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(PDF) Adobe Animate CC Classroom in a Book | Aziz Assefa - |
Learn adobe animate cc for interactive media pdf free.Adobe Animate
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This site uses cookies and similar technologies to personalize content, measure traffic patterns, control security, track use and access of information on this site, and provide interest-based messages and advertising. Users can manage and block the use of cookies through their browser. Now that video is on practically every screen around us, working with video is an essential …. Skip to main content. Start your free trial. Learn Animate CC by building cool creative projects that will teach you how to: Design and animate vector artwork Compose an animated greeting card using HTML5 Build a promotional video with text and images animated in 3D Construct a working digital clock using ActionScript Design and code an interactive quiz for mobile devices This study guide uses more than 6 hours of video integrated with text to help you gain real-world skills that will get you started in your career designing and building interactive media using Adobe Animate CC.
Show and hide more. Table of contents Product information. Chapter 2. Inserting a frame span Making use of keyframes Copying and pasting keyframes Creating a shape tween Modify Animation through Easing Adding some impact Adding and adjusting keyframes Applying easing for a more natural look Adjusting the overall frame rate Publishing the Animation for Flash Player Publishing for Flash Player ActionScript 3.
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. Click here to load reader. Download Report this document. Embed Size px x x x x This page intentionally left blank Acknowledgments Flash Professional is an application that has personally and professionally! It is such a uniquely rich and creative environment within which to build so many different types of projects…with the ability to work with anima- tion, design, and interactive aspects—all within a single creative environment.
Flash Professional reached superstar status at one point, and now with its rebranding as Animate CC, stands poised to reclaim its crown as the premier animation and inter- active application available. We are entering a new era with Animate CC, and you, the reader of this book, get to be at the forefront.
No work of this scale can be attributed to a single individual. Thanks to Rob, who has contributed his writing to this book in order to make present a great amount of design and theory knowledge.
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