Flash CS4 Professional in 24 Hours- P7

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Flash CS4 Professional in 24 Hours- P7

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Flash CS4 Professional in 24 Hours- P7: The creation of this book could not have happened without the skill and patience of many, many people at Sams Publishing. Most of all, I want to thank Mark Taber for offering me this opportunity and Philip Kerman for writing such a great book. I also greatly appreciate the efforts of Songlin Qiu for keeping me on track and organized, not an easy task.

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Nội dung Text: Flash CS4 Professional in 24 Hours- P7

  1. Fine-Tuning a Motion Tween 171 TRY IT YOURSELF ▼ Make an Animation Ease In and Ease Out FIGURE 8.12 This S-curve graph makes a single tween that eases in and eases out. Notice that, as time passes at the beginning, the graph is mainly horizon- tal—meaning it’s not completing much of its tween. Then, in the middle it’s nearly a vertical line—meaning it is doing most of its tween. Finally, it slows back down as it approaches the end. You can click anywhere between the two keyframes and press F5 many times to insert more frames. Also, you can crank up the frame rate to something relatively fast, like 50fps. (To change the frame rate, select Modify, Document, or press Ctrl+J.) Both edits should make the tween more obvious. You might have noticed the list of other preset eases under the plus sign menu next to the Eases section. Take a look at them now. Most have names that clearly describe what effect they have on the speed of your motion tween. Figure 8.13 shows the Spring easing effect graph. In the figure, we’ve applied it to our tween by selecting it from the drop-down list next to Basic Motion. Give it a try; it’s a really cool effect. The number to the right of the label Spring is currently set to 5; this means it seems to spring five times, lessening each time. You can change this number to increase or de- crease the springiness.
  2. 172 HOUR 8: Using Motion Tweens to Animate FIGURE 8.13 The Spring ease effect makes your animated symbol move as though it’s attached to a spring. CAUTION Rotating in a Motion Tween In a motion tween, you can tell Flash to rotate a symbol a specific number Less Is More of times. For example, you can use this option to make an animation of a Gratuitous animation is a fine boulder rolling down a hill as in Figure 8.14. In the Properties panel, when example of having too much of a good thing. There’s no harm in a frame with motion tweening is selected, you can set the Rotate Direction playing with all the bells and drop-down list to CW (for clockwise) or CCW (for counterclockwise). In the whistles available in Flash. In example, we’ve made the boulder rotate five times as it tumbles down the fact, while you are learning hill. Notice the Ease setting here as well. If we want our boulder to gain Flash, you should play with momentum as it rolls, we can give this a positive value. Because perfectly everything. But when you create that Flash movie for your web- round symbols are not interesting when rotated, if you want to try rotating site, a little animation goes a your yo-yo, consider drawing a logo or some other graphic off-center inside long way. Too much can make the master version of the yo-yo symbol. your work look unprofessional. Remember the point of using Flash is to create animation. To effectively communicate an idea or tell a story, you should refrain from superfluous animation, which ultimately detracts from your message. For every effect you want to add, ask yourself, “Does this help clarify my mes- sage or not?”
  3. Fine-Tuning a Motion Tween 173 FIGURE 8.14 By using the Properties panel while selecting a frame with motion tweening, you can make a symbol rotate an exact number of turns, ei- ther clockwise or counterclockwise. TIP Animating Multiple Symbols By now you know that if you want to animate a symbol, it needs to be the only symbol in the layer with the motion tween. What if you want to animate two things at the same time? To do this, you need to add a new layer to your movie and put the second symbol and its motion tween in that layer. Summary Congratulations! You’ve learned the fundamental skills of motion tweening and have explored the Motion Editor. It’s fun making Flash do the heavy lifting for you. Look back at what you’ve learned this hour, and you see that motion tweening is pretty easy: Set an ending frame, specify how you want Flash to tween, and you have a motion tween! Although motion tweening is simple, when you add easing, rotating, and all the ways you can modify a symbol instance (including scale, rotation, skew, position, color effect, and filter), you have numerous possibilities. Just because the tasks this hour were fairly simple doesn’t mean the motion tween is for simple effects. You should always consider motion tween be- fore you choose shape tweening, which you learn about in the next hour. Although some situations require a shape tween, motion tweens are more efficient, and, when used creatively, can be very effective and natural looking.
  4. 174 HOUR 8: Using Motion Tweens to Animate Q&A Q. Why can’t I motion tween more than one symbol? A. You can have multiple shapes inside the symbol you’re tweening, but the rule is you can use only one symbol per layer. Q. When I use the Rotate setting in my tween, my symbol rotates around the visual center, despite the registration point I chose when I created the symbol. How do I rotate around something other than the visual center? A. The symbol rotates around the transform center point. Use the Free Transform tool to modify the axis of rotation for the instance. For more about this, review Hour 4. Q. Why doesn’t my motion tween follow a smooth path? A. Motion tweening can tween more than just position. When tweening a position, Flash moves directly from one keyframe to the next, finding the shortest path between two points. Wouldn’t it be cool if you could draw a curve and tell Flash to follow the path you drew? You can—just drag a point on the Motion Path that shows up whenever you create a motion tween. Q. I’m trying to use the Custom Ease In/Ease Out dialog box to make my animation go past the end of its motion—say, 120% of its tween. How can I do that? A. You can’t do it with only two keyframes. You can insert a new keyframe somewhere before the ending and place your instance in a location past the destination. Although it might not be appropriate for your case, con- sider doing this in a frame-by-frame animation. Quite often, just a few strategically placed keyframes are more effective than a tween. Workshop The Workshop consists of quiz questions and answers to help you solidify your understanding of the material covered in this hour. You should try to answer the questions before checking the answers.
  5. Workshop 175 Quiz 1. According to the suggested process of creating a motion tween, what should you always do before inserting frames? A. Save the file, and take a deep breath because Flash might crash. B. Ensure the object in the first keyframe is an instance of a symbol. C. Use the Properties panel to tint the instance in the first keyframe. 2. When you want to edit the position of a symbol instance in a particular frame, what must you first ensure? A. That the red current-frame marker is in the frame you want to edit B. That you concentrate on the frame you intend to edit and then move the instance C. That the symbol isn’t red 3. A motion tween requires a beginning keyframe and an ending keyframe. When establishing you want a tween between those two keyframes, where do you make your tween settings? A. In the Properties panel, when the symbol instance in keyframe 1 is selected B. In the Properties panel, when the second frame is selected C. In the Properties panel, when the first keyframe is selected Quiz Answers 1. B. Saving is always a good idea, but it’s not necessary. You want to make sure the first keyframe contains a symbol because it is copied into the new keyframe Flash creates for you at the end of your mo- tion tween. 2. A. As surprising as it sounds, people often try option B (also known as the ESP method). This issue falls under a general suggestion we call “know where you are.” If you want to edit Frame 1, you need to make sure the red current-frame marker is in Frame 1. 3. A, B, and C. Sorry, trick question. You can set a motion tween any- where on the timeline or even if you have the symbol selected.
  6. 176 HOUR 8: Using Motion Tweens to Animate Exercises Most of the motion tweens you implemented in this hour tweened only po- sition. Try these exercises that use motion tween on other properties, such as scale and color effect. 1. Create a bouncing ball that squashes a little bit before bouncing back when it hits the ground. You need five keyframes. In addition to the first keyframe with the ball up high, you need a keyframe for when the ball reaches the ground and another keyframe for when the ball’s in a squashed position. Line up the bottom of the squashed ball with the bottom of the unsquashed ball. You need a keyframe in the down posi- tion but not squashed, and you need a keyframe at the end that corre- sponds to the initial position. Try using easing where you think it helps. Hint: Select the frame you want to change and modify your symbol properties. Flash puts a keyframe in the timeline for you. 2. Make a simple tween where text tweens from entirely transparent to its normal opaque or non-alpha state. Consider other ways to achieve this besides using the Alpha effect. Make a symbol from text before you add a motion tween, and make sure you are using the Static Text setting when you create your text.
  7. HOUR 9 Using Shape Tweens to Morph There are several ways to keep a Flash movie small and running swiftly. WHAT YOU’LL LEARN IN Recycling symbols from the Library and using motion tweening are two of THIS HOUR: the best ways. Unfortunately, the shape tween, as you’re about to learn, is . How to make shape one of the least efficient features in Flash because it causes file size to grow. tweens However, shape tweening is pretty cool looking. There’s no other way to . Available alternatives to get the morph effect in Flash. So when appropriate, it’s perfectly acceptable shape tweening to use shape tweens. . How to apply shape A morph is a kind of animation that naturally changes one shape to another. hints for more control Morph is a general term, but it’s the closest common term that describes how Flash’s shape tween works. Making a Shape Tween Shape tweens are fun because they look really cool, and they’re easy to cre- ate. In some ways they look more dynamic than motion tweens because every attribute of your object, including the shape, animates. Basically, you draw one or more shapes or Drawing Objects in two keyframes and set the tweening in the first keyframe to Shape. Unlike in a motion tween, you don’t want to turn your object or objects into a symbol. Let’s create one in the following task, and then we can analyze it.
  8. 178 HOUR 9: Using Shape Tweens to Morph ▼ TRY IT YOURSELF In this task, you make a simple animation using shape tweening. Follow Make a Simple these steps: Shape Tween 1. In a new file, draw a circle on the Stage. Don’t group anything, and don’t convert anything to a symbol. 2. Insert a keyframe in Frame 30 by clicking in the Timeline at Frame 30, and selecting Insert, Timeline, Keyframe (or press F6). This is the end of the tween, and it matches the beginning. 3. Insert a keyframe in Frame 15. While the red current-frame marker is on Frame 15, pull the circle into a new shape by using the Selection tool. First, deselect the circle by clicking elsewhere on the stage off the circle, and then bring the pointer close to the edge until the cursor changes to a curved-tail pointer. Click and drag the edge of the circle in or out. Do this a few more times until you like the shape you’ve cre- ated. We made a boomerang shape, as shown in Figure 9.1. FIGURE 9.1 You reshape the edges of the cir- cle in one of the keyframes. Flash does the tweening. 4. Set shape tweening for the two spans. To do this, click Frame 1, hold Shift, and then click Frame 30. This selects all the frames. Now choose Insert, Shape Tween, or right-click on the selected timeline, and choose Create Shape Tween. 5. Select Control, Test Movie (or press Ctrl+Enter) to see your shape morph.
  9. Making a Shape Tween 179 Following the Rules of a Shape Tween CAUTION Flash is unforgiving when you don’t follow its rules. Luckily, the rules for a Turning Text into a Shape shape tween are very simple: no groups and no symbols. That’s it! Remem- Recall from Hour 2, “Drawing ber these two things, and shape tweens are easy. and Painting Original Art in Flash,” that text acts as a group or a Drawing Object from the be- ginning. This means you can’t Techniques and Tips use text in a shape tween un- Just because the rules for a shape tween are simple doesn’t mean that creat- less you first break it apart by ing a good-looking shape tween is easy. There are several techniques to selecting Modify, Break Apart. If text contains more than one make the process easier and the results better. character, you have to break it apart twice—once to break the Keep It Simple text into individual characters and another time to turn it into The most important tip we can give you is to keep it simple. There are very individual shapes. Keep in mind few rules for a shape tween—as long as you don’t group anything or use that after text becomes a shape, symbols, it works. However, when you have a million different shapes it’s no longer editable. tweening to a million other shapes, the results look random. Clues that you aren’t keeping it simple enough are unexpected results and the checker- board effect you’re about to see. Consider these unexpected results. For example, you imagine your name morphing gradually into a circle shape, but despite breaking apart the text, you get a garbled mess or the checkerboard effect in the tweened areas, as shown in Figure 9.2. These are signs you’re likely creating something too complicated for Flash to cleanly morph. Flash is interpolating the in- FIGURE 9.2 The checkerboard effect is the com- mon result of an overly complex shape tween.
  10. 180 HOUR 9: Using Shape Tweens to Morph between frames accurately, but it can be difficult to go from one extreme, such as your name, to something simple, like a circle. Flash gets you from here to there, but the trip might look messy. The solution is to keep it simple. Do just one thing at a time. For example, try to tween just one letter of your name into a circle. You see later this hour in “Refining and Fine-Tuning a Shape Tween” that you can help Flash by using a feature called Shape Hints. However, the simpler the animation is the better. A simple animation is easier to create and becomes more like what you intended, and it probably results in a more effective movie and a smaller file. Don’t Mix Lines and Fills It’s best to avoid tweening between shapes that don’t have the same combi- nation of fills and lines because the results are unpredictable. Tweening a straight line into a bent line usually works fine. But if you try to tween from a line to a filled shape, you might get unpredictable results. As an analogy, consider bending a wire or reshaping clay. You could do each separately, but if you had to turn a wire into the same shape as the clay, it would be difficult or impossible. This analogy is similar to Flash tweening lines and fills. Flash can tween lines; Flash can tween fills; it can even tween a fill with a line. Flash has difficulty, however, when one keyframe has a line and the other has a fill or when one keyframe has both line and fill and the other only has one. Flash does what it can to interpolate the in-between frames when you mix them, but eventually something has to give. To avoid these problems, convert the lines to fills by using Modify, Shape, Convert Lines to Fills. Better yet, keep things simple by drawing in both keyframes of a tween with just lines, just fills, or both. Avoid Primitive Shapes Shape tweens on primitive ovals or primitive rectangles lead to unpre- dictable results. You usually get that checkerboard effect, like in Figure 9.2, or a mess similar to tweening shapes that contain fills and strokes. Ulti- mately, you have better results avoiding primitives in shape tweens; in- stead, you can convert them to symbols and use motion tween. Stay Out of Flash’s Territory When Flash is tweening a span of frames, it colors the tweened frames in the Timeline either blue (for motion tweening) or green (for shape tween- ing). These interpolated frames are Flash’s territory, as shown in Figure 9.3.
  11. Making a Shape Tween 181 FIGURE 9.3 The interpolated frames where Flash is responsible for tweening are blue for a motion tween and green for a shape tween. With motion tweens, you sometimes need to change the location or proper- ties of your symbol in one of these interpolated frames; this doesn’t apply in the case of shape tweening. Generally, you should stay out of this area. For one, you can only draw in keyframes, so you can’t draw in this terri- tory. In shape tweens, you can’t even select objects when the red current- frame marker is in this territory. However, recall from Hour 8, “Using Motion Tweens to Animate,” with motion tweens, you can grab and move symbols in interpolated frames, which add keyframes. You can’t do any harm to interpolated frames of shape tweens, but trying to edit them can be very frustrating. You can’t draw into them, and you can’t select objects. The best way to think of these frames is that they are Flash’s territory—not yours. You are responsible for the keyframes, and Flash is re- sponsible for shape tweening. Know When a Motion Tween Will Suffice It’s easy to fall in love with the shape tween—there’s nothing like it. Feel free to use it when necessary. However, shape tweens are inherently less ef- ficient and harder to produce than motion tweens. If you can get the same effect with either, you should always opt for motion tweening. Let’s say you have a shape you want to tween from a blue circle to a red square. Only a shape tween is sufficient because the actual shape is chang- ing. However, if you want to tween a blue circle into a red circle, you’re bet- ter off doing it as a motion tween. Draw a circle; convert it to a symbol;
  12. 182 HOUR 9: Using Shape Tweens to Morph insert a frame later in the Timeline; add motion tweening; and use the Prop- erties panel to set Color Effect to tint the circle instance in the last frame. To do the same animation as a shape tween, you draw a circle and don’t con- vert it to a symbol; insert a keyframe later in the Timeline; fill the circle in the second keyframe with a new color (perhaps using the Paint Bucket tool); and set shape tweening in the first keyframe. The result of each oper- ation is the same, but the motion tween method is better because it gives you only one master version of the circle and, therefore, a smaller file size. Sometimes it’s obvious which type of tween is more appropriate. If some- thing’s moving, changing size, or changing color, a motion tween is appro- priate, whereas significant changes to a shape require the shape tween. Sometimes, it’s not so obvious. For example, you can drastically change a symbol’s shape by using the Free Transform tool’s Rotate, Scale, and Skew options. Plus, tweening the properties of a Filter using Motion Tween can have a huge impact. Figure 9.4 shows how different the beginning and end of a motion tween can be. FIGURE 9.4 Before choosing Shape tween, con- sider distorting a movie clip and us- ing Motion Tween. Each original clip (left) appears in a different form on the right (the last flower uses the Glow filter). These examples are motion tweenable. Refining and Fine-Tuning a Shape Tween Shape tweens don’t always come out the way you expect. The tips we just covered are more like rules and cautions. Even if you heed all the warnings, you still might have shape tweening results that are anything but what you expect. Flash has a feature especially for shape tweening that helps you tell Flash what you really want. It’s the Shape Hint feature, and it can make the difference between a shape tween that looks like a mess and one that looks like what you had in mind.
  13. Refining and Fine-Tuning a Shape Tween 183 Using Shape Hints A shape hint gives you a way to tell Flash exactly how to map one point in the beginning shape to another point at the end of the shape tween. You want to use shape hints when Flash doesn’t create a shape tween that matches what you had in mind. Points inside a shape are mapped during any tween. Map refers to how one point in the starting shape corresponds to a specific point in the ending shape. When Flash motion tweens a box from small to large, one corner of the small box is mapped to the same corner in the large box. Every point is mapped. Mapping points in a shape tween is more complex, so Shape Hints that enables you to control how Flash maps individual points. In the following task, you learn how to use shape hints. In this task, you use the Shape Hints feature to create a more controlled TRY IT YOURSELF ▼ shape tween. Follow these steps: Use Shape Hints for a 1. In a new file, select the Rectangle tool, and ensure Object Drawing in Better Shape Tween the options portion of the Tools is turned off. Draw a perfect square by using the Rectangle tool by holding Shift while you drag. 2. In Frame 25 of the Timeline, insert a keyframe by clicking in the Time- line at Frame 25, and then select Insert, Timeline, Keyframe (or press F6). 3. Change the shape in Frame 25 to a triangle. You should make the FIGURE 9.5 base of the triangle out of the base of the square. See Figure 9.5 for a The square is shape tweened split shot of the stage at keyframe 1 and keyframe 25. into the triangle with approxi- mately the same base size and 4. Select the first keyframe and use the Properties panel to set Tween location. to Shape. Scrub, and you see the results are probably not what you expected. It looks like the square is rotating as it tweens to the trian- gle. Now is your chance to use the Shape Hints feature. 5. Under the View menu, ensure that Show Shape Hints has a check mark (select it if not). 6. Place the red current-frame marker in Frame 1 and select Modify, Shape, Add Shape Hint (or press Ctrl+Shift+H). 7. Notice a little red circle with the letter A (a shape hint). Temporarily move the red current-frame marker to Frame 25, and notice there’s also an A shape hint in this frame.
  14. 184 HOUR 9: Using Shape Tweens to Morph ▼ TRY IT YOURSELF 8. Make sure you’re back in Frame 1 and that Snap to Objects is still Use Shape Hints for a turned on by selecting View, Snapping, Snap to Objects. Use the Better Shape Tween Selection tool to drag the shape hint so it snaps to the top-left corner of the square. Notice in Figure 9.6 that it’s still red, indicating you haven’t mapped this point to an end point yet. FIGURE 9.6 Although you’ve added Shape Hint A in the first keyframe and attached it to the shape, it’s still red because you haven’t mapped this point in the ending keyframe. 9. Go to Frame 25 and position Shape Hint A so it snaps to the middle of the left side of the triangle. Notice the shape hint turns green, indi- cating it’s been mapped. When you return to Frame 1, the shape hint is yellow to indicate it’s been mapped. 10. Scrub to see the results so far. If it looks good, you don’t need to add any more shape hints. For this exercise, however, it is likely not to look good. 11. In Frame 1, add another shape hint by pressing Ctrl+Shift+H, and the new hint is automatically given the name B. Position it in the top-right corner of the square. 12. In Frame 25, map Shape Hint B to snap to the middle of the right side of the triangle, similarly to how Shape Hint B is mapped (see Figure 9.7). 13. At this point, the results should be much better than before you added any hints. Use Test Movie to see.
  15. Refining and Fine-Tuning a Shape Tween 185 TRY IT YOURSELF ▼ Use Shape Hints for a Better Shape Tween FIGURE 9.7 Shape Hint B is snapped to the middle of the right side of the triangle in the second keyframe. Understanding Shape Hints In the preceding task, we told you where to place the hints. However, figur- TIP ing out logical positions for shape hints is usually pretty easy. Think of it Keep It Simple this way: You’re telling Flash, “This point in the starting shape goes with Don’t use more shape hints that point in the ending shape.” than necessary. Don’t add 10 shape hints to the first frame, Notice after you add one shape hint, you can see how the point under the and then map them all. Rather, hint in the first keyframe moves to the corresponding point in the end add one shape hint and map it, keyframe. Carefully watch the points while you slowly scrub. and then evaluate the results; one might be enough. Feel free A few more details about shape hints are worth understanding: to continue adding shape hints all day long, but sometimes less . You can’t add shape hints unless you are currently in the first work is necessary. There’s no keyframe of a span with shape tweening already set. In other words, reason to add more hints than you have to have a shape tween and be in the first frame to add a you really need. shape hint. . You can use the menu selection View, Show Shape Hints to make the shape hints you have invisible, but they are there, even if you can’t see them. . Shape hints are recognized only after they’ve been mapped—that is, snapped to a point on the shape in both the first keyframe and the
  16. 186 HOUR 9: Using Shape Tweens to Morph last keyframe. They change color after they are mapped. This means you still have to snap both the start and end hint, even if their default positions seem acceptable as is. . You can remove one hint at a time by right-clicking (or using Con- trol+Click on a Macintosh („)). In addition, you can remove them all by selecting Modify, Shape, Remove All Hints. . Shape hints can be used only with a pair of keyframes. Just as tween- ing occurs between only two keyframes at a time, a shape hint works between only two keyframes at a time. However, shape hints can’t be used from one keyframe to a second and then to a third. In the previ- ous task, you might want to add a third keyframe where the shape turns into a square again. If you want to use shape hints from one keyframe to another and then a third, you must have four keyframes. Use a shape hint from the first to the second, and then use another from the third to the fourth (see Figure 9.8). FIGURE 9.8 A shape hint requires you have only two keyframes. To continue from one tween to the next, put two iden- tical keyframes right next to each other. You’re left with two pairs of keyframes—and now you can use shape hints on the second pair. Summary Now that you understand shape tweens, you know both ways Flash can do tweening for you. In this hour, you’ve learned that a shape tween is funda- mentally unique as it enables you to morph shapes. The only rules with shape tweens are you can’t have grouped shapes, and you can’t have sym- bols. This makes shape tweens easy to create, but some techniques are nec- essary to ensure the results are as expected.
  17. Summary 187 You can use shape hints to help Flash figure out what you have in mind. Adding shape hints is a little touchy, but you need to be very specific. We have two parting tips as you create more and more animations on your own: . Although shape and motion tweens can help you create an anima- tion, sometimes the most effective animation is the most subtle. Sometimes the best solution is frame-by-frame animation, such as what you did in Hour 8. . Don’t be satisfied with serendipitous results. Sometimes mistakes look cool, but try to persist in making Flash do exactly what you have in mind. Resist the temptation to accept something that’s only close to what you want. If you take the time, you can create anything. Q&A Q. What causes the dotted line to appear in the green interpolated frames of my shape tween? A. You either did something that contradicts the rules of a shape tween (no groups and no symbols), or you don’t have two keyframes. Remember a tween is between two keyframes. Check to make sure you have two keyframes and that you have no groups or symbols in each. Q. I want to create a wipe effect where a rectangle grows, but it only builds to the right. At first, I tried doing this as a motion tween as the object is only changing scale. However, the rectangle always grew on both sides as I scaled it. Also, the stroke is growing slightly during the tween. It’s easy to do as a shape tween, so is that okay this time? A. It’s good that you considered the motion tween and tried it first. It’s ac- tually easy to do as a motion tween. Press and hold Alt while you scale the rectangle instance. Alternatively, you can use the Free Transform tool to move the transform point to the left edge. To make sure the stroke doesn’t scale, go inside the master symbol and select just the stroke, then use the Properties panel and set the Scale option to None. Q. My animation is acting funny. Shapes appear only in my keyframes, never in the interpolated frames. I know I did everything according to the rules because I’m not getting the dotted line. What’s wrong? A. Just because the dotted line isn’t present doesn’t mean you’re doing everything correctly. For example, if you have some shapes in the start and the end of your tween, all appears fine. However, if in either keyframe you have a group, text (which is like a group until it’s broken apart), or a symbol, all these objects disappear during the tween. The
  18. 188 HOUR 9: Using Shape Tweens to Morph only time you see the dotted line is when all the objects onscreen are groups or symbols. Q. When I click in the green interpolated frames, I can set the Properties panel Tween setting. I thought this area was under Flash’s control. Why am I given access to it? A. You’re actually accessing the previous keyframe’s properties. Remember the span after one keyframe before the next one is controlled by that first keyframe. Any non-keyframes after a keyframe are under the influence of the first keyframe. With tweening, it’s the same. Interpolated frames are drawn by Flash, but the previous keyframe controls exactly how the tween- ing acts. One keyframe controls its frame and all subsequent frames until the next keyframe. The good news is the Properties panel gives you ac- cess to frame properties of keyframes without having to be careful where you click. Be aware of which keyframe you’re accessing. Workshop The Workshop consists of quiz questions and answers to help you solidify your understanding of the material covered in this hour. You should try to answer the questions before checking the answers. Quiz 1. What is the ideal number of shape hints to use for a good shape tween? A. Ten because we have 10 fingers and 10 toes. B. No more than 5. C. No more than necessary. 2. Which type of tween results in a smaller file? A. A shape tween results in a smaller file. B. A motion tween results in a smaller file. C. It depends on how many colors are used in the file. 3. How can you use text in a shape tween? A. Text cannot be used in a shape tween. B. Make sure the text is broken apart. C. Make sure the text isn’t grouped or in the Library.
  19. Workshop 189 Quiz Answers 1. C. There’s no reason to use more shape hints than absolutely neces- sary. Each time you add a shape hint, check to see whether the results are satisfactory. 2. B. It’s safe to say that motion tweens, by definition, result in smaller files. This is important because some effects can be achieved by using either a shape tween or a motion tween, but you should always opt for motion tweens when you can. 3. B. All the answers are true, but answer B is best. Text acts as if it’s grouped from the start. All you have to do is use Modify, Break Apart twice. Exercise You can spend a lot of time playing with shape tweens. Here is an exercise that sharpens your skills: Create a shape tween from one letter to a similar shape, such as from letter A to a triangle or letter C to a circle. Remember you have to break apart the text. Use shape hints to make it look the way you want. Tip: If you want to try your whole name, tween one letter at a time per layer.
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