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This indicates a keyframe at the end of the tween. Animate smoothly interpolates the change in position from frame 1 to frame and represents that motion with a motion path. Animating changes in position is simple, because Animate automatically creates keyframes at the points where you move your instance to new positions.
Integrated into the bottom of the Timeline is a set of playback controls. You can also use the playback commands on the Control menu. The playhead loops, allowing you to see the animation over and over for careful analysis. The playhead loops within the marked frames.
Click Loop Option again to turn it off. Changing the Pacing and Timing You can change the duration of the entire tween span or change the timing of the animation by dragging keyframes on the Timeline.
Changing the animation duration If you want the animation to proceed at a slower pace and thus take up a much longer period of time , you need to lengthen the entire tween span between the beginning and end keyframes. If you want to shorten the animation, you need to decrease the tween span. Lengthen or shorten a motion tween by dragging its ends on the Timeline.
Your motion tween shortens to 60 frames, reducing the time it takes the cityscape to move. The timing of your entire animation remains the same; only the length changes. Add frames by Shift-dragging the end of a tween span. The last keyframe in the motion tween remains at frame 60, but Animate adds frames through frame The keyframe at frame 60 is selected.
A tiny box appears next to your mouse pointer, indicating that you can move the keyframe. The last keyframe in the motion tween moves to frame 40, so the motion of the cityscape proceeds more quickly. Span-based vs. However, if you prefer to click a motion tween and have the entire span the beginning and end keyframes, and all the frames in between be selected, you can enable Span Based Selection from the Options menu on the upper-right cor- ner of the Timeline or you can Shift-click to select the entire span.
With Span Based Selection enabled, you can click anywhere within the motion tween to select it, and move the whole ani- mation backward or forward along the Timeline as a single unit. You can change the color effect of an instance in one keyframe and change the value of the color effect in another keyframe, and Animate will automatically display a smooth change, just as it does with changes in position.
Animate will create a smooth fade-in effect. The cityscape instance on the Stage becomes totally transparent. The cityscape instance on the Stage becomes totally opaque. Animate interpolates the changes in both position and transparency between the two keyframes. Animating filters is no different from animating changes in position or changes in color effect. You simply set the values for a filter at one keyframe and set different values for the filter at another keyframe, and Animate creates a smooth transition.
Click the upper-right side of the Stage to select the transparent instance. Or, click the woman layer in the Timeline to highlight it; then click within the outline that appears on the Stage. Set the Blur X and Blur Y values to 20 pixels.
The woman instance is blurred throughout the motion tween. Animate establishes a keyframe for filters at frame The Blur filter changes from the keyframe at frame to the keyframe at Animate creates a smooth transition from a blurry instance to an in-focus instance.
Understanding property keyframes Changes in properties are independent of one another and do not need to be tied to the same keyframes. That is, you can have a keyframe for position, a different keyframe for the color effect, and yet another keyframe for a filter. Managing many different kinds of keyframes can become overwhelming, especially if you want dif- ferent properties to change at different times during the motion tween. Fortunately, Animate CC provides a few helpful tools for keyframe management.
When viewing the tween span, you can choose to view the keyframes of only cer- tain properties. For example, you can choose to view only the Position keyframes to see when your object moves. Or, you can choose to view only the Filter keyframes to see when a filter changes. Right-click a motion tween in the Timeline, choose View Keyframes, and then select the desired property among the list.
You can also choose All or None to see all the properties or none of the properties. When inserting a keyframe, you can also insert a keyframe specific to the property you want to change. Right-click a motion tween in the Timeline, choose Insert Keyframes, and then select the desired property. You can also view an advanced panel, called the Motion Editor, to see and edit how the different properties of your object change over the course of the motion tween.
These kinds of changes are made with the Free Transform tool or with the Transform panel. The car will start small, and then become larger as it appears to move forward toward the viewer. The transformation handles appear around the instance on the Stage. The car becomes totally transparent. The current layer becomes a tween layer. A new keyframe is automatically inserted at frame to indicate the change in transparency. You have used Animate to tween the change in position and the change in scale as well as the change in transparency from frame 75 to frame Motion presets If your project involves creating identical motion tweens repeatedly, Animate allows you to save and reuse motion tweens as presets.
For example, if you want to build a slideshow where each image fades out in the same manner, you can save that transition as a motion preset. Alternatively, right-click the motion tween and choose Save As Motion Preset. Animate provides a number of motion presets that you can use to quickly build sophisticated animations without much effort.
Changing the Path of the Motion The motion tween of the left car that you just animated shows a colored line with dots indicating the path of the motion. You can edit the path of the motion easily to make the car travel in a curve, or you can move, scale, or rotate the path just like any other object on the Stage.
To better demonstrate how you can edit the path of the motion, open the sample file 04MotionPath. Moving the path of the motion You will move the path of the motion so the relative movement of the rocket ship remains the same but its starting and ending positions change. The path of the motion becomes highlighted. The relative motion and timing of the animation remain the same, but the starting and ending positions are relocated.
Transformation handles appear around the path of the motion. You can make the path smaller or larger, or rotate the path so the rocket ship starts from the bottom left of the Stage and ends at the top right.
Editing the path of the motion Making your objects travel on a curved path is a simple matter. You can either edit the path with Bezier precision using anchor point handles, or you can edit the path in a more intuitive manner with the Selection tool. The handle on the anchor point controls the curvature of the path. Make the rocket ship travel in a wide curve. Select the Selection tool and make sure the path is deselected.
Move your pointer close to the path of the motion. A curved icon appears next to your pointer, indicating that you can edit the path.
Drag the path of the motion to change its curvature. Choose the spots where you drag carefully! Each drag breaks the path into smaller segments, making it harder to achieve a smooth curve. Mastery will come with practice. In the motion picture splash page project, the orientation of the car is constant as it moves forward. However, in the rocket ship example, the rocket ship should follow the path with its nose pointed in the direction in which it is heading.
Orient To Path in the Properties panel gives you this option. Animate inserts keyframes for rotation along the motion tween to orient the nose of the rocket ship to the path of the motion. Use the Free Transform tool to rotate its initial position so that it is oriented correctly. This means that an object and its motion are independent of each other, and you can easily swap out the target of a motion tween. Select the object that you want to swap on the Stage. In the Properties panel, click the Swap button.
In the dialog box that appears, choose a new symbol 2 Click OK. Animate will swap the target of Animate replaces the rocket ship with the alien. The motion remains the same, the motion tween. Creating Nested Animations Often, an object that is animated on the Stage will have its own animation. For example, the wings of a butterfly moving across the Stage may flap as it moves. Or the alien that you swapped with the rocket ship could be waving his arms. These kinds of animations are called nested animations, because they are contained inside the movie clip symbols.
Movie clip symbols have their own Timeline that is inde- pendent of the main Timeline. The alien appears in the middle of the Stage. In the Timeline, the parts of the alien are separated in layers. A keyframe is inserted at the end of the motion tween. The left arm rotates smoothly from the resting position to the outstretched position.
Right-click his right arm and choose Create Motion Tween. Animate inserts a keyframe at the end of the motion tween. The arm rotates smoothly from the resting position to the outstretched position. To prevent the looping, 11 Click the Scene 1 button in the Edit bar at the top of the Stage to exit symbol- you need to add code to tell the movie clip editing mode.
Timeline to stop on its Your animation of the alien raising his arms is complete. Wherever you use the last frame.
JavaScript in later lessons. But you can also have nested animations and graphics inside of graphic symbols, although they work a little differently. It will only play if there are sufficient frames on the main Timeline where the instance is placed. Because of the ease with which you can pick and choose what frame inside a graphic symbol shows, graphic symbols are ideal for lip syncing or other character variations. Using the Frame Picker for phonemes If animated characters talk, their mouth will be synchronized with their words.
Each sound, or phoneme, is produced by a different mouth shape. Animators draw a collection of these mouth positions to be used to synchronize to the soundtrack. You can store each mouth position as a keyframe in a graphic symbol. The file contains your familiar alien character on the Stage. The alien is not animated on a path, but his head is a graphic symbol with multiple keyframes inside of its Timeline. Notice that the Timeline contains five keyframes in the mouth layer. Each keyframe shows the mouth in a different position.
Frame 1 has a small closed mouth, frame 2 a rounded mouth, frame 3 a wide open mouth, and so on. Animate creates a SWF to play the animation. This type of market pressure has led to price reduction for software and applications. If the program is really worth its money, you will definitely purchase it.
Adobe Flash Animator requires upgrading to improve its performance. Due to this, the software can update essential files and fixes. If there is no possibility to update the program, bugs and lags will soon appear, and it may even work unstably.
If you buy software, it means having a license that guarantees future updates. If you are not happy with Adobe Animate free, for instance, it works too slowly or ineffectively, I gathered free alternatives that have the same functionality and features.
You can download and use them without paying a dollar. This is an excellent alternative to Adobe Flash CC, as the popularity of Flash is very strong nowadays. If you are looking for a program that can create unique and extraordinary content, KoolMoves is a great option. Of course, it is impossible to create such sites as Yahoo. KoolMoves is an excellent introduction to Flash capabilities. It allows you to bring in graphic pictures, create beautiful animations, interfaces and web pages, using an intuitive interface.
KoolMoves toolbox features an amazingly large set of functions. You can work with text and animation effects, import files, tween and add MP3 or WAV files to your projects. Moho Pro 12 is animation software for creating cartoons, 2D movies or cut-out animations, drawing backgrounds, adding text or audio to projects and, if necessary, uploading them online.
Moho Pro 12 is rather difficult to learn, but it will entertain you for hours. Go ahead and delete line in order remove redundant code. After making these edits, your code should end up looking like this:. We now need to manually remove the JSON dependency of our sprite sheet in order to ensure that DoubleClick can accept the ad. That said, for now we need to manually get rid of the JSON. In order to do this, go back to line within the init function to see where the JSON file is presently being loaded.
Rather than loading the JSON file we will now need to load an image file instead. So, in our example we currently see the following on line :. Replace the src attribute with the image file path rather then the JSON file path, and also change the type attribute to image , so that your code has been edited to look like the following:.
Inside of the handleComplete function, on line , is where we are currently pointing to the loaded sprite sheet as follows:. Now instead, we have to explicitly create the sprite sheet object ourselves.
In order to accomplish this, we need to first ensure that the string contained within the first set of brackets, matches the id value from line that we edited earlier. This will most likely already be the case, however you should check it just to be safe. SpriteSheet ;. You should be copying the following code:.
Next, we need to paste this JSON code into the function that creates the new sprite sheet object as follows:. Your finalized code should look like this:. As we continue to work on the banner and republish from Animate CC , the JSON file will unfortunately continue to be generated, even though it is not actually being used any longer. Because of this temporary inconvenience, which will be resolved in the next Animate CC release, we will need to remember to delete the JSON file from the images folder one final time before packaging up the final assets for delivery.
If it is detected that CreateJs is unsupported by the current browser then this function will display alternative content. Please understand that this approach is completely optional, and if you chose to not include a backup image within your ad package then you can easily change or remove this functionality. AdHelper provides the following static methods for handling alternative content, each giving different levels of control:.
Please note that in this tutorial we are using. However, there may be scenarios that require you to use one of the alternative methods above. Please refer to my Adobe Animate CC White Paper for specific details on how to properly utilize these different methods.
Now if you decided that you did not want to include fallback logic within your HTML, then you could also remove the function entirely and simply send your ad-serving vendor a separate back-up image that is not packaged with the ad assets. The way that you handle back-up images comes down to the specific requirements of the ad serving vendor or publisher. In these scenarios they instruct you to include a backup image in your.
In our case, because AdHelper references the backup image from within the HTML, it is up to you to decide how you wish to handle your backup image. Using AdHelper within your HTML5 DoubleClick ads provides a great deal of flexibility for handling backup assets, allowing you to take any of the following approaches:. Remove the function that checks for CreateJs support entirely, and send a separate backup image that is not contained within your final HTML5.
Leave the function in place, but replace the line of code that displays the backup image with alternative HTML content or error messaging, and then send a separate backup image that is not contained within your final HTML5. The final phase of this tutorial focuses on the implementation of some basic and commonly needed skills that you will frequently employ in most of your banners.
This includes controlling timeline animations, simple programmatic animation with GSAP, adding basic interactivity and optimizing final assets for delivery. Then type the following, so that the timeline will stop on the first frame:. JavaScript does not use this as an implicit scope as is the case with AS3.
You are now required to explicitly specify scope in all timeline scripts. So, on the timeline, rather than calling stop , you must use this. However, if you mouseover the logo, nothing happens. Leave the MovieClip and go back to the main timeline, and click on the first frame of the js layer. This scope activation object will allow for you to more easily reference MovieClips from within the local scope of other functions. Add the following code within the Actions Panel :. Here we have used the EaselJs on method to easily attach and handle the mouseover and mouseout events.
The on method provides an easy way to scope your methods and offers some other handy features. By default, on sets the scope to the dispatching object, but you can include a third parameter to specify your own scope as needed. The programmatic animations that are triggered on user interaction are being executed by GreenSock , which if you recall, is automatically being linked to within the custom template that is being leveraged by the FLA.
A couple of things to note about the animation code:. One thing to note within the anonymous function that is called on mouseout is the usage of ad. This is an AdHelper method which allows us to manually wake the ad for a specified duration in order to allow our animation to complete before the ad goes back to sleep.
Mouseover and mouseout the Animate CC logo to see your interactivity in action! On mouseover you should see the light shine effect play while the logo and the shadow beneath it increase in scale with some elasticity easing applied. The next thing that we need like to do is to control and manage the timeline animations of the headline text. Right now, the animations are continuously looping and there is also a brief flicker when the animation returns to the first frame of the timeline.
Add the following code underneath the first line where we created the scope activation object root :. First, you need to know that variables are defined within the scope of their frame code, so if you define a variable in the first frame, you will not be able to access that variable in the final frame. For example:.
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