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Skip to main content. Start your free trial. Show and hide more. Table of contents Product information. Contents at a Glance Contents Getting Started 1. Get it now. For comprehensive information about program features and tutorials, refer to these resources, which you can reach by choosing commands on the Help menu or by clicking links in the Welcome Screen: Adobe Animate Learn and Support: helpx.
Adobe Creative Cloud Learn: For inspiration, key techniques, cross-product work- flows, 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. 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. Please log in to your account on peachpit. 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 opener that would be placed on a website 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 by smoothly interpo- lating the changes between the two points in time. 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 onto their own layers, which are called tween layers. There can be only one motion tween per layer, and there can be no other element on the layer. Tween layers allow you to change various attributes of your instance at different key points over time. For example, a space- ship 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 char- acters. The beginning and ending poses were the keyframes of the animation. Understanding the Project File The 04Start. All the neces- sary graphic elements have been imported into the library. The Stage is set at 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; 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 on the Stage. 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. These controls allow you to play, rewind, or go step by step backward or forward through your Timeline to review your animation in a controlled manner. You can also use the playback commands on the Control menu. Choose the Time Scrub tool or hold down The playhead loops within the marked frames. 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. Your motion tween begins at an earlier time, so it now plays only from frame 10 to frame Note If you have multiple keyframes in a tween, changing the length of the tween span by dragging one end or the other will distribute all your keyframes uniformly.
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 Moving keyframes If you want to change the pacing of an animation, you can select individual keyframes and then drag them to new positions. 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. 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 corner 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 animation backward or forward along the Timeline as a single unit.
Moving keyframes vs. If you want to simply move the location of a keyframe within a tween span, make sure that only a single keyframe is selected, and that the tiny box appears next to your mouse cursor before you begin dragging the keyframe to a new location. Keyframe moved Box When you select a span of frames within a tween, you can compress or expand its duration by dragging the selection when the double-headed arrow appears near the right edge of the selection.
Understanding frame rate The speed of your animation is tied to the frame rate of your document shown in the Properties section of the Properties panel , but do not modify the frame rate in order to change the speed or duration of your animation. The frame rate determines how many frames on the Timeline make up one second of time. The default is 24 frames per second fps. The seconds are marked on the Timeline. Frame rate is a measure of how smooth an anima- tion appears—the higher the frame rate, the more frames there are to show the action.
Animations at slower frame rates appear choppy because there are fewer frames to show the action. Slow-motion videography depends on very high frame rates in order to capture action that happens very quickly, such as a speeding bullet or a falling water droplet. Instead, add or delete frames from your Timeline. If you want to change the frame rate but keep the overall duration constant, select the Scale Frame Spans option in the Properties panel before you modify the frame rate.
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 Note Filters can not be animated in color effect.
You simply set the values for a filter at one keyframe and set different an HTML5 Canvas 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 value to 20 pixels. The Blur Y value also changes 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. The last keyframe in the motion tween moves to frame 40, so the motion of the cityscape proceeds more quickly.
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 corner 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 animation backward or forward along the Timeline as a single unit. Moving keyframes vs. If you want to simply move the location of a keyframe within a tween span, make sure that only a single keyframe is selected, and that the tiny box appears next to your mouse cursor before you begin dragging the keyframe to a new location.
Keyframe moved Box When you select a span of frames within a tween, you can compress or expand its duration by dragging the selection when the double-headed arrow appears near the right edge of the selection. Understanding frame rate The speed of your animation is tied to the frame rate of your document shown in the Properties section of the Properties panel , but do not modify the frame rate in order to change the speed or duration of your animation.
The frame rate determines how many frames on the Timeline make up one second of time. The default is 24 frames per second fps. The seconds are marked on the Timeline. Frame rate is a measure of how smooth an anima- tion appears—the higher the frame rate, the more frames there are to show the action.
Animations at slower frame rates appear choppy because there are fewer frames to show the action. Slow-motion videography depends on very high frame rates in order to capture action that happens very quickly, such as a speeding bullet or a falling water droplet.
Instead, add or delete frames from your Timeline. If you want to change the frame rate but keep the overall duration constant, select the Scale Frame Spans option in the Properties panel before you modify the frame rate. 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 Note Filters can not be animated in color effect. You simply set the values for a filter at one keyframe and set different an HTML5 Canvas 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 value to 20 pixels. The Blur Y value also changes 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. For example, you can choose to view only the Position keyframes so that you can see when your object moves. Or, you can choose to view only the Filter keyframes so that you can see when a filter changes. Right-click a motion tween in the Timeline, choose View Keyframes, and then select the desired property from 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 Changing the Path of the Motion The motion tween of the left car that you just animated shows a colored line with dots indicating the path of the motion. You can easily edit the path of the motion to make the car travel in a curve, or you can move, scale, or rotate the path just like any other object on the Stage.
To better demonstrate how you can edit the path of the motion, open the sample file 04MotionPath. The file contains a single tween layer with a rocket ship moving from the top left of the Stage toward the bottom right.
The path of the motion becomes highlighted. The relative motion and timing of the animation remain the same, but the starting and ending positions are relocated. You can make the path smaller or larger, or rotate the path so that the rocket ship starts from the bottom left of the Stage and ends at the top right.
Editing the path of the motion Making your objects travel on a curved path is a simple matter. You can edit the path with Bezier precision using anchor point handles, or you can edit the path in a more intuitive manner with the Selection tool. The handle on the anchor point controls the curvature of the path.
Make the rocket ship travel in a wide curve. Select the Selection tool and make sure the path is deselected. Move your pointer close to the path of the motion. A curved icon appears next to your pointer, indicating that you can edit the path. Drag the path of the motion to change its curvature. Choose the spots where you drag carefully! Each drag breaks the path into smaller segments, making it harder to achieve a smooth curve.
Mastery will come with practice. Orienting objects to the path Sometimes the orientation of the object traveling along the path is important. In the motion picture promotional project, the orientation of the car is constant as it moves forward.
However, in the rocket ship example, the rocket ship should follow the path with its nose pointed in the direction in which it is heading. Orient To Path in the Properties panel gives you this option. Animate inserts keyframes for rotation along the motion tween to orient the nose of the rocket ship to the path of the motion. Use the Free Transform tool to rotate its initial position so that it is oriented correctly. This means that an object and its motion are independent of each other, and you can easily swap out the tar- get of a motion tween.
Select the object that you want to swap on the Stage. In the Properties panel, click the Swap button. In the dialog box that appears, choose a new symbol and click OK. Animate 2 Click OK. Animate replaces the rocket ship with the alien. The motion remains the same, but the target of the motion tween has changed. Creating Nested Animations Often, an object that is animated on the Stage will have its own animation.
For example, the wings of a butterfly moving across the Stage may flap as it moves. Or the alien that you swapped with the rocket ship could be waving his arms. These kinds of animations are called nested animations because they are contained inside the movie clip symbols.
Movie clip symbols have their own timeline that is inde- pendent of the main Timeline. You are now in symbol-editing mode for the alien movie clip symbol. The alien appears in the middle of the Stage. In the Timeline, the parts of the alien are separated in layers. The left arm rotates smoothly from the resting position to the outstretched position. Right-click his right arm and choose Create Motion Tween.
Animate inserts a keyframe at the end of the motion tween. The arm rotates smoothly from the resting position to the outstretched position.
Your animation of the alien raising his arms is complete. The alien moves along the motion on the main Timeline. To prevent the looping, Easing you need to add code to tell the movie clip Easing refers to the way in which a motion tween proceeds. You can think of easing timeline to stop on its as acceleration or deceleration. An object that moves from one side of the Stage to last frame. Or with ActionScript or the object can start off quickly and then gradually slow to a halt.
Your keyframes JavaScript in later indicate the beginning and end points of the motion, but the easing determines lessons. 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.
Adobe animate cc classroom in a book (2018 release) pdf free download.Adobe Animate CC Classroom in a Book (2018 release)
The 12 project-based step-by-step lessons in this book show users the key techniques for working in Animate. Adobe Animate CC provides more expressive tools, powerful controls for animation, and robust support for playback across a wide variety of platforms. Learn how to use and create vector-based brushes for painterly effects. Gain more advanced control over complex animations with the Camera tool, and learn to focus the action on different parts of the Stage.
Explore the new Layer Depth panel which lets you control the depth level of individual layers, creating a more realistic sense of space. The online companion files include all the necessary assets for readers to complete the projects featured in each lesson as well as ebook updates when Adobe releases relevant new features for Creative Cloud customers.
All buyers of the book get full access to the Web Edition: a Web-based version of the complete ebook enhanced with video and multiple-choice quizzes. This site comply with DMCA digital copyright.
We do not store files not owned by us, or without the permission of the owner. We also do not have links that lead to sites DMCA copyright infringement. If You feel that this book is belong to you and you want to unpublish it, Please Contact us. Download e-Book. Posted on. Page Count. Russell Chun,. Download e-Book Pdf. Related e-Books.
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Please remember that existing artwork or images that you may want to include in your project may be protected under copyright law. The unauthorized incorporation of such material into your new work could be a violation of the rights of the copyright owner. Please be sure to obtain any permission required from the copyright owner. Any references to company names in sample files are for demonstration purposes only and are not intended to refer to any actual organization.
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Animate CC is widely used in the creative industry to develop engaging projects integrating video, sound, graph- ics, and animation. Use Animate CC to generate graphics and animation assets, to build innovative and immersive websites, to create stand-alone applications for the desktop, or to create apps to distribute to mobile devices running on the Android or iOS system.
With extensive controls for animation, intuitive and flexible drawing tools, and output options for HD video, HTML5, mobile apps, desktop applications, and Flash Player, Adobe Animate CC is a rare example of a robust multimedia authoring environment that enables your imagination to become reality.
About Classroom in a Book Adobe Animate CC Classroom in a Book release is part of the official training series for Adobe graphics and publishing software developed with the support of Adobe product experts. The lessons are designed so you can learn at your own pace. Classroom in a Book also teaches many advanced features, including tips and techniques for using the latest version of this application. You can follow the book from start to finish, or do only the lessons that correspond to your interests and needs.
You should have a working knowledge of your computer and operating system. You should know how to use the mouse and standard menus and commands, and also how to open, save, and close files. If you need to review these techniques, see the printed or online documentation included with your Microsoft Windows or Apple Mac OS software. In addition, you need to download the free Adobe AIR runtime, available at get. The following specifications are the minimum required system configurations.
For updates on system requirements and complete instructions on installing the software, visit helpx. Online Content Your purchase of this Classroom in a Book includes online materials provided by way of your Account page on peachpit.
These include: Lesson files To work through the projects in this book, you will need to download the lesson files from peachpit. You can download the files for individual lessons or it may be possible to download them all in a single file.
Web Edition The Web Edition is an online interactive version of the book providing an enhanced learning experience. To accommodate the changes, sec- tions of the online book may be updated or new sections may be added.
Click the Launch link to access the product. Continue reading to learn how to register your product to get access to the lesson files. If you purchased an eBook from a different vendor or you bought a print book, you must register your purchase on peachpit. Click the Access Bonus Content link below the title of your product to proceed to the download page.
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.
Animate provides a number of motion presets that you can use to quickly build sophisticated animations without much effort. Changing the Path of the Motion The motion tween of the left car that you just animated shows a colored line with dots indicating the path of the motion.
You can edit the path of the motion easily to make the car travel in a curve, or you can move, scale, or rotate the path just like any other object on the Stage. To better demonstrate how you can edit the path of the motion, open the sample file 04MotionPath.
Moving the path of the motion You will move the path of the motion so the relative movement of the rocket ship remains the same but its starting and ending positions change. The path of the motion becomes highlighted.
The relative motion and timing of the animation remain the same, but the starting and ending positions are relocated. Transformation handles appear around the path of the motion.
You can make the path smaller or larger, or rotate the path so the rocket ship starts from the bottom left of the Stage and ends at the top right. Editing the path of the motion Making your objects travel on a curved path is a simple matter. You can either edit the path with Bezier precision using anchor point handles, or you can edit the path in a more intuitive manner with the Selection tool. The handle on the anchor point controls the curvature of the path.
Make the rocket ship travel in a wide curve. Select the Selection tool and make sure the path is deselected. Move your pointer close to the path of the motion. A curved icon appears next to your pointer, indicating that you can edit the path. Drag the path of the motion to change its curvature. 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. 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 corner 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 animation backward or forward along the Timeline as a single unit.
Moving keyframes vs. If you want to simply move the location of a keyframe within a tween span, make sure that only a single keyframe is selected, and that the tiny box appears next to your mouse cursor before you begin dragging the keyframe to a new location. Keyframe moved Box When you select a span of frames within a tween, you can compress or expand its duration by dragging the selection when the double-headed arrow appears near the right edge of the selection. Understanding frame rate The speed of your animation is tied to the frame rate of your document shown in the Properties section of the Properties panel , but do not modify the frame rate in order to change the speed or duration of your animation.
The frame rate determines how many frames on the Timeline make up one second of time. The default is 24 frames per second fps. The seconds are marked on the Timeline. Frame rate is a measure of how smooth an anima- tion appears—the higher the frame rate, the more frames there are to show the action. Animations at slower frame rates appear choppy because there are fewer frames to show the action. Slow-motion videography depends on very high frame rates in order to capture action that happens very quickly, such as a speeding bullet or a falling water droplet.
Instead, add or delete frames from your Timeline. If you want to change the frame rate but keep the overall duration constant, select the Scale Frame Spans option in the Properties panel before you modify the frame rate. 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 Note Filters can not be animated in color effect.
You simply set the values for a filter at one keyframe and set different an HTML5 Canvas 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 value to 20 pixels. The Blur Y value also changes 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. For example, you can choose to view only the Position keyframes so that you can see when your object moves.
Or, you can choose to view only the Filter keyframes so that you can see when a filter changes. Right-click a motion tween in the Timeline, choose View Keyframes, and then select the desired property from 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 Changing the Path of the Motion The motion tween of the left car that you just animated shows a colored line with dots indicating the path of the motion.
You can easily edit the path of the motion to make the car travel in a curve, or you can move, scale, or rotate the path just like any other object on the Stage. To better demonstrate how you can edit the path of the motion, open the sample file 04MotionPath. The file contains a single tween layer with a rocket ship moving from the top left of the Stage toward the bottom right. The path of the motion becomes highlighted. The relative motion and timing of the animation remain the same, but the starting and ending positions are relocated.
You can make the path smaller or larger, or rotate the path so that the rocket ship starts from the bottom left of the Stage and ends at the top right. Editing the path of the motion Making your objects travel on a curved path is a simple matter.
You can edit the path with Bezier precision using anchor point handles, or you can edit the path in a more intuitive manner with the Selection tool. The handle on the anchor point controls the curvature of the path. Make the rocket ship travel in a wide curve. Select the Selection tool and make sure the path is deselected. Move your pointer close to the path of the motion. A curved icon appears next to your pointer, indicating that you can edit the path.
Drag the path of the motion to change its curvature. Choose the spots where you drag carefully! Each drag breaks the path into smaller segments, making it harder to achieve a smooth curve. Mastery will come with practice. Orienting objects to the path Sometimes the orientation of the object traveling along the path is important.
In the motion picture promotional project, the orientation of the car is constant as it moves forward. However, in the rocket ship example, the rocket ship should follow the path with its nose pointed in the direction in which it is heading. Orient To Path in the Properties panel gives you this option.
Animate inserts keyframes for rotation along the motion tween to orient the nose of the rocket ship to the path of the motion. Use the Free Transform tool to rotate its initial position so that it is oriented correctly. This means that an object and its motion are independent of each other, and you can easily swap out the tar- get of a motion tween. Select the object that you want to swap on the Stage.
In the Properties panel, click the Swap button. In the dialog box that appears, choose a new symbol and click OK. Animate 2 Click OK. Animate replaces the rocket ship with the alien.
The motion remains the same, but the target of the motion tween has changed. Creating Nested Animations Often, an object that is animated on the Stage will have its own animation.
For example, the wings of a butterfly moving across the Stage may flap as it moves. Or the alien that you swapped with the rocket ship could be waving his arms. These kinds of animations are called nested animations because they are contained inside the movie clip symbols. Movie clip symbols have their own timeline that is inde- pendent of the main Timeline. You are now in symbol-editing mode for the alien movie clip symbol. The alien appears in the middle of the Stage.
In the Timeline, the parts of the alien are separated in layers. The left arm rotates smoothly from the resting position to the outstretched position. Right-click his right arm and choose Create Motion Tween. Animate inserts a keyframe at the end of the motion tween.
The arm rotates smoothly from the resting position to the outstretched position. Your animation of the alien raising his arms is complete. The alien moves along the motion on the main Timeline. To prevent the looping, Easing you need to add code to tell the movie clip Easing refers to the way in which a motion tween proceeds.
You can think of easing timeline to stop on its as acceleration or deceleration. An object that moves from one side of the Stage to last frame. Or with ActionScript or the object can start off quickly and then gradually slow to a halt.
Your keyframes JavaScript in later indicate the beginning and end points of the motion, but the easing determines lessons. 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. You enter symbol-editing mode for the carLeft symbol. 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. 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, using at least three keyframes is ideal. Select frame 4 in both the lights layer and the smallRumble layer. Keyframes are inserted into frame 4 of the lights and smallRumble layers. You can use the Properties panel or press the Up Arrow key twice to nudge the graphics by 2 pixels.
The car and its headlights move up slightly. Animating in 3D presents the automatically modify added complication of a third axis z. When you choose the 3D Rotation or 3D your motion tween Translation tool, you need to be aware of the Global Transform option at the bot- to simulate natural movements such as tom of the Tools panel.
Insert a new layer Step Forward To Next at the top of the layer stack and rename it title. You can also click the forward-pointing or backward-pointing arrow in front of your layer name on the Timeline to move to the next or previous keyframe, respectively. Animate converts the current layer to a tween layer so that you can begin to animate the instance.
The 3D rotation control appears on the selected movie clip. You can also use the integrated controller at the bottom of the Timeline. But to create your final project as a movie, you must export it. The Export Video dialog box opens. Click Browse to select the destination filename and location. Click Export. Animate generates a SWF file. Adobe Media Encoder automatically launches. The Match Source — Medium Bitrate setting keeps the dimensions of the source file and balances file size and quality.
The final file can be uploaded to Facebook, YouTube, or other video sharing sites, or put up on a promotional website for the fictional cinematic release.
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 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.