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ADOBE FLASH CS3 PRO USER MANUAL Pdf Download | ManualsLib

   

Create text in Flash Format text Convert text fields to symbols Use masks to animate text Organize layers in a T imeline Work with layer folders Copy objects from one layer to another Apply filters to text Use tweening to animate objects quickly.

If needed, remove the previous lesson folder from your hard drive, and copy the Lesson04 folder onto it. Getting Started You'll start the lesson by viewing the animated birthday card that you'll create as you learn to work with text in Flash.

T he project is a whimsical animated electronic birthday card. In this lesson, you'll animate the cellphone graphic, create and format text for the phone screen, and use a mask to reveal the text gradually.

Double-click the 04Start. Organizing Layers in a Timeline T he 04Start. T he Assets layer contains symbols you'll use as you create the birthday card. You'll need additional layers for the project, and it's good practice to organize the layers in a T imeline when you start a project.

You can import assets directly into the Library panel, but you may prefer to import them onto the Stage, so that you can arrange them all at once before separating them into the layers that are appropriate for the animation you plan. Adding a Layer for Actions T o stop the sound file from looping, you'll use a simple action.

T ypically, designers place actions on their own layer, making it easier to troubleshoot or revise them later. In fact, the Actions layer is usually the top layer in the T imeline, so you can find it easily if you need to modify the animation.

T o keep things neat, you'll create a layer for the sound file directly below the Actions layer. Creating Layer Folders Layer folders can help you keep your folders organized, especially in projects that require numerous layers.

T hink through your project before beginning, and create your layer folders before you need them. You'll save time later, as you'll know exactly where to look for a specific layer, and you won't need to rearrange layers to make animations work as expected. For this project, you'll create a layer folder to contain the text and battery layers. Adding Layers to Layer Folders You'll add the text and battery layers to the T ext and Battery folder, and you'll add separate layers for the background objects and other assets.

As you arrange layers, remember that Flash displays the layers in the order they appear in the T imeline, with the top layer at the front and the bottom layer at the back. Click the Insert Layer icon five times. With the Background layer selected, click the Insert Layer icon, and name the new layer Cellphone.

Changing the Appearance of the Timeline You can adjust the T imeline's appearance to accommodate your workflow. When you want to see more layers, select Short from the Frame View pop-up menu in the upper-right corner of the T imeline.

T he Short command decreases the height of frame cell rows. You can also change the width of the frame cells by selecting T iny, Small, Normal, Medium, or Large. Placing Assets on Layers All of the assets for this project were originally imported to the Stage, arranged on the Assets layer. You'll move them from the Assets layer to the appropriate layers. Select the Assets layer. All of the objects on the Assets layer are selected. Click outside the Stage to deselect them.

Repeat steps to move the graphic of the cellphone and hand from the Assets layer to the Cellphone layer. T he graphic is on the pasteboard beneath the Stage; scroll down to see it. Deleting a Layer You may work with some layers temporarily, using them to store assets, or to test effects. T o keep the T imeline tidy, delete layers you no longer need. Because the Assets layer is now empty, you can safely delete it. Moving an Object on the Timeline T he battery shouldn't appear on the Stage until much later in the animation, so you'll move it from frame 1 to frame in the T imeline.

Not sure which frame you've selected? T he current frame number is shown in the bar beneath the T imeline. Adding a S ound File A song plays with the animation in the birthday card.

You'll add the song file to the Sound layer, and set it to synchronize with the actions on Stage. T hen, add a stop action using ActionScript to keep the movie from looping back to the beginning it ends. T he WAV file is already in the library. Note T he Sync option forces the graphics to sync to the audio, so that animation appears at the points you expect in the sound file.

Select frame on the Actions layer, and press F7 to insert a blank keyframe. Frame is where the audio file ends on the Sound layer. You type ActionScript in the Actions panel. In the Actions panel, type. Using Tweens to Animate Objects T weening is a quick way to create animation, whether you're moving an object to a new position, changing its brightness, or increasing its size. You set up the objects and their properties in the first frame, set up the final properties in the last frame, and then apply tweens to create all the steps in between.

T here are two kinds of tweens in Flash: motion tweens and shape tweens. Motion tweens affect movement or shifts in properties; shape tweens actually morph an object from one shape to another.

For this project, you'll use motion tweens to gradually change the brightness of the background at the beginning of the animation, and then to move the cellphone and hand onto the screen. Tweening Brightness T he background sets the stage for the greeting card. You'll tween the brightness so that the background objects gradually appear during the first ten frames. First, you need to convert the objects on the Background layer to a single movie clip symbol so that you can apply a motion tween to them.

Note You could also tween alpha transparency values, but tweening the brightness is less processor-intensive and can therefore occur more quickly. P ress F8 to convert the objects to a symbol. Select frame 1 in the Background layer, and click outside the Stage to deselect the contents and change the focus in the P roperty inspector.

In the P roperty inspector, choose Brightness from the Color menu. T ype for the percentage. Scrub the T imeline by moving the playhead across the frames. Flash displays each frame as you move the playhead.

Tweening Movement You can also use a motion tween to tween an object's movement, as you did in Lessons 1 and 2. In this project, the graphic of the cellphone and hand is currently in frame 1 of the Cellphone layer, and it's positioned below the background objects on the Stage. In the birthday card, the cellphone appears on the Stage after the phone rings once in the sound file.

So that the phone appears at the appropriate time, you'll move the graphic to frame 77, and then move it fully onto the Stage by frame In the P roperty inspector, set the X value to and the Y value to T he cellphone's position matches that of the battery that will appear later.

Creating Text T he phone message is a critical part of this birthday card animation. You'll create the text and format it, positioning it in the T imeline to appear at the proper moment in the animation. T hen, you'll use masks to reveal the text more gradually, the way it would appear in a text message on a cellphone. Later, you'll rotate the text to match the angle of the cellphone's screen. About Text in Flash What can you do with text in Flash?

Just about anything. You can create text directly in Flash, or import it from another file. You can orient text horizontally or vertically. You can format text, setting attributes such as font, text size, bold or italic, paragraph alignment, and line spacing. You can rotate a text field, resize it, or convert it to a symbol.

You can animate text and apply a filter, such as a drop shadow or glow. You can even create dynamic text, with a variable defined differently at different points in the movieeven based on the viewer's input. T his lesson can't cover all the ways you can use text in Flash, but it will give you a feel for the potential. You'll begin by typing the text for the first two phone messages and formatting them. In the P roperty inspector, select Static T ext from the pop-up menu.

If Dynamic T ext is selected, the text won't appear in the movie. Dynamic text changes based on ActionScript. You'll work with dynamic text in Lesson T ype Incoming, press Enter or Return, and then type text msg T wo lines of text will appear on the phone screen. In the P roperty inspector, select Arial from the typeface menu, click the Bold icon, select black for the color, and type 13 for the text size.

Select frame on the Incoming T ext Message layer and press F7 to insert a blank keyframe. T he text you typed will disappear at frame Select the T ext tool, and click an insertion point at the upper-left corner of the phone screen.

Select frame on the Hi layer, and press F7 to insert a blank keyframe. T he text appears between frames and in the movie. Copying Text You could create each set of text from scratch, but because the formatting will be the same for the remaining messages, it's easier to copy and paste the text box and then replace the words.

Select frame in the Hi layer. With the Selection tool, select the text on the Stage. Note When you're working with text as type, such as when you're formatting characters, select it with the T ext tool. When you're manipulating a text box as an object, such as when you're copying or rotating the text, select it with the Selection tool.

Select frame on the Just Wanted layer, and press F7 to insert a blank keyframe. T he new text appears between frames and on the T imeline. T he clipboard still contains the text from the Hi layer, so that text is pasted on the Stage. Select frame on the I Hope layer, and press F7 to insert a blank keyframe. T his text appears between frames and on the T imeline.

Note You do not need to add a keyframe to frame on the Low Batt layer because there is already a keyframe there. At frame , the image of the battery appears on the Stage. Rotating Text T he text doesn't match the angle of the phone. T he low battery warning should be above the battery icon, and it should be parallel to it.

You can rotate text using the T ransform panel. If you need to adjust the message further, select it with the Selection tool, and then nudge it with the arrow keys on your keyboard. Converting Text to a S ymbol If you're going to use text multiple times, convert it to a symbol.

Flash can use the same text over and over again, but only needs to include the text in the file once, reducing the file size. Additionally, if you need to edit the text, you'll only need to do it once, and the same changes will appear in every instance of the symbol.

Animating Text with Masks T here are many different ways to animate objects in Flash. In this project, you'll make the text gradually appear on the screen using masks. In fact, it's actually the mask that is animatedyou'll stretch the mask to reveal more of the text as the movie proceeds. T his method also makes it easier to edit the text if you need to, as you only need to change it in one place. About Masks Don't let the concept of Halloween masks confuse you about the purpose of masks in graphic applications such as Flash or Adobe P hotoshop.

A mask serves as a window to objects beneath it. T hat is, anything directly under the mask on the layers that lie beneath it is visible; anything not included in the mask area is not visible on the screen. In Flash, a mask item can be a filled shape, a type object, an instance of a graphic symbol, or a movie clip. You can mask multiple layers at once for a sophisticated effect. T o use a mask, first create a mask layer.

Place the mask item on the layer. Move the layer into the correct position in the T imeline. A mask layer always masks the layer directly below it; to mask more than one layer, nest them under the mask layer. T hen, choose the Mask command.

T he layer immediately below the mask layer is linked to it, and the masked layer's name is indented in the T imeline. You won't see the masking effect until you lock the mask layer and the layer or layers it affects. Drawing Masks You'll use a simple rectangle to mask the text, and then stretch the mask over time to reveal more text. Because there are multiple screens of text, you'll need to create and resize the rectangle several times, but you only need one mask layer.

Lock all the layers beneath the Mask layer to ensure you don't accidentally move anything on them. T o lock multiple layers at once, click the dot in the lock column for one layer and drag through the dots for the other layers you want to lock.

Select frame 88 on the Mask layer, and press F7 to insert a blank keyframe. T his keyframe should be directly above the first keyframe on the Incoming T ext Message layer.

Select the Rectangle tool, and deselect the Object Drawing icon. Set the rectangle to have no stroke and a bright red fill. Note You can use any color you want for the fill color of a mask; it won't show in the final movie.

Bright red is easy to see. Draw two overlapping rectangles that completely cover the words on both lines. However, on the second line, don't cover the ellipsis Select frame 91 on the Mask layer, and press F6 to insert a keyframe.

Select the Free T ransform tool. Note You can have only one mask item on the Stage at a time. In merge drawing mode, the overlapping rectangles merge to become a single object, so that both lines of text are masked. Select frame , and press F7 to insert a blank keyframe. T his mask isn't needed past this keyframe, because the text disappears from the screen at this frame. Select frame on the Mask layer, and press F7 to insert a blank keyframe.

T his keyframe should be directly above the first keyframe in the Hi layer. Using the same method you used on the first message, gradually cover the text with the mask: at frame , press F6 to add a keyframe and then cover all the text on the first line; at frame , press F6, and then stretch the mask shape down to cover the word me.

Select frame on the Mask layer and press F7 to insert a blank keyframe. T his should be directly above the first keyframe of the Just Wanted layer. Gradually stretch the mask over the text at the screen: At frame , press F6, and then cover the first line.

At frame , press F6, and then draw a rectangle to cover 2. Make sure the rectangles overlap, becoming one object. At frame , press F6, and draw an overlapping rectangle to cover the rest of the second line. Select frame , and press F7 to insert a blank keyframe directly above the first keyframe in the I Hope layer. As you have for other messages, gradually cover the text by creating new keyframes and adjusting the mask. At frame , cover i hope. At frame , cover the first line.

At frame , draw a rectangle to cover hve. At frame , cover the second line. At frame , draw a rectangle to cover happy. Note Don't forget to create a keyframe for each change, and make sure the rectangles overlap to become a single shape.

Creating a Blinking Effect In the birthday card, the text is interrupted by a low battery message. T o make that battery icon blink, you'll simply insert keyframes and blank keyframes, so that the battery appears and disappears from the Stage. Applying the Mask You've drawn the rectangles to mask the text, but the mask doesn't take effect until you apply it. Choose Mask from the context menu. Flash indents the first layer under the Mask layer.

You'll nest other layers later to mask them, too. Applying Onion S kinning Onion skinning lets you see multiple frames on the Stage at once, so you can see how your animation moves. Here, you'll use it to see the text as you rotate multiple layers at the same time.

Rotating Multiple Layers As you typed it, the message was at a different angle from the cellphone screen. You'll fix that now, by rotating all the relevant layerstext and mask layersat once. In the T ransform panel, type in the Rotate box, and press Enter or Return. All the text boxes and the masks rotate to match the cellphone screen. With the Selection tool, move all the selected text to the center of the phone screen.

You can use the arrow keys to nudge the text into position. Nesting Layers By default, a mask layer affects one layer beneath it. However, you can use it to mask multiple layers if you nest them under the Mask layer. When you lock the Mask layer and the affected layers, you can see the effects of the mask on the screen.

Select the Incoming T ext Message layer, and then press Shift and select the Low Batt layer to select all the layers in between. Drag the layers on top of the Mask layer name; the mask icon darkens when the layers are positioned correctly.

When you release the mouse, all the selected layers are indented beneath the Mask layer. Lock the Mask layer, and all the indented layers.

Scrub the T imeline to preview the animated text. You'll create that shaking motion using motion tweens and rotation settings. In the T ransform panel, type in the Rotate box, press Enter or Return, and then use the Selection tool to move the phone under the table. Note You may need to change the view to see the entire Stage. You can use the View pop-up menu above the Stage, or use the Zoom tool in Reduce mode. Select any frame between frames and Select frame , press F6 to insert a keyframe, and then select the cellphone graphic on the Stage.

In the T ransform panel, type in the Rotate box, and press Enter or Return to apply it. Use the Selection tool to shift the phone to the left.

Applying Filters to Text Filters are graphic effects that you can apply to text, buttons, and movie clips. Each filter includes settings that you can use to customize its effect. After you type the text for the final birthday message, you'll apply a Glow filter to the word CHARGE to make it stand out from the normal text around it. T ype the name of the person you're making the card for. If you aren't making it for anyone in particular, type Andrew. Note If the text doesn't fit on one line, click the square in the upper-right corner of the text box and drag it to the left until the box is large enough for the text.

Create a second text box just below the first, and change the formatting to 25 points, Bold, and -2 line spacing. T o edit line spacing, click the Edit Format Options icon. Create another text box just below the second one, and change the text size to 48 points and the color to purple 7F You've created an animated birthday card to brighten someone's day. You can adapt this card using different names or messages.

Better yet, use the techniques you learned in this lesson to create your own masterpiece. How do you format text in Flash? Which tool do you use to select text to edit it? Which tool do you use to rotate or move a text box? How do you add a sound file to a layer? What is a motion tween and how do you apply it?

How do you apply a filter to text? Review Answers 1 T o format text, select it with the T ext tool, and then select options in the P roperty inspector. You can change the typeface, text size, type style, paragraph alignment, and so on. Click the Edit Format Options icon to change the options related to the text box, such as the indent, margins, and line spacing. T o rotate, move, resize, or otherwise manipulate a text box, select it with the Selection tool.

T he Sound menu lists sound files that are in the Library panel. T o apply a motion tween, specify the settings or position for an initial keyframe and for a final keyframe. T hen, click between the keyframes in the T imeline, and select Motion from the T ween menu in the P roperty inspector.

T hen, click the Filters tab in the Property inspector. Click the Add Filter icon, and select a filter. You can customize the filter settings in the Filters panel. Using Flash CS3, you can change almost any aspect of an object over time: position, color, transparency, size, rotation, and more. Using shape tweens, you can even morph one object into another. Animate objects using motion tweens Morph objects using shape tweens Understand the difference between motion and shape tweens Nest symbols Animate motion along a path Use masks to animate objects Animate transparency.

T his lesson will take approximately two hours to complete. If needed, remove the previous lesson folder from your hard drive, and copy the Lesson05 folder onto it. Getting Started Start by viewing the finished movie file to see the animated title page that you'll create in this lesson.

T he project is an animated title page for a cartoon about an alien creature. In this lesson, you'll animate the alien's arms to move up and down, use a mask to make the eyes blink, use motion tweens to enlarge the alien and position it on the Stage, use a motion guide to loop a spaceship across the Stage, and use shape tweens to morph the smoke from the spaceship into the letter O in the title.

Double-click the 05Start. Choose Fit In Window from the View pop-up menu above the Stage, so that you can see the alien on the pasteboard. About Animation Animation is the movement, or change, of objects through time. 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. As you'll see in this lesson, you can animate many different aspects of a single character: each limb, for example, as well as eyes, ears, or tongue.

You can move objects across space, change their color or transparency, change their size, and even change them into different shapes. T o animate objects in Flash, you create keyframes on the T imeline. You've used keyframes in earlier lessons.

At each keyframe, Flash records the current state of the Stage: the objects' position, color, size, shape, and other attributes. T o create a gradual animation, you can create a keyframe for each frame, and change the objects a small amount for each one. It's faster and easier, though, to take advantage of motion and shape tweens in Flash: you create the first keyframe and the last, and Flash sets up the intermediate frames for you. Motion tweens create animation frames for changes in position on the Stage and for changes in size, color, or other attributes.

You've used motion tweens in earlier lessons to animate the movement or brightness of objects on the Stage. Shape tweens create animation frames to change one shape into another. For example, in this lesson, you'll morph a cloud of smoke into a letter O. T here is no way to make that change by setting different attributes for the object; the initial object and the final object in the animation are inherently different. Shape tweens make the transformation from one to the other appear smooth.

Flash also provides a way to quickly animate motion that is more complicated than a straight path. You can create a motion guide with as complex a path as you like, and then attach your object to it, and apply motion tweening. Flash keeps the object on the path as it progresses through the frames. An alien character is next to the Stage, and the symbols that make up that character are included in the Library panel.

Other objects have been created in Illustrator, including the title text, a spaceship, a planet, and a cloud of smoke. Before you animate the objects on the Stage, you'll import layers and symbols from Illustrator and set up the T imeline.

Importing Layers from an Illustrator File Many designers prefer to draw objects in Illustrator and then import them into Flash. As you've done in previous lessons, you'll import Illustrator layers as Flash layers, and they'll appear in the T imeline.

You'll import the objects to the Stage so they appear next to the alien. First, set the preferences for the Illustrator import filter so that the symbols automatically import with a center registration point.

Click AI File Importer in the list on the left. For Movie Clip Registration, select the center registration point, and then click OK to close the dialog box. In the Import T o Stage dialog box, select all the layers and symbols. T he graphics on each layer are already movie clip symbols, denoted by the movie clip icon in the dialog box. Flash imports the layers into the T imeline. It adds the symbols to the library, and places instances of them next to the Stage with the alien. Flash placed the instances in the same positions they occupied in the Illustrator file.

T hey're next to the Stage, easy to select, but the Stage itself remains empty until you move objects onto it. Organizing the Timeline T he layers appear in the T imeline in the order they were listed in Illustrator. You'll add layers for actions and sound, and move the Alien layer between two other layers. T hen you'll extend the layers to have frames. Select the Cloud Morph layer, and then click the Insert Layer icon two times to create two new layers.

Name the first layer Actions, and the second layer Audio. Move the Alien layer between the T itle: Spaced and Spaceship layers. T he layers in the T imeline should be in this order:. Select frame on the Actions layer, and then press Shift and select frame on the Planets layer, so that frame is selected on all the layers. T he content from frame 1 is extended to every frame through frame Animating a Movie Clip Symbol Movie clip symbols have their own T imelines, so they provide great flexibility for animation.

You can also nest movie clip symbols within each other. In fact, the alien character is a symbol, with other symbols for the head, arms, and so forth nested inside it. Editing a S ymbol T o edit a symbol, double-click it on the Stage or in the Library panel. When you double-click it on the Stage, you can edit it in place; Flash dims the other objects on the Stage, but you can still see them. When you double-click the symbol in the Library panel, only the symbol is visible while you edit it.

When you edit a movie clip symbol, you can add layers and keyframes to its T imeline. In fact, you can do just about anything with a movie clip symbol T imeline that you can do with the main T imeline.

You'll use a motion tween to resize and move the planet graphic as the movie plays. Select the planet on the pasteboard, and in the Property inspector, type 0 for the X value and 0 for the Y value. T he planet moves onto the Stage. Double-click the planet on the pasteboard. Flash opens the planet symbol's T imeline, which includes a single layer named Layer. T he planet graphic shifts down and to the right.

Select any frame between frames 1 and , and select Motion from the T ween menu in the P roperty inspector. Select any frame between frames and , and select Motion from the T ween menu in the P roperty inspector.

You've created two motion tweens: one will animate movement from frame 1 to frame , as the planet moves one direction and grows smaller; and the other will animate movement from frame to frame , as the planet moves the other direction and grows larger. If you're changing width and height the same amount, click Constrain in the T ransform panel.

T hen, you only need to enter the value once; the other one will change automatically. You'll create additional instances of the planet symbol, and then modify each instance to create planets of different sizes. Change the width and height for the second new instance to 20, and for the third instance to You now have four planets on the Stage, each a different size.

P ress Alt Windows or Option Mac OS as you drag multiple copies of each instance onto the Stage, so that you have at least five planets of each size. T he planets move in one direction, gradually getting smaller, and then back again, gradually returning to their original size. If the planets seem too close together or appear too orderly, adjust their positions, and then test the movie again. Working with Nested Symbols A symbol may itself contain symbols; in fact, you can nest symbols within symbols within symbols, several layers deep.

You can animate each nested symbol separately, to create complex animations. In this project, you'll animate the alien's arms and eyes in nested symbols, and then animate the entire body, as well. T o edit a symbol, double-click it on the Stage or in the Library panel. If you want to edit a nested symbol on the Stage, you must first edit the symbol that contains it, and then double-click the nested symbol.

Adding Layers to a S ymbol's Timeline You'll edit the body symbol, nested in the alien symbol, to add layers for the blinking eyes. You can give each instance of a symbol a unique name, which is essential if you use ActionScript to control the instance. In the P roperty inspector, type for the X value and for the Y value to position the alien on the Stage. Flash displays the T imeline for the alien symbol. Select frame on the Left Blink layer, and then press Shift and select frame on the Right Arm layer to select frame for all the layers.

Animating Nested S ymbols T he alien symbol contains several nested symbols, including the arm symbols. You'll use motion tweens to animate the arms so that they move up and down. Select frame on both the Left Arm and Right Arm layers, and press F6 to insert a keyframe for each. Select frame 50 on both the Left Arm and Right Arm layers, and press F6 to insert a keyframe for each. Select any frame between frames 1 and 50 on the Left Arm layer, and select Motion from the T ween menu in the P roperty inspector.

Select any frame between frames 50 and on the Left Arm layer, and select Motion from the T ween menu in the P roperty inspector.

In the T ransform panel, select Skew, and then type 10 for the horizontal skew and for the vertical skew. You can use the Free T ransform tool to rotate or skew the object on the Stage, but the Rotate and Skew options in the T ransform panel give you precise control over movement. Use the Zoom tool to zoom in on the alien's head so that you'll be able to see the eye clearly.

T o pan the Stage, press the spacebar as you drag the mouse across the Stage. Select frame 18 on the Left Blink layer, and press F7 to insert a blank keyframe. Do the same for the Right Blink layer. T he left eye you copied appears on the Stage.

Use the Selection tool to move the copy of the eye so that it is directly above the eye that is part of the body graphic. You may need to use the arrow keys to nudge the eye into place. Using a Mask to Animate a Symbol You've used masks in previous lessons to slowly reveal parts of a layer. In this lesson, you'll use a mask to show and hide the underlying eye, creating a blinking effect.

When the eye is blinking, the eyelid, which is the same color as the face, will show. When the eye is open, the full eye will show. Breaking Apart S ymbols You just created a symbol, but now you need to break it apart so that you can work separately with the fill, pupil, and outline.

Preparing the Layers that will be Masked You'll create the eyelid, which will appear when the eye is blinking. Select the white fill in the eye, and delete it. About the main toolbar and edit bar The menu bar at the top of the application window contains menus with commands for controlling functionality. Customize the Tools panel To specify which tools appear in the authoring environment, use the Customize Tools Panel dialog box to add or remove tools from the Tools panel.

Object-level undo maintains separate lists of your actions for each object in your document. Object-level lets you undo an action on one object without having to also undo actions on other objects that might have been modified more recently than the target object.

When you are pasting in Flash, the full gradient quality of the copied data is preserved regardless of the Gradient setting. FreeHand Text Customize keyboard shortcuts To match the shortcuts you use in other applications, or to streamline your workflow, select keyboard shortcuts. You do not need to spell out key names, such as Control, Option, and so on. Click Change. Repeat this procedure to add or remove additional shortcuts, and click OK. Click Remove Item -.

Add a shortcut to a command From the Commands pop-up menu, select a command category and select a command. Page 40 Controls in the layers section of the Timeline let you hide, show, lock, or unlock layers, as well as display layer contents as outlines.

You can drag frames to a new location on the same layer or to a different layer. For a video tutorial about the Timeline, keyframes, and frame rates, see www. To prevent the Timeline from docking to other panels, press Control while you drag. The Large frame-width setting is useful for viewing the details of sound waveforms. Copy the contents of a layer folder Collapse the folder click the triangle to the left of the folder name in the Timeline and click the folder name to select the entire folder.

To prevent acciden- tally converting a guide layer, place all guide layers at the bottom of the layer order. Page 49 If you are not using the Stage but instead are writing ActionScript code for the connectivity layer of your application, you can use the Web Services panel to manage your web services.

For detailed information about using the web services panel, see www. Page Accessibility In The Flash Workspace FLASH CS3 User Guide Accessibility in the Flash workspace About accessibility support Accessibility support in the authoring environment provides keyboard shortcuts for navigating and using interface controls, including panels, the Property inspector, dialog boxes, the Stage, and objects on the Stage, so that you can work with these interface elements without using the mouse.

To move the focus through the controls in the panel, press Tab repeatedly. To activate the currently selected panel control, press Enter Windows only. To scroll to a step, click to the left of the step. Replay steps with the History panel When you replay steps with the History panel, the steps that play are the steps that are selected highlighted in the History panel, not necessarily the step currently indicated by the slider.

Page 56 Note: The command is saved as a JavaScript file with the extension. Page 58 You can set properties for new or existing documents. For a text tutorial about creating your first Flash file, see Create your First File on the Flash Tutorials page at www. These fields are not intended for keywords to provide greater search results. Instead, these fields are made available to search engines that index SWF files, and display the contents of the title and description field in their search results.

View a document when multiple documents are open When you open multiple documents, tabs at the top of the Document window identify the open documents and let you easily navigate among them. You can import Illustrator and Photoshop files directly into Flash. You can also create video from Flash and edit it in Premier Pro or After Effects, or import video from either of those applications into Flash. Flash opens Device Central and displays the New Document tab.

Page 64 Preview a movie on a virtual mobile device using Adobe Premiere Pro Using Adobe Device Central, you can preview movies formatted for mobile devices in emulations of those devices. This option is available for most of the H. Page 65 Rendering may take a few minutes, depending on the size of the file.

When rendering is complete, a temporary file is displayed in the Adobe Device Central Emulator tab. To continue testing, double-click the name of a different device in the Device Sets or Available Devices lists.

Flash projects allow you to group multiple, related files together to create complex applications. You can use version-control features with projects to ensure that the correct file versions are used during editing, and to prevent accidental overwriting. If the file is a nonnative file type, the file opens in the application used to create it.

Test a project Click Test Project in the Project panel. To rename a project, you must use the Rename menu item. Renaming the FLP file for a project does not rename the project. Find a missing file in a project A file that is part of a project can appear to be missing if it is moved from its original location relative to the other files in the project. The icon next to the filename indicates that the file is checked out.

To check a file back in, select the file in the project panel and select Check In from the project context menu. The icon next to the filename indicates that the file is checked in.

Flash also includes several sample libraries containing buttons, graphics, movie clips, and sounds. This lets you link to the library assets from Flash documents that import symbols using runtime sharing. The item is added to the current layer. Items are sorted within folders. Click the triangle button to the right of the column headers to reverse the sort order.

Page Working With Timelines Flash can tween, or automatically fill in, the frames between keyframes in order to produce fluid animations. Because keyframes let you produce animation without drawing each individual frame, they make creating animation easier. Page 76 Timelines can send messages to each other with ActionScript.

For example, an action on the last frame of one movie clip can tell another movie clip to play. To use ActionScript to control a Timeline, you must use a target path to specify the location of the Timeline. For a video tutorial about using multiple timelines, see www.

Page 77 Stage. The absolute path of an instance is always a full path from a level name, regardless of which timeline calls the action; for example, the absolute path to the instance. Click the parameter box or location in the script where you want to insert the target path.

Enter an absolute or relative target path in the Actions panel. Each scene has a Timeline. When the playhead reaches the final frame of a scene, the playhead progresses to the next scene. For more information on authoring Flash files for mobile devices, see the Adobe Mobile Devices site at www. Advertising templates Advertising templates facilitate the creation of standard rich media types and sizes defined by the Interactive Adver- tising Bureau IAB and accepted by the industry.

If you have more than four images, all of the other layers must have an equal number of frames. Your images appear in the Library panel. Delete the old images that were included in this document from the library. With Bridge, you can access Version Cue Servers, projects, and files, and view, search for, and compare information about Version Cue-managed assets. Page 89 Version Cue Server is installed on your computer, but is not turned on. Version Cue Servers store Version Cue projects and their related assets.

You can start the Version Cue Server on your computer, or, optimally, install and run the Version Cue Server on a dedicated computer accessible to others on your network. To specify advanced project properties, such as requiring user login and assigning user access permissions, you must use Version Cue Server Administration.

You can add multiple Adobe or non-Adobe files by using Bridge, or add files one at a time from within a Version Cue-enabled Creative Suite component by using the Adobe dialog box. Page 93 A. Favorites panel B. Look In menu C. Toggle metadata D. Tools menu E. Page 94 You can view information about Version Cue Servers, projects, and assets in the Adobe dialog box or by using the Inspector in Bridge.

Version Cue also creates a shortcut to the project that appears in Bridge and in the Adobe dialog box after you click the Version Cue favorite icon. Page You can edit most of the properties of a project, including the project name, description, and shared status; the location of local project files; and the location of project backups in Bridge or in the Adobe dialog box. However, if you want to enable lock protection, edit or assign users, or require users to log in to the project, use Version Cue Server Administration instead.

Page To save versions of a file, share the file with your workgroup, and take advantage of Version Cue file management, you must add the file to a Version Cue project. You can add both Adobe and non-Adobe files to Version Cue projects.

Page Page Working With Files In Version Cue Disconnecting from a project erases the local project files on your computer, while leaving the master copies on the Version Cue Server intact. Disconnecting also removes shortcuts to the project from Bridge and the Adobe dialog box. You may want to disconnect to free up more space on your hard drive new local project files are created the next time you open, download, edit, or synchronize a file.

Page To quickly view all files checked out in a particular project, open the project and click Checked Out Files beneath the Version Cue entry in the Favorites panel of the Adobe dialog box.

The latest known version of the file is available for editing and you have a local copy of it on your Synchronized computer. Page Double-click the project that contains the file you want to open. Select the file, and click Open. Page Disconnecting from a project also removes local project files; however, the Disconnect command also removes shortcuts to the project from Bridge and the Adobe dialog box.

Page When you copy or move a file, Version Cue copies or moves only the most current version. Page Metadata is added to Version Cue project files as you work with them. In addition, you can add other metadata to files in Adobe Creative Suite components through the File Info dialog box. Adobe Creative Suite components can contain specific metadata fields; for example, fonts and colors in InDesign files and colors in Illustrator files. You can even create versions of linked non-Adobe files.

Page Version Cue Server Administration. You can restore files or folders that have Deleted status to reinstate Version Cue management. Click Project Trash in the Favorites panel, right-click the file you want to delete permanently, and choose Delete Permanent. You can check in versions of non-Adobe files only if the files are in a Version Cue project and the files have been opened through Bridge. Select the file whose versions you want to view.

The file status is Never Saved, because the previous version is only a snapshot of a previous stage of the file. When you first create users and groups, Version Cue will prompt you to install Flash Player. Optional Type a phone number, an e-mail address, and comments in the remaining boxes. Click Save. You can import users from an LDAP server and map their user attributes such as user name and password to Version Cue user attributes.

The location of the user list appears under the Export Users heading. Stores any remarks you type about the project. Version Cue duplicates the folder hierarchy within the project structure. Select the check box next to the project you want to duplicate, and click Duplicate. Important: If you restore a backup copy of the Version Cue Server, all current data on the server, including Version Cue projects, files, and versions, is replaced by the backup.

When a review is complete, you can view all comments either in the context of the original document or as a list in Version Cue Server Admin- istration. Select Private if you want reviewers to see only their own comments. For a video tutorial about the Flash and Fireworks workflow, see www.

Page called effects in FireWorks and guides in the PNG file when you import it as editable objects. Using Fireworks effects and blend modes in Flash Flash 8 and later provides support for Fireworks filters, blend modes, and text.

Page Note: To edit bitmap images in Flash convert the bitmap images to vector artwork or break apart the bitmap images. FreeHand is a good choice for creating vector graphics for import into Flash, because you can preserve FreeHand layers, text blocks, library symbols, and pages, and choose a page range to import.

The AI Importer also provides you with a great degree of control in determining how your Illustrator artwork is imported into Flash, letting you specify how to import specific objects into an AI file.

Layers panel B. Flash Layers Converts each layer in the imported document to a keyframe in the Flash document. Keyframes Converts all layers in the imported document to a single flattened layer in the Flash document.

Flash Library after importing an AI file. The preferences you specifiy for importing AI files affects the options the AI Import dialog box is initially populated with for the Illustrator object types. Supported blend modes, effects, and object transparency are Editable Paths preserved, but attributes not supported in Flash are discarded. By default, all items are organized in a single, parent layer. Import all items in a given parent layer as a single, flattened bitmap, or, individually select each object and specify import options specific to the type of object it is text, path, group, and so on.

Importing text as a movie clip preserves the editability of compatible visual effects. Photoshop lets you create still images and artwork, providing a high degree of creative control. For a video tutorial about designing website with Photoshop and Flash, see www. Compatibility between Flash and Photoshop Certain visual attributes can either not be accurately imported, or, after they are imported, lose their ability to be further edited in the Flash authoring environment.

Optional In the PSD Import dialog box, select layers, groups, and individual objects and choose how to import each item. Specifies that the image layers be converted to a movie clip when imported into Flash. This Create Movie Clips option can be changed in the PSD Import dialog box on an object by object basis if you do not want all of the image layers to be movie clips.

Specifies that all groups be converted to a movie clip when imported into Flash. This can be Create Movie Clips changed on an object by object basis if you do not want some layer groups to be movie clips. By default, all layers visible in Photoshop are checked, and invisible layers are not checked. Creates a movie clip with a bitmap inside. A higher setting preserves greater image integrity but yields a larger file size. Page BitmapData To do so, specify a linkage identifier for the bitmap.

For more information, see Assigning linkage to assets in the library in Learning ActionScript 2. Select the bitmap in the Library panel. For example, the image of a leaf is described by the specific location and color value of each pixel in the grid, creating an image in much the same manner as a mosaic. Use the Pointer tool to move the object by clicking the bounding box and dragging the shape to position it on the Stage.

The Pointer and Subselection tools select objects by dragging a rectangular selection marquee around the object. The Lasso tool selects objects by dragging a free-form selection marquee around the object. When an object is selected, a rectangular box appears around the object. This setting also controls horizontal and vertical line recog- nition—that is, how nearly horizontal or vertical a line must be drawn before Flash makes it exactly horizontal or vertical.

Fills and strokes are treated as separate objects. Select fills and strokes separately to move or modify them. To automatically align elements with each other and with the drawing grid or guides, use snapping. To change the display of tools, customize the Tools panel.

Click the Object Drawing button in the Options section of the Tools panel, to select either the Merge or Object drawing model. When the Object Drawing button is depressed, the Line tool is in Object drawing mode.

Position the pointer where the line is to begin, and drag to where the line is to end. You can enter a numerical value for the inner radius in the box, or click the slider and interactively adjust the size of the radius. Entering a negative value creates an inverse radius. If you are using the Rectangle tool, press the Up Arrow and Down Arrow keys while dragging to adjust the radius of rounded corners.

For the Oval and Rectangle tools, Shift-drag to constrain the shapes to circles and squares. The Tilt modifier varies the angle of brush strokes when you vary the angle of the stylus on the tablet. The Tilt modifier measures the angle between the top eraser end of the stylus and the top north edge of the tablet.

Selected solid endpoint B. Selected anchor point C. Unselected anchor point D. Curved path segment E. Direction line F. Direction point Paths can have two kinds of anchor points: corner points and smooth points. At a corner point, a path abruptly changes direction. A smooth point always has two direction lines, which move together as a single, straight unit. When you move a direction line on a smooth point, the curved segments on both sides of the point are adjusted simultaneously, maintaining a continuous curve at that anchor point.

For a video tutorial about the Pen tool, see www. Selected line segments and anchor points use the outline color of the layer on which the lines and points appear. Starting to drag second smooth point B. Dragging away from previous direction line, creating a C curve C. Click and hold the mouse button on the Pen tool , then select the Pen tool , Add Anchor Point tool , or the Delete Anchor Point tool To add an anchor point, position the pointer over a path segment, and click.

A minus - sign appears next to the Pen tool if an anchor point can be deleted from the selected line segment. If the line segment is not yet selected, click it with the Pen tool to select it, and then delete the corner point.

The pointer changes to indicate what type of reshaping it can perform on the line or fill. Flash adjusts the curve of the line segment to accommodate the new position of the moved point. It also reduces the number of segments in a curve. Smoothing is relative, however, and has no effect on straight segments. It is partic- ularly useful when you are having trouble reshaping a number of very short curved line segments.

Erase Normal Erases only fills; strokes are not affected. Erase Fills Erases only strokes; fills are not affected. Erase Lines Erases only the currently selected fills and does not affect strokes, selected or not.

For example, if you set Horizontal snap tolerance to 18 pixels the default setting , a dotted line appears along the edge of the object you are dragging when the object is exactly 18 pixels from another object.

Using the default palette or a palette you create, you can choose colors to apply to the stroke or fill of an object you are about to create, or an object already on the Stage. Color panel options Changes the color of the stroke, or the border, of a graphic object. Stroke Color Changes the color of the fill. The fill is the area of color that fills up the shape.

Fill Color Changes the fill style: Type Menu You can also import color palettes, but not gradients, from GIF files. To select a stroke style, click the triangle next to the Style menu and select an option from the menu. To create a custom style, select Custom from the Property inspector, select options in the Stroke Style dialog box, and click OK.

These controls, called overflow modes, let you specify how colors are applied beyond the gradient. Select the Ink Bottle tool from the Tools panel. Select a stroke color. Select a stroke style and stroke width from the Property inspector. The rollover icon for the width handle the square handle is a double- Width ended arrow. Radial Gradient controls A.

Center point B. Width C. Rotation D. Size E. You can also drag the lowest handle on the bounding circle of a circular gradient or fill. Select Linear or Radial from the Type menu in the Color panel. Click the Lock Fill modifier First paint the areas where you want to place the center of the fill, and then move to other areas. Each kind has its own advantages and disadvantages.

By understanding the capabilities of the different object types, you can make good decisions about which types of objects to use in your work.

To enter object drawing mode Select the Object Drawing option in the Tools panel. Select a drawing tool from the Tools panel and draw on the Stage. Note: To select the Selection tool, you can also press the V key. To temporarily switch to the Selection tool when another tool is active, hold down the Control key Windows or Command key Macintosh. Hide selection highlighting Hiding highlighting while you are selecting and editing objects lets you see how artwork appears in its final state.

Move objects by using the Property inspector Select an object or multiple objects. Click the Create Copy button in the Transform panel. Delete objects Deleting an object removes it from the file. Deleting an instance of an object on the Stage does not delete the symbol from the library.

Select the objects to align. Page Transforming Objects FLASH CS3 User Guide Break apart groups and objects To separate groups, instances, and bitmaps into ungrouped, editable elements, you break them apart, which signifi- cantly reduces the file size of imported graphics.

For instances, the transformation point is the point of origin by default. You can move the default point of origin for a transformation. Do not drag the transformation point. Drag the points and tangent handles to modify the envelope. With Flash CS3 Professional, you get convenient extras like filters predefined blurs, glows, and drop shadows , blend modes transparency effects that make compositing , or combining images, easy , and custom easing the ability to slow down or speed up animated tweens with the click of a button.

Support for mobile authoring. Flash CS3 Professional comes with mobile templates to help you size your animations for handhelds , an emulator to let you see how your animations will appear on every handheld that Flash supports , and built-in publishing options. Support for high-end video manipulation. Flash CS3 Professional gives you extra tools, including the Flash Video Exporter a QuickTime plug-in that lets you create Flash video files using any Apple QuickTime—compatible video authoring tool and the Flash Video Encoder a standalone application that lets you convert regular video files to Flash video files.

Using Flash CS3 Professional, you can link to external video files and even layer video clips on top of each other to create sophisticated composite effects.

When Adobe acquired Macromedia at the end of , graphic artists and Web designers held their breath waiting to learn what this meant for Flash, as well as Dreamweaver a favorite Web design tool.

For the most part, there were sighs of relief when Adobe folded both beloved programs into its high-powered Creative Suite. Some Flash fans were concerned that Adobe might change Flash from a simple animation design program into a full-fledged program authoring environment. Actually, the difference between the two is mostly in the minds of marketing geeks. After all, an interactive Web site or tutorial created using Flash is, by definition, a program.

Now that the dust has settled, most of the improvements you see in Flash CS3 compared to the previous version Flash 8 have to do with bringing Flash into the Adobe Creative Suite family. For the programming crowd, the big news is Action-Script 3. But in addition, Adobe also added a few usability tweaks, plus a couple of new image-editing features.

A traditional Adobe workspace. The toolbars and other onscreen doodads have a more professional look, too. Better file organization. Adobe brings a couple additional presents to the Flash party: Bridge and Version Cue.

Bridge is an absolutely terrific tool for organizing, viewing, and sharing photos and artwork. Now you can use Bridge to import photos from your digital camera, organize them in albums, modify them in Photoshop and then slurp them right into a Flash animation or Dreamweaver Web page.

Say goodbye to files with names like: mydog Improved import features for Photoshop and Illustrator. Flash now plays better with files imported from Photoshop and Illustrator. For example, you can choose which layers you import from a Photoshop PSD file. In the past, when you imported Illustrator files, Flash had a tendency to mess with your carefully positioned curve controls, also known as Bezier points. Pen Tool enhancements.

Flash always had pretty idiosyncratic drawing tools for shapes and objects. Fancy new copy and paste tricks. You can now copy and paste things you never could before. For example, you can copy and paste filter effects from one shape or drawing to another.

Or, if you like the way an object moves in your animation, you can copy the motion that describes the action and apply it to another object. Improved Bitmap Symbol Library. Instead of searching all over your computer for images, you can check them out of your handy Library. The new, improved Flash gives you a bigger, better view of your photos and other bitmap-style graphic masterpieces.

Better video through QuickTime. QuickTime is an industry standard for distributing video files over the Internet and on discs. Improvements in ActionScript. The new Flash has offerings for both artists and programmers. ActionScript 3. Animation is a complex subject, and Flash is a complex program.

This section and the following one give you some background. Animators used to develop animations in a frame-by-frame sequence, where every frame contained a different image. As the frames sped by on a projector, the hundreds or hundreds of thousands of static images created the illusion of moving characters. Painstaking work? You bet. Before the age of computerized generation—which has really just come into its own in the last 15 years or so, with big names like Pixar—major animation houses employed whole armies of graphic artists, each charged with producing hundreds of drawings that represented a mere fraction of the finished work.

What we yukked at for a scant few minutes took weeks and dozens of tired, cramped hands to produce. One mistake, one spilled drop of coffee, and these patient-as-Job types would have to grab fresh paper and start all over again.

When everything was done, the animation would have to be put together—much like one of those flip books where you flip pages real fast to see a story play out—while it was being filmed by special cameras.