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Frame 1 has a small closed mouth, frame 2 a rounded mouth, frame 3 a wide open mouth, and so on. Animate creates a SWF to play the animation. Nothing happens because there is only a single frame on the main Timeline, and a graphic symbol needs frames on the main Timeline to play its own Timeline. Frames are added to both layers up to frame Animate plays the animation. The graphic symbol plays all of its five keyframes repeatedly during the 45 frames of the main Timeline.
Leave the value of the First field at 1. The Frame Picker panel opens. The Frame Picker shows thumbnail images of all the frames inside the graphic symbol. When the animation plays frame 12, the alien head graphic symbol will change to frame 4. When the animation reaches frame 14, the head symbol will switch to displaying frame 2.
Easing Easing refers to the way in which a motion tween proceeds. You can think of easing as acceleration or deceleration. An object that moves from one side of the Stage to the other side can start off slowly, then build up speed, and then stop suddenly. Or, the object can start off quickly and then gradually slow to a halt. Your keyframes indicate the beginning and end points of the motion, but the easing determines how your object gets from one keyframe to the next.
A simple way to apply easing to a motion tween is to use the Properties panel. A negative value creates a more gradual change from the starting position known as an ease-in. A positive value creates a gradual slowdown known as an ease-out. Splitting a motion tween Easing affects the entire span of a motion tween.
If you want the easing to affect only frames between keyframes of a longer motion tween, you should split the motion tween. However, the actual movement of the car starts at frame 75 and ends at frame The motion tween is cut into two separate tween spans. The end of the first tween is identical to the beginning of the second tween.
The motion tweens of all three cars have now been split. This applies an ease-out to the motion tween. Animate plays the Timeline in a loop between frames 60 and so you can examine the ease-out motion of the three cars. Frame-by-Frame Animation Frame-by-frame animation is a technique that creates the illusion of movement by making incremental changes between every keyframe. Frame-by-frame animations increase your file size rapidly because Animate has to store the contents for each keyframe.
Use frame-by-frame animation sparingly. When the movie clip loops, the car will rumble slightly to simulate the idle of the motor. Inserting a new keyframe The frame-by-frame animations inside the carMiddle and carRight movie clip sym- bols have already been done. Inside the carRight movie clip, three keyframes establish three different positions for the car and its headlights. The keyframes are spaced unevenly to provide the unpredictable up and down motion.
Animate inserts a keyframe in frame 2 of the lights layer and the smallRumble layer. The contents of the previous keyframes are copied into the new keyframes. Changing the graphics In the new keyframe, change the appearance of the contents to create the animation. You can use the Properties panel to decrease the Y-position value by 1 pixel or press the Down Arrow key to nudge the graphics by 1 pixel. The car and its headlights move down slightly.
For a random motion like an idling car, at least three keyframes are ideal. Keyframes are inserted into frame 4 of the lights and smallRumble layers. You can use the Properties panel or automatically modify press the Up Arrow key twice to nudge the graphics by 2 pixels.
Animating in 3D presents the added complication of a third z axis. When you choose the 3D Rotation or 3D Translation tool, you need to be aware of the Global Transform option at the bot- tom of the Tools panel. Moving an object with the global option selected makes the transformation relative to the global coordinate system, whereas moving an object with the local option on makes the transformation relative to itself. Insert a new layer at the top of the layer stack and rename it title. The movietitle instance appears in your new layer in the keyframe at frame Animate converts the current layer to a tween layer so you can begin to animate the instance.
The 3D rotation control appears on the selected movie clip. That means controlling where to point the camera to frame the action, zooming in or out, panning, or even rotating the camera for special effect. All of these camera movements are available in Animate with the Camera tool. The Timeline contains added frames and a motion tween in the title layer. On the Stage, the camera controls appear. Camera layer; it only hides it from view.
To delete camera filters. Disable the Camera layer by choosing your Selection tool, or by clicking trash can icon.
Your camera will initially hide a part of her face to create a little bit of mystery. There are two modes on the controls, one for Rotate and another for Zoom. The Zoom mode should be highlighted. The Camera view zooms closer into the Stage. The slider snaps back to the center, allowing you to continue dragging to the right to continue zooming. You can also enter a numerical value for the zoom in the Properties panel in the Camera Properties section.
Your Stage shows a close-up view of the cityscape between the two main characters. As with any bitmap, zooming in too dramatically will reveal the limitations of the original embedded image. The contents of the Stage move to the right. So if you point your camera to the left, the objects in view will move to the right.
Animating a pan A pan is the motion of the camera left to right or up and down. In the context menu that appears, choose Create Motion Tween. A motion tween is added to the Camera layer, indicated by the blue-colored frames. Hold down the Shift key to constrain the motion to a straight vertical line.
A new keyframe is established at frame 25, and Animate creates a smooth motion of the camera between the two keyframes. Panning across the Stage Your viewers now see this mystery woman, who is looking to her left. But who or what is she looking at? A new keyframe is automatically created at frame 70 with the camera in its new position. The camera pans across the Stage from left to right between frames 40 and The camera will hold its position from frame 70 to frame The Brightness, Contrast, Saturation, and Hue values appear, all of them with a value of 0.
The view through the camera becomes desaturated and all the graphics on the Stage appear black and white. Animate creates a motion tween of the camera becoming more desaturated from frame to frame You can also use the integrated Controller at the bottom of the Timeline.
However, to preview your animation as your audience will see it and to preview any nested animations within movie clip symbols, you should test your movie. To exit Test Movie mode, click the Close window button.
For example, animations with HTML5 or on mobile devices often rely on sequential PNG files or a single file that packs all the images organized in rows and columns, known as a sprite sheet.
The sprite sheet is accompanied by a data file that describes the position of each image, or sprite, in the file. Generating either PNG sequences or a sprite sheet of your animation is easy. First, your animation must be within a movie clip symbol. In the next steps, you select the destination on your hard drive for your images and the dimensions of your images.
For a sprite sheet, right-click the symbol and choose Generate Sprite Sheet. The Generate Sprite Sheet dialog box that appears provides different options, such as sizing, background color, and the particular data format.
Click Export to output the sprite sheet and data file. Review Answers 1 A motion tween requires a symbol instance on the Stage and its own layer, which is called a tween layer. No other tween or drawing object can exist on the tween layer. Keyframes are specific to each property, so that a motion tween can have keyframes for position that are different from keyframes for transparency. You can also choose the Convert Anchor Point tool and Subselection tool to pull out handles at the anchor points.
The handles control the curvature of the path. Without easing, a motion tween proceeds linearly, where the same amount of change happens over time. An ease-in makes an object begin its animation slowly, and an ease-out makes an object end its animation slowly. Use the Camera tool to zoom in to a different part of the Stage, zoom out to show more, rotate, or pan. You can also use the Camera tool to adjust the tint or color effect of the view.
See Creative Cloud Libraries Control menu, defining generally, — character animation. See animating natural control points, scaling objects relative to, 42 defining inside a shape, — motion and characters controls definition of, classic tweens camera, disabling joint rotation, — applying, — playback, —, — editing shapes containing, overview of, Stage controls for constraints, — extending armature, — Clear Guides command, Timeline, — hierarchy of, click response, adding, — Convert Anchor Point tool, isolating rotation of, — clipping, audio, — Convert to Symbol dialog box F8 , 95, modifying joint position, — clips, movie.
See also swatches accessing assets, 9 managing paint brushes, 69 adding fills, 50 sharing assets, pattern brushes, 66 animating, — curves. See also HTML5 Canvas Encoder, — understanding, 40—41 documents converting video files, — using gradient and bitmap fills, 47—49 creating new, 3—4 overview of, filters playback environments, 4—5 understanding encoding options, animating, — switching between document types, 5 error checking, — applying to symbols, — types of, event handlers Filters section, Properties panel, —, domain, identifying, 75—76 adding click response, — — dot.
See file formats — adding video file to Adobe Media frame-by-frame animation applying eases to shape tweens, Encoder, — changing appearance of graphics, BounceIn ease, — converting video files, , — — complex eases, deleting or changing sound files, inserting new keyframe, — overview of, — overview of, removing eases, exporting SWF files, frame labels, — splitting motion tweens, — finding video files, Frame Picker, — Edit bar, on Stage, 5, importing Photoshop file for frame rate, viewing on Timeline, 11 Edit Document command, background, 96—99 Frame View menu, 12 Edit Envelope dialog box, — importing sound files, — frames.
See also navigation, interactive updating tagged swatches, 56 adjusting, — ActionScript 3. See also animating of objects, 50—51 animating, natural motion and characters guides, for placing symbols, — Frame Picker for selecting frames to adding eases, align sounds, — animating natural motion, — scaling, H defined, types of symbols, 94 H.
See Adobe Photoshop previewing animations, — working with filters, — Pin option, Properties panel, — turning on, — working with position, — pixels, resizing and scaling content, 32—33 Orient To Path option, Rotation, working with transformations, — Play command Oval tool working with transparency, — playing animation, , adding shadows, 62—63 MSAA Microsoft Active Accessibility , playing shape tween, creating shapes, 41—42 testing movie, playback P controlling video playback, — N Paint Brush tool, 63—65 previewing animations, — naming rules, paint brushes of video, — natural motion, animating.
See animating exploring Brush library, 63—65 playback runtime environment, in natural motion and characters managing, 69 determining document type, 4—5 navigation, interactive Paint Bucket tool playhead, ActionScript 3. See ActionScript 3. See animating symbols skinning, — adding movie clip instances, applying filters to, — previewing loop, area of workspace, 7—8 blending effects, project file, changing size to match Photoshop breaking apart, removing shape hints, canvas, 99 button symbols.
See button symbols review, changing Stage properties, 8—9 changing 3D position, understanding strokes and fills, 40 creating symbols, 94—96 changing brightness, — variable widths for shape tweens, dragging bitmap to, changing size and position, — viewing mask effects, dragging symbol to Stage, changing transparency, shapes, inverse kinematics with editing symbols in place, — creating, 94—96 adding background, — function of, 1 defined, 87 combining tail movement with walk getting to know workspace, 5 display options, cycle, — importing files to, 89 editing from library, — defining bones inside a shape, — keyframe indicating change in content, editing in place, — editing shapes, 16 exporting as bitmap, — moving tail armature, — modifying, 32—33 graphic symbols.
See graphic symbols overview of, positioning objects on, 23—25 importing, 94 sharing assets, rotating for easier drawing, 70 importing Illustrator files for use with, Shift key Star tool, 29 88—92 constraining transformation, start-up, Adobe Animate CC, 2 importing Photoshop file for isolating rotation of individual bones of static text, 71, background, 96—99 character armature, stop action importing SVG files for use with, 92 working with anchor points, stopping animation, — inserting, SimController Adobe , — stopping interactive navigation, movie clip symbols.
See movie clip simulation, of physics. See springiness, — symbols simulating in character animation strokes organizing in library, size, changing symbol size, — changing, 45 overview of, 86, 93 skins, choosing video interface style, changing color of style, perspective to create 3D feel, — smooth points, 60 mask layer and, positioning in 3D space, — smoothing option, working with images, 25 Paint Brush tool, 63 resetting transformation, — Snap To Objects selecting, 42 review, adding shape hints, setting stroke size, 52 rulers and guides in placing, — creating shapes, 41—42 understanding strokes and fills, 40—41 storing in Library panel, 9 sound.
See Free converting video files, — converting to symbol, Transform tool embedding, — creating and editing, 71 global vs. See motion tweens keyframes for animating tail shape, creating, overview of, — disabling joint rotation, — shape tweens. See shape tweens Layer Properties dialog box, inserting poses, — typefaces, serif and sans serif, 77 locking layers, isolating rotation of individual bones, Typekit Loop button, — adding web fonts, 72—75 Loop Option, — pinning individual bones, — identifying your domain where project moving keyframes, 19 posing armature to create walk cycle, hosted, 75—76 Onion Skin Outlines button, — — removing web fonts, 76—78 placing sounds on, — waveform.
See x and y coordinates using dynamic text, 71 adding anchor points, — Y property curves. Click the lesson file links to download them to your computer.
Download the supplements from the same page as the lesson files. How to Use the Lessons Each lesson in this book provides step-by-step instructions for creating one or more specific elements of a real-world project. Some lessons build on projects created in preceding lessons; most stand alone. All the lessons build on one another in terms of concepts and skills, so the best way to learn from this book is to proceed through the lessons in sequential order.
In this book, some techniques and processes are explained and described in detail only the first few times you perform them. The files in the End fold- ers 01End, 02End, and so on within the Lesson folders are samples of completed projects for each lesson.
Use these files for reference if you want to compare your work in progress with the project files used to generate the sample projects. Additional Resources Adobe Animate CC Classroom in a Book release is not meant to replace documentation that comes with the program or to be a comprehensive reference for every feature.
Only the commands and options used in the lessons are explained in this book. For comprehensive information about program features and tutorials, refer to these resources: Adobe Animate Learn and Support: helpx. Visit helpx. Adobe Creative Cloud Learn: For inspiration, key techniques, cross-product workflows, and updates on new features, go to the Creative Cloud Learn page, helpx.
Available to all. Adobe Forums: forums. Adobe Create: create. Resources for educators: www. Find solutions for education at all levels, including free curricula that use an integrated approach to teaching Adobe software and can be used to prepare for the Adobe Certified Associate exams.
Also check out these useful sites: Adobe Add-ons: creative. Adobe Animate CC product home page: www. A directory of AATCs is available at training. Herbert School of Communication at Hofstra University where he teaches multimedia storytelling, data journalism, and information design.
Download the project files for this lesson from the Registered Products tab on your Account page at www. Motion tweening is the basic technique of creating animation with symbol instances. Account page, make sure to do so now. See 1 Double-click the 04End. The project is an animated splash page for an imaginary soon-to-be-released motion picture.
This file is an ActionScript 3. Saving a working copy ensures that the original start file will be available if you want to start over. Animation can be as simple as moving a box across the Stage from one frame to the next. It can also be much more complex.
In Animate, the basic workflow for animation goes like this: Select an object on the Stage, right-click, and choose Create Motion Tween from the context menu. Move the red playhead to a different point in time and move the object to a new position or change one of its properties. Animate takes care of the rest. Motion tweens create animation for changes in position on the Stage and for changes in size, color, or other attributes.
Motion tweens require you to use a symbol instance. Animate also automatically separates motion tweens on their own layers, which are called tween layers. There can be only one motion tween per layer without any other ele- ment in the layer. Tween layers allow you to change various attributes of your instance at different key points over time. For example, a spaceship could be on the left side of the Stage at the beginning keyframe and at the far-right side of the Stage at an ending keyframe, and the resulting tween would make the spaceship fly across the Stage.
Senior animators would be responsible for drawing the beginning and ending poses for their charac- ters. The beginning and ending poses were the keyframes of the animation. Understanding the Project File The 04Start.
All the necessary graphic elements have been imported into the library. The Stage is set at a generous pixels by pixels, and the Stage color is black. You might need to choose a different view option to see the entire Stage. It will begin slightly lower than the top edge of the Stage, and then rise slowly until its top is aligned with the top of the Stage.
Create a new layer above the footer layer and rename it city. This positions the cityscape image just slightly below the top edge of the Stage. Motion tweens require symbols. Animate asks if you want to convert the selection to a symbol so it can proceed with the motion tween. Click OK. Animate automatically converts your selection to a symbol with the default name Symbol 1, and stores it in your Library panel. Animate also converts the current layer to a tween layer so you can begin to animate the instance.
Tween layers are distinguished by a special icon in front of the layer name, and the frames are tinted blue. The range of frames covered by the tween is the tween span. The tween span is represented by all the colored frames from the first keyframe to the last keyframe. Tween layers are reserved for motion tweens, and hence, no drawing is allowed on a tween layer.
Holding down the Shift key constrains the movement to right angles. A small black diamond appears in frame at the end of the tween span. This indicates a keyframe at the end of the tween.
Animate smoothly interpolates the change in position from frame 1 to frame and represents that motion with a motion path. Animating changes in position is simple, because Animate automatically creates keyframes at the points where you move your instance to new positions.
Integrated into the bottom of the Timeline is a set of playback controls. You can also use the playback commands on the Control menu. The playhead loops, allowing you to see the animation over and over for careful analysis. The playhead loops within the marked frames.
Click Loop Option again to turn it off. Changing the Pacing and Timing You can change the duration of the entire tween span or change the timing of the animation by dragging keyframes on the Timeline. Changing the animation duration If you want the animation to proceed at a slower pace and thus take up a much longer period of time , you need to lengthen the entire tween span between the beginning and end keyframes. If you want to shorten the animation, you need to decrease the tween span.
Lengthen or shorten a motion tween by dragging its ends on the Timeline. Your motion tween shortens to 60 frames, reducing the time it takes the cityscape to move.
The timing of your entire animation remains the same; only the length changes. Add frames by Shift-dragging the end of a tween span. The last keyframe in the motion tween remains at frame 60, but Animate adds frames through frame The keyframe at frame 60 is selected. A tiny box appears next to your mouse pointer, indicating that you can move the keyframe.
The last keyframe in the motion tween moves to frame 40, so the motion of the cityscape proceeds more quickly. Span-based vs. However, if you prefer to click a motion tween and have the entire span the beginning and end keyframes, and all the frames in between be selected, you can enable Span Based Selection from the Options menu on the upper-right cor- ner of the Timeline or you can Shift-click to select the entire span.
With Span Based Selection enabled, you can click anywhere within the motion tween to select it, and move the whole ani- mation backward or forward along the Timeline as a single unit. You can change the color effect of an instance in one keyframe and change the value of the color effect in another keyframe, and Animate will automatically display a smooth change, just as it does with changes in position. Animate will create a smooth fade-in effect. The cityscape instance on the Stage becomes totally transparent.
The cityscape instance on the Stage becomes totally opaque. Animate interpolates the changes in both position and transparency between the two keyframes. Animating filters is no different from animating changes in position or changes in color effect. You simply set the values for a filter at one keyframe and set different values for the filter at another keyframe, and Animate creates a smooth transition.
Click the upper-right side of the Stage to select the transparent instance. Or, click the woman layer in the Timeline to highlight it; then click within the outline that appears on the Stage. Set the Blur X and Blur Y values to 20 pixels. The woman instance is blurred throughout the motion tween.
Animate establishes a keyframe for filters at frame The Blur filter changes from the keyframe at frame to the keyframe at Animate creates a smooth transition from a blurry instance to an in-focus instance.
Understanding property keyframes Changes in properties are independent of one another and do not need to be tied to the same keyframes. That is, you can have a keyframe for position, a different keyframe for the color effect, and yet another keyframe for a filter.
Managing many different kinds of keyframes can become overwhelming, especially if you want dif- ferent properties to change at different times during the motion tween. Fortunately, Animate CC provides a few helpful tools for keyframe management. When viewing the tween span, you can choose to view the keyframes of only cer- tain properties. For example, you can choose to view only the Position keyframes to see when your object moves.
Or, you can choose to view only the Filter keyframes to see when a filter changes. Right-click a motion tween in the Timeline, choose View Keyframes, and then select the desired property among the list. You can also choose All or None to see all the properties or none of the properties. When inserting a keyframe, you can also insert a keyframe specific to the property you want to change.
Right-click a motion tween in the Timeline, choose Insert Keyframes, and then select the desired property. You can also view an advanced panel, called the Motion Editor, to see and edit how the different properties of your object change over the course of the motion tween. These kinds of changes are made with the Free Transform tool or with the Transform panel. The car will start small, and then become larger as it appears to move forward toward the viewer.
The transformation handles appear around the instance on the Stage. The car becomes totally transparent. The current layer becomes a tween layer.
A new keyframe is automatically inserted at frame to indicate the change in transparency. You have used Animate to tween the change in position and the change in scale as well as the change in transparency from frame 75 to frame Motion presets If your project involves creating identical motion tweens repeatedly, Animate allows you to save and reuse motion tweens as presets.
For example, if you want to build a slideshow where each image fades out in the same manner, you can save that transition as a motion preset.
Alternatively, right-click the motion tween and choose Save As Motion Preset.