. Disturbance of only visual motion is possible due to the anatomical separation of visual motion processing from other functions. Like akinetopsia, perception of color can also be selectively disturbed as in achromatopsia.^[1] There is an inability to see motion despite normal spatial acuity, flicker detection, stereo and color vision. Other intact functions include visual space perception and visual identification of shapes, objects, and faces.^[7] Besides simple perception, akinetopsia also disturbs visuomotor tasks, such as reaching for objects^[8] and catching objects.^[9] When doing tasks, feedback of one's own motion appears to be important.^[9]

Causes[edit]

Brain lesions[edit]

Akinetopsia may be an acquired deficit from lesions in the posterior side of the visual cortex. Lesions more often cause gross akinetopsia. The neurons of the middle temporal cortex respond to moving stimuli and hence the middle temporal cortex is the motion-processing area of the cerebral cortex. In the case of LM, the brain lesion was bilateral and symmetrical, and at the same time small enough not to affect other visual functions.^[10] Some unilateral lesions have been reported to impair motion perception as well. Akinetopsia through lesions is rare, because damage to the occipital lobe usually disturbs more than one visual function.^[5] Akinetopsia has also been reported as a result of traumatic brain injury.^[6]

Transcranial magnetic stimulation[edit]

Inconspicuous akinetopsia can be selectively and temporarily induced using transcranial magnetic stimulation (TMS) of area V5 of the visual cortex in healthy subjects.^[11] It is performed on a 1 cm² surface of the head, corresponding in position to area V5. With an 800-microsecond TMS pulse and a 28 ms stimulus at 11 degrees per second, V5 is incapacitated for about 20–30 ms. It is effective between −20 ms and +10 ms before and after onset of a moving visual stimulus. Inactivating V1 with TMS could induce some degree of akinetopsia 60–70 ms after the onset of the visual stimulus. TMS of V1 is not nearly as effective in inducing akinetopsia as TMS of V5.^[11]

Alzheimer's disease[edit]

Besides memory problems, Alzheimer's patients may have varying degrees of akinetopsia.^[12] This could contribute to their marked disorientation. While Pelak and Hoyt have recorded an Alzheimer's case study, there has not been much research done on the subject yet.^[6]

Antidepressants[edit]

Inconspicuous akinetopsia can be triggered by high doses of certain antidepressants^[13] with vision returning to normal once the dosage is reduced.

Areas of visual perception[edit]

Two relevant visual areas for motion processing are V5 and V1. These areas are separated by their function in vision.^[14] A functional area is a set of neurons with common selectivity and stimulation of this area, specifically behavioral influences.^[15] There have been over 30 specialized processing areas found in the visual cortex.^[16]

V5[edit]

V5, also known as visual area MT (middle temporal), is located laterally and ventrally in the temporal lobe, near the intersection of the ascending limb of the inferior temporal sulcus and the lateral occipital sulcus. All of the neurons in V5 are motion selective, and most are directionally selective.^[1] Evidence of functional specialization of V5 was first found in primates.^[7] Patients with akinetopsia tend to have unilateral or bi-lateral damage to the V5.^[17][18]

V1[edit]

V1, also known as the primary visual cortex, is located in Brodmann area 17. V1 is known for its pre-processing capabilities of visual information; however, it is no longer considered the only perceptually effective gateway to the cortex.^[11] Motion information can reach V5 without passing through V1 and a return input from V5 to V1 is not required for seeing simple visual motion.^[11] Motion-related signals arrive at V1 (60–70 ms) and V5 (< 30 ms) at different times, with V5 acting independently of V1.^[11] Patients with blindsight have damage to V1, but because V5 is intact, they can still sense motion.^[16] Inactivating V1 limits motion vision, but does not stop it completely.^[11]

Ventral and dorsal streams[edit]

Another thought on visual brain organization is the theory of streams for spatial vision, the ventral stream for perception and the dorsal stream for action.^[8] Since LM has impairment in both perception and action (such as grasping and catching actions), it has been suggested that V5 provides input to both perception and action processing streams.^[8][9]

Case studies[edit]

Potzl and Redlich's patient[edit]

In 1911, Potzl and Redlich reported a 58-year-old female patient with bilateral damage to her posterior brain.^[1] She described motion as if the object remained stationary but appeared at different successive positions. Additionally, she also lost a significant amount of her visual field and had anomic aphasia.

Goldstein and Gelb's patient[edit]

In 1918, Goldstein and Gelb reported a 24-year-old male who suffered a gunshot wound in the posterior brain.^[1] The patient reported no impression of movement. He could state the new position of the object (left, right, up, down), but saw 'nothing in between'.^[1] While Goldestein and Gelb believed the patient had damaged the lateral and medial parts of the left occipital lobe, it was later indicated that both occipital lobes were probably affected, due to the bilateral, concentric loss of his visual field. He lost his visual field beyond a 30-degree eccentricity and could not identify visual objects by their proper names.^[1]

'LM'[edit]

Most of what is known about akinetopsia was learned from LM, a 43-year-old female admitted into the hospital October 1978 complaining of headache and vertigo.^[5] LM was diagnosed with thrombosis of the superior sagittal sinus which resulted in bilateral, symmetrical lesions posterior of the visual cortex.^[5] These lesions were verified by PET and MRI in 1994.^[7] LM had minimal motion perception that was preserved as perhaps a function of V1, as a function of a 'higher' order visual cortical area, or some functional sparing of V5.^[1][10]

LM found no effective treatment, so she learned to avoid conditions with multiple visual motion stimuli, i.e. by not looking at or fixating them. She developed very efficient coping strategies to do this and nevertheless lived her life. In addition, she estimated the distance of moving vehicles by means of sound detection in order to continue to cross the street.^[5][10]

LM was tested in three areas against a 24-year-old female subject with normal vision:

Visual functions other than movement vision

LM had no evidence of a color discrimination deficit in either center or periphery of visual fields. Her recognition time for visual objects and words was slightly higher than the control, but not statistically significant. There was no restriction in her visual field and no scotoma.

Disturbance of movement vision

LM's impression of movement depended on the direction of the movement (horizontal vs vertical), the velocity, and whether she fixated in the center of the motion path or tracked the object with her eyes. Circular light targets were used as stimuli.

In studies, LM reported some impression of horizontal movement at a speed of 14 degrees of her predetermined visual field per second (deg/s) while fixating in the middle of the motion path, with difficulty seeing motion both below and above this velocity. When allowed to track the moving spot, she had some horizontal movement vision up to 18 deg/s. For vertical movement, the patient could only see motion below 10 deg/s fixated or 13 deg/s when tracking the target. The patient described her perceptual experience for stimulus velocities higher than 18 and 13 deg/s, respectively as 'one light spot left or right' or 'one light spot up or down' and 'sometimes at successive positions in between', but never as motion.^[5]

Motion in depth

Motion V5 0 7 Sezonas

To determine perception of motion in depth, studies were done in which the experimenter moved a black painted wooden cube on a tabletop either towards the patient or away in line of sight. After 20 trials at 3 or 6 deg/s, the patient had no clear impression of movement. However she knew the object had changed in position, she knew the size of the cube, and she could correctly judge the distance of the cube in relation to other nearby objects.^[5]

Motion V5 0 7 Pro

Inner and outer visual fields

Detection of movement in the inner and outer visual fields was tested. Within her inner visual field, LM could detect some motion, with horizontal motion more easily distinguished than vertical motion. In her peripheral visual field, the patient was never able to detect any direction of movement. LM's ability to judge velocities was also tested. LM underestimated velocities over 12 deg/s.^[5]

Motion aftereffect and Phi phenomenon

Motion aftereffect of vertical stripes moving in a horizontal direction and a rotating spiral were tested. She was able to detect motion in both patterns, but reported motion aftereffect in only 3 of the 10 trials for the stripes, and no effect for the rotating spiral. She also never reported any impression of motion in depth of the spiral. In Phi phenomenon two circular spots of light appear alternating. It appears that the spot moves from one location to the other. Under no combination of conditions did the patient report any apparent movement. She always reported two independent light spots.^[5]

Visually guided pursuit eye and finger movements

LM was to follow the path of a wire mounted onto a board with her right index finger. The test was performed under purely tactile (blindfolded), purely visual (glass over the board), or tactile-visual condition. The patient performed best in the purely tactile condition and very poorly in the visual condition. She did not benefit from the visual information in the tactile-visual condition either. The patient reported that the difficulty was between her finger and her eyes. She could not follow her finger with her eyes if she moved her finger too fast.^[5]

Additional experiments

In 1994, several other observations of LM's capabilities were made using a stimulus with a random distribution of light squares on a dark background that moved coherently.^[7] With this stimulus, LM could always determine the axis of motion (vertical, horizontal), but not always the direction. If a few static squares were added to the moving display, identification of direction fell to chance, but identification of the axis of motion was still accurate. If a few squares were moving opposite and orthogonal to the predominant direction, her performance on both direction and axis fell to chance. She was also unable to identify motion in oblique directions, such as 45, 135, 225, and 315 degrees, and always gave answers in cardinal directions, 0, 90, 180, and 270 degrees.^[7]

'TD'[edit]

In 2019, Heutink and colleagues described a 37-year old female patient (TD) with akinetopsia, who was admitted to Royal Dutch Visio, Centre of Expertise for blind and partially sighted people. TD suffered an ischaemic infarction of the occipitotemporal region in the right hemisphere and a smaller infarction in the left occipital hemisphere.^[19] MRI confirmed that the damaged brain areas contained area V5 in both hemispheres. TD experienced problems with perceiving visual motion and also reported that bright colours and sharp contrasts made her feel sick. TD also had problems perceiving objects that were more than ± 5 meters away from her. Although TD had some impairments of lower visual functions, these could not explain the problems she experienced with regard to motion perception. Neuropsychological assessment revealed no evidence of Balint's Syndrome, hemispatial neglect or visual extinction, prosopagnosia or object agnosia. There was some evidence for impaired spatial processing. On several behavioural tests, TD showed a specific and selective impairment of motion perception that was comparable to LM's performance.^{[citation needed]}

Effect of target speed on motion perception in TD

TD's ability to determine the direction of movement was tested using a task in which small grey blocks all moved in the same direction with the same speed against a black background. The blocks could move in four directions: right to left, left to right, upward and downward. Speed of movement was varied from 2, 4.5, 9, 15 and 24 degrees per second. Speed and direction were varied randomly across trials. TD had perfect perception of motion direction at speed up to 9 degrees per second. When speed of targets was above 9 degrees per second, TD's performance dropped dramatically to 50% correct at a speed of 15 degrees per second and 0% correct at 24 degrees per second. When the blocks moved at 24 degrees per second, TD consistently reported the exact opposite direction of the actual movement.^[19]

0.7 As A Fraction

Pelak and Hoyt's Alzheimer's patient[edit]

In 2000, a 70-year-old man presented with akinetopsia. He had stopped driving two years prior because he could no longer 'see movement while driving'.^[6] His wife noted that he could not judge the speed of another car or how far away it was. He had difficulty watching television with significant action or movement, such as sporting events or action-filled TV shows. He frequently commented to his wife that he could not 'see anything going on'.^[6] When objects began to move they would disappear. He could, however, watch the news, because no significant action occurred. In addition he had signs of Balint's syndrome (mild simultanagnosia, optic ataxia, and optic apraxia).^[6]

Pelak and Hoyt's TBI patient[edit]

In 2003, a 60-year-old man complained of the inability to perceive visual motion following a traumatic brain injury, two years prior, in which a large cedar light pole fell and struck his head.^[6] He gave examples of his difficulty as a hunter. He was unable to notice game, to track other hunters, or to see his dog coming towards him. Instead, these objects would appear in one location and then another, without any movement being seen between the two locations. He had difficulties driving and following a group conversation. He lost his place when vertically or horizontally scanning a written document and was unable to visualize three-dimensional images from two-dimensional blueprints.^[6]

References[edit]

1. ^ ^abcdefghZeki S (April 1991). 'Cerebral akinetopsia (visual motion blindness). A review'. Brain. 114 ( Pt 2) (2): 811–24. doi:10.1093/brain/114.2.811. PMID2043951.
2. ^https://www.bbc.com/future/article/20140624-the-man-who-saw-time-freeze
3. ^Gersztenkorn D, Lee AG (2015). 'Palinopsia revamped: a systematic review of the literature'. Surv Ophthalmol. 60 (1): 1–35. doi:10.1016/j.survophthal.2014.06.003. PMID25113609.
4. ^Wurtz RH (September 2008). 'Neuronal mechanisms of visual stability'. Vision Res. 48 (20): 2070–89. doi:10.1016/j.visres.2008.03.021. PMC2556215. PMID18513781.
5. ^ ^{abcdefghijklm}Zihl J, von Cramon D, Mai N (June 1983). 'Selective disturbance of movement vision after bilateral brain damage'. Brain. 106 (Pt 2) (2): 313–40. doi:10.1093/brain/106.2.313. PMID6850272.
6. ^ ^abcdefghiPelak Victoria S.; Hoyt William F. (2005). 'Symptoms of akinetopsia associated with traumatic brain injury and Alzheimer's Disease'. Neuro-Ophthalmology. 29 (4): 137–142. doi:10.1080/01658100500218046.
7. ^ ^abcdeShipp S, de Jong BM, Zihl J, Frackowiak RS, Zeki S (October 1994). 'The brain activity related to residual motion vision in a patient with bilateral lesions of V5'. Brain. 117 ( Pt 5) (5): 1023–38. doi:10.1093/brain/117.5.1023. PMID7953586. S2CID25409218.
8. ^ ^abcSchenk T, Mai N, Ditterich J, Zihl J (September 2000). 'Can a motion-blind patient reach for moving objects?'. Eur. J. Neurosci. 12 (9): 3351–60. doi:10.1046/j.1460-9568.2000.00194.x. PMID10998118.
9. ^ ^abcSchenk T, Ellison A, Rice N, Milner AD (2005). 'The role of V5/MT+ in the control of catching movements: an rTMS study'(PDF). Neuropsychologia. 43 (2): 189–98. doi:10.1016/j.neuropsychologia.2004.11.006. PMID15707904.
10. ^ ^abcZihl, J., ULM Munich (Max Planck Institute of Psychiatry), interviewed by R. Hamrick, Oct. 28, 2009.
11. ^ ^abcdefBeckers G, Zeki S (February 1995). 'The consequences of inactivating areas V1 and V5 on visual motion perception'. Brain. 118 ( Pt 1): 49–60. doi:10.1093/brain/118.1.49. PMID7895014.
12. ^Rizzo M, Nawrot M (December 1998). 'Perception of movement and shape in Alzheimer's disease'. Brain. 121 ( Pt 12) (12): 2259–70. doi:10.1093/brain/121.12.2259. PMID9874479.
13. ^Pinel, John P.J. (2011). Biopsychology (8th ed.). Boston: Allyn & Bacon. p. 160. ISBN978-0-205-83256-9.
14. ^Zeki S, Watson JD, Lueck CJ, Friston KJ, Kennard C, Frackowiak RS (March 1991). 'A direct demonstration of functional specialization in human visual cortex'. J. Neurosci. 11 (3): 641–9. doi:10.1523/JNEUROSCI.11-03-00641.1991. PMC6575357. PMID2002358.
15. ^Wandell BA, Dumoulin SO, Brewer AA (October 2007). 'Visual field maps in human cortex'. Neuron. 56 (2): 366–83. doi:10.1016/j.neuron.2007.10.012. PMID17964252.
16. ^ ^abLaRock Eric. 'Why neural synchrony fails to explain the unity of visual consciousness'. Behavior and Philosophy. 34: 39–58.
17. ^Schenk T, Zihl J (September 1997). 'Visual motion perception after brain damage: I. Deficits in global motion perception'. Neuropsychologia. 35 (9): 1289–97. doi:10.1016/S0028-3932(97)00004-3. PMID9364498.
18. ^Vaina LM, Solomon J, Chowdhury S, Sinha P, Belliveau JW (September 2001). 'Functional neuroanatomy of biological motion perception in humans'. Proc. Natl. Acad. Sci. U.S.A. 98 (20): 11656–61. Bibcode:2001PNAS..9811656V. doi:10.1073/pnas.191374198. PMC58785. PMID11553776.
19. ^ ^abHeutink, Joost; de Haan, Gera; Marsman, Jan-Bernard; van Dijk, Mart; Cordes, Christina (December 2018). 'The effect of target speed on perception of visual motion direction in a patient with akinetopsia'. Cortex. 119: 511–518. doi:10.1016/j.cortex.2018.12.002. PMID30661737.