TVpaint10pro Manual

User Guide
TVPaint Animation Standard Edition 1991-2014 TVPaint Dveloppement. All right re erved. TVPaint Animation Pro!e ional Edition 1991-2014 TVPaint Dveloppement. All right re erved. Thi edition o! the TVPaint Animation " er #$ide i TVPaint Dveloppement. All right re erved. prote%ted &' %op'right 200(-2014
Thi $ er g$ide ma' not) either *holl' or partl') &e %opied) reprod$%ed) tran lated) tran !erred to a magneti%) ele%troni% or opti%al $pport or di po ed o!! to third partie *itho$t prior *ritten approval o! it a$thor and TVPaint Dveloppement. All !orm o! d$pli%ation o! the TVPaint Animation Standard Edition o!t*are and o! the TVPaint Animation Pro!e ional Edition o!t*are) either ph' i%al or ele%troni%) are tri%tl' !or&idden. All prod$%t or &rand mentioned in thi $ er g$ide are regi tered trademar+ o! their re pe%tive o*ner .
Credits
The TVPaint Dveloppement team ,erv ADAPatri%+ ADAThierr' .A/TET 0a&ri%e DE1A2#E .la$dine D23A/T 4o 0E2/A/DE5 Eri% -ATE.63 Elodie -77# Eri% S.,744 -i%ha8l S.,2E3/E2
Credits for illustrations

- The !ir t paper 9le on :; %ome !rom Power Box Animator %reated &' 1enoit St--o$lin. - Running-Kid 9le on <) () 12) et% ...; *a %reated &' Alain .harrier and animated &' 2a'mond #o$rrier. - the elephant 9le on 11; *a %reated and animated &' 5ig7tto. - The %ar 9le on 11; *a dra*n &' /i%ola #ele'. - The &$tter!l' 9le on 14; and the &ea%h *ith the 'o$ng *oman 9le on 1<; *ere %reated and animated &' 7livier -i%hon. - The +$ll 9le on 1:;) the %o$ntr' ide 9le on 1<; and the %hara%ter 9le on =; $ ed to de %ri&e the >rapping #rid) the m$ltiplane %amera and the lip- 'n% *ere %reated &' Peter >a in+. - The parti%le pre et 9le on 1=; *ere invented &' -an$el 5ander. - Lineart 9at the &eginning o! le on 1:; *a %reated &' ?oann 2o&ert. - The original idea o! the S+et%h Panel %ome !rom Dave .o%+&$rn. - The red planet) the tree) the prehi tori%) the ho$ e) the !lo*er and vario$ diagram *ere %reated &' 0a&ri%e De&arge. - 3n 4e on ( the mo$ e i &' David /ether'. - All other image 9 %reen hot ) panel ) ...; are prote%ted &' %op'right o! TVPaint Dveloppement. painting ) the %olor pi%+er) the photo
-an' than+ 'o$ to all tho e *ho have helped $ !rom %lo e and !ar to %omplete thi ta +.
Table of Contents
Lesson 00 : Introduction and typographic conventions Lesson 01 : First approach of TVPaint Ani ation
The various progra panels
The Menu panel Main panel Color picker Tool panel Current project window The Timeline The Panel Bins Main menu Working in fullscreen mode Info Bar 1! 1! 1! 1! 1! 1! 1! 1! 1! 1! 1! 1! 1! 1! 1! 1! 1! 1! 1! 1! 1! 1! 1! 1! 1! 1! 1! 1! 1! 1! 1! 1! 1! 1! 1! 1! 1! 1! 1! " # # # # $ $ % % & & ( ( ( ( ( ) ) ) . . 10 10 11 11 11 11 11 1" 1" 1% 1( 1. 1. "0 "1 "1 "" ""
'o e useful tips

Move a window Close, minimize or ma imize a window !liders and mini"sliders #lphanumeric fields Progress $ar
*or+ing ,ith pro-ects

Create a new project %iew data relative to &our project 'ame a project Working with several projects Close a project
The Help
ain
enu
In(ine support The #$out))) window The Check for *pdates option
To /uit the progra The Preferences panel

The +eneral ta$ The ,ispla& ta$ The Interface ta$ The Memor& - Cache ta$ The !ound ta$ The !tartup ta$
'o e details
Working without the notion of ,PI The notion of pi el aspect ratio %ideo fields
Lesson 0" : 0ra,ing basics

1anage dra,ing tools
Presentation of the drawing tools !ettings the tools !ettings of the $rush profile #ctivate (ine smoothing "! "! "! "! "! "! "! "! "! " " % & ( ) ) ) )
2se colors
# Color and B Color .,+,B and /,!,( s&stems 0cursor ta$1 Picker ta$
Mi er ta$ Bin ta$ Color /istor& .ecover a color from the screen The color variation panel
2se filling tools

2illing tools presentation 2loodfill3s smooth, opacit& and anti"aliasing Color gradients 4pacit& mapping !ome remarks for using the 4pacit& function
2sing papers
/ow to use papers Create and manage &our own papers
'election3 crop and transfor

The various t&pes of selections Comple selections and $rush creation The transformation tools The panning tool The transform tool The warp tool
Further details
'otion of pi el opacit& The drawing modes The .e"appl& option ,rawing tool histor& 5oom and %iew options 'otion of pi el opacit& .otation of the workspace 2lip /orizontall& and %erticall& The coordinates *se the grid *se the guides The safe area ,ispla& settings /istor& panel
"! "! "! "! "! "! "! "! "! "! "! "! "! "! "! "! "! "! "! "! "! "! "! "! "! "! "! "! "! "! "! "! "! "! "! "!
. . 10 10 11 11 11 11 11 1# 1$ 1% 1% 1( 1( 1( 1( 1) 1) 1. "0 "1 "1 "1 "# "# "$ "% "% "& "( "( ") ". ". ".
Lesson 0#: 'pacial 1anage ent of Layers

Layers and ti eline
2irst drawing .ename a la&er Create a 'ew la&er The advantage of working with several la&ers The current la&er !how and hide a la&er 2lip la&ers 6rase the content of a la&er Modif& the glo$al opacit& of a la&er Merge la&ers #! #! #! #! #! #! #! #! #! #! #! #! #! #! #! #! #! #! " " " # $ $ % & & ( ( ) . . . . . 10
4lending 1odes concept

The Color $lending mode The Behind $lending mode The 6rase $lending mode The !hade $lending mode The (ight $lending mode The Colorize $lending mode
The Tint $lending mode The !aturate $lending mode The %alue $lending mode The #dd $lending mode The !u$ $lending mode The Multipl& $lending mode The !creen $lending mode The .eplace $lending mode The !u$stitute $lending mode The ,ifference $lending mode The ,ivide $lending mode The 4verla& $lending mode The ,odge 0(ight71 $lending mode The Burn 0!hade71 $lending mode The /ard (ight $lending mode The !oft (ight $lending mode The +rain 6 tract $lending mode The +rain Merge $lending mode The !u$tract $lending mode The ,arken 4nl& $lending mode The (ighten 4nl& $lending mode
Further details
,elete, duplicate a la&er (ock a la&er .educe a la&er *se groups *se masks Preserve alpha channel ,ispla& masks and papers
#! #! #! #! #! #! #! #! #! #! #! #! #! #! #! #! #! #! #! #! #! #! #! #! #! #! #! #! #!
10 10 10 10 11 11 11 11 11 1" 1" 1" 1" 1" 1# 1# 1# 1# 1# 1$ 1$ 1$ 1$ 1$ 1% 1% 1( 1) 1)
Lesson 0$: Te poral 1anage ent of Layers

Ani ation layers
Creation and concept of an #nimation la&er #dd images Movement and orientation within the timeline Create a $rush The first animation Pla& an animation The .emote Control Pla& an animation on fullscreen 4ther movement methods 2ielded projects The 'avigator !elect, erase the contents of the images in an #nimation la&er .everse the images of an #nimation la&er Move the la&ers in the timeline $! $! $! $! $! $! $! $! $! $! $! $! $! $! $! $! $! $! $! $! $! $! $! $! " " # # $ % & ) ) ) . . . 10 11 11 11 11 1" 1" 1# 1# 1$ 1%
Further details
!how, hide the icons The #uto 2it option in the timeline *sing the Bookmarks *se the Image mark Panel 'ame an instance The !troke #nimator option The Preview settings panel The !topwatch
Lesson 0%: 5andling TVPaint Ani ation pro-ects and Layout

5andling TVPaint Ani ation pro-ects
Introduction !ave a project *se the re8uester !ave a template (oad an e isting project Modif& a project (oad an image or animation ,ependencies 6 port files The share manager %! %! %! %! %! %! %! %! %! %! %! %! %! %! %! %! %! %! %! %! %! %! " " " " $ $ $ & ) ) 1" 1% 1% 1( 1( 1) 1) "1 "" "$ "$ "%
Video options
The %ideo Input panel The %ideo 4utput panel
The Panel 4ins feature

(ocate the Panel Bins Working with the Panel Bins !ome e ceptions More options
*or+ing ,ith 6oo s

The aim of a room Customized &our rooms
Lesson 0&: The steps to creating an ani ated i age

Introduction
*or+ing ,ith hand! ade dra,ings

Import an images se8uence Crop a project Clean"up the se8uence 2lip an image
*or+ing directly ,ith TVPaint Ani ation

The sketch Panel
1anaging the i ages of an ani ation layer

Move and duplicate one or several images Insert or delete one or several instances Cut, Cop&, Paste la&ers *se the Peg"holes registration
*or+ing ,ith instances

Introduction What is instance 9 !ome voca$ular& The contents of the cells !plitting an instance into two smaller instances /ow to use the instances for animating The 2au "2i feature /ow to change the line3s color 6rase the content of an image instance 'avigate in the la&er #dd e posure cells in an instance .emove e posure cells from an instance ,elete selected images Merge la&ers !tretch a la&er !hrink an #nimation la&er Pre and Post"$ehavior
&! &! &! &! &! &! &! &! &! &! &! &! &! &! &! &! &! &! &! &! &! &! &! &! &! &! &! &! &! &! &!
" " " # $ $ % % ) ) . 10 10 11 1" 1" 1# 1$ 1$ 1$ 1( 1) 1) 1) 1. "0 "0 "1 "" "# "$
/ow to use several la&ers at the same time The .ecompute 6 posures option
The Ani ator Panel

Clip (a&er Instance 6 posure Miscellaneous
The classical tools of the ani ator

.otate workspace *sing the light ta$le The 4ut"of"Pegs feature The Time(ine 'otes
The in+ing process

The floodfill tool The #uto Pick Color option 2ill inside Create shadows
To finish the ani ation

Camera movements #dd Music
&! &! &! &! &! &! &! &! &! &! &! &! &! &! &! &! &! &! &! &! &!
"$ "% "& "& "( "( ") ". ". ". #0 #" #% #) #) $1 $1 $# $# $# $#
Lesson 0(: 7ther TVPaint Ani ation dra,ing tools

The others dra,ing odes
The !hade and (ight drawing modes The ,arken onl& and (ighten onl& drawing modes The !aturate and *nsaturate drawing modes The !mooth and !harp drawing modes The Burn and ,odge drawing modes The Colorize and Tint drawing modes The 'egative and !olarize drawing modes The +rain and 'oise drawing modes The 6m$oss drawing mode The #dd and !u$ drawing modes The Multipl& and !creen drawing modes The #lpha ,iff drawing mode The Panto drawing mode The /ealing drawing mode (! (! (! (! (! (! (! (! (! (! (! (! (! (! (! (! (! (! (! (! (! (! (! (! (! (! (! (! (! (! (! (! (! (! " " " # $ $ % % & ( ( ( ) . 10 11 11 11 1# 1# 1# 1# 1$ 1$ 1% 1) "% "( "( ". #" #" ## ##
Clipboard and spare

The clip$oard The !pare image The Merge drawing mode The Impressionist drawing mode
To perfectly
aster the dra,ing tools8

*sing ,r&ing, +rain and (ight The Warp $rush The !pecial $rush The Te t tool The Custom Brush tool options The notion of #nimated $rushes 2loodfill using a $rush The connections The connections Profiles The drawing tool panel : Bin ta$ The tool $in panel
Custo
panels ! 1st part

Introduction
Create a custom panel /ow to man the panels /ow to use T%P; format
( ! ## ( ! #$ ( ! #%
Lesson 0): 'ound and 9'heet

Audio ulti trac+s
/ow to add audio multi tracks to a project The audio tracks parameters The audio tracks preview The preferences panel options )! )! )! )! )! )! )! )! )! )! )! )! )! )! )! )! )! )! )! )! )! )! )! )! )! " " # $ & ( ( ) ) 10 10 11 1" 1# 1$ 1$ 1& 1( 1) 1) 1. "0 "0 "1 ""
The 9'heet Layers and 9'heet Panel

Introduction and principle The projects used in this chapter 2irst approach of the ;!heet panel The Timeline ta$ The ;!heet ta$ # few simple options of the ;!heet panel /ow to create a ;!heet la&er /ow to create and manage the sources # concrete e ample /ow to manage the content of a ;!heet la&er !elect and move several images in a ;!heet la&er The icons of the ;!heet ta$ !elect a default source #$out the projects
The steps to create a Lip!'ync

Cali$rate the options relative to the audio track Positioning s&lla$les and phonemes Create some source columns Create some ;!heet (a&ers
Lesson 0. : Create and
anage a storyboard
.! .! .! .! .! .! .! .! .! .! .! .! .! .! .! .! .! .! .! .! " " " # $ $ $ ( . . . 11 1# 1% 1) 1) 1) 1. "1 ""
*hat is a storyboard Create a storyboard

,efine the project 2irst clip and first drawing
1anage your storyboard

Create scenes and clips Change scenes and clips !tor&$oard3s aspect
Turn a storyboard into an ani atic

What is an animatic +ive a duration to &our clips #dd sound Making a camera movement Configure &our camera
:;port your storyboard < ani atic

Three kinds for e porting P,2 6 port /TM( 6 port 6,( 6 port 6 port to)))
Lesson 10: *or+ing ,ith F9 'tac+s

The effect stac+ or F9 stac+
10 ! "
Initial stud& of the 2; stack Working in real time The various viewing modes !ome operations #ppl& 2;
*or+ing ,ith ani ation +eys

Manage the effect3s progress Managing effects with several parameters
The path
Moving from ke& to ke& The conte tual menu for the ke&s Contract, stretch a ke& line *se the selections
1ore details about the F9 stac+

# more comple effect: the .endering < (ighting effect !ingle effect, multiple effects Current effect, preview and collapsing of effects !wap two effects .eset and rename effects *ndo=.edo of the 2; !tack !ave the settings of the 2; stack 2; stack and T%Paint #nimation projects
Introduction to the video effects
10 ! 10 ! 10 ! 10 ! 10 ! 10 ! 10 ! 10 ! 10 ! 10 ! 10 ! 10 ! 10 ! 10 ! 10 ! 10 ! 10 ! 10 ! 10 ! 10 ! 10 ! 10 ! 10 !
# # $ $ % & ( ) 10 10 10 11 11 11 11 1# 1$ 1% 1% 1& 1& 1& 1&
Lesson 11: The effects of the 4lur and Transition groups

The 4lur group effects
The Blur < Cu$ic $lur effect The Blur < +aussian $lur effect The Blur < Chroma $lur effect The Blur < Center $lur effect The Blur < .adial $lur effect The Blur < ,irectional $lur effect The Blur < Median $lur effect The Median $lur in !mooth mode The Median $lur in (ight halo mode The Median $lur in ,ark halo mode The Median $lur in (ight mark mode The Median $lur in ,ark mark mode The Median $lur in ,ou$le edge mode The Median $lur Impressionist mode The Blur < ,einterlace effect The Blur < Motion $lur effect 11 ! 11 ! 11 ! 11 ! 11 ! 11 ! 11 ! 11 ! 11 ! 11 ! 11 ! 11 ! 11 ! 11 ! 11 ! 11 ! 11 ! 11 ! 11 ! 11 ! 11 ! 11 ! 11 ! 11 ! 11 ! 11 ! " # # $ $ % % % & & & ( ( ( ) ) . 1" 1# 1# 1$ 1$ 1$ 1$ 1% 1%
The Transition group effects

The Transition < Block effect The Transition < Blind effect The Transition < Classic effect The Transition < 2ade effect The Transition < !lide effect The Transition < .otar& effect The Transition < Page Turn effect
Increasing the transition possibilities by using the F9!stac+
Lesson 1": The effects of the Color and =ey groups

Color channels The effects of the Color enu
1" ! " 1" ! "
The Color < Black - White converter effect The Color < Color #djust effect The Color < Color eraser effect The Color < Tint replacer effect The Color < Color replacer effect The Color < Curves effect The Color < /istogram effect The Color < !liders effect The Color < !can cleaner effect The Color <(ine colorize effect The Color < 6 pand mode effect The Color < Image !ource effect
The effects of the =ey
enu
The >e&ing < (uma >e&er effect The >e&ing < Color >e&er effect The >e&ing < Chroma >e&er effect The >e&ing < #lpha Control effect The >e&ing < #dvanced >e&er effect The >e&ing < Cross >e&er effect
1" ! 1" ! 1" ! 1" ! 1" ! 1" ! 1" ! 1" ! 1" ! 1" ! 1" ! 1" ! 1" ! 1" ! 1" ! 1" ! 1" ! 1" ! 1" !
" # & ( ( ( ) 10 11 1" 1% 1% 1& 1& 1( 1. "1 "" "#
Lesson 1#: The effects of the 'tyli>e group

Introduction The !t&lize < +low effect The !t&lize < +rain effect The !t&lize < Bevel effect The !t&lize < ,rop shadow effect The !t&lize < Toon !hading effect The !t&lize < 6rode effect The !t&lize < #dd Border effect The !t&lize < Bloom effect The !t&lize < Blender effect The !t&lize < Mosaic effect The !t&lize < Posterize effect The !t&lize < 'oise effect The !t&lize < Print effect The !t&lize < 'egative effect The !t&lize < !olarize effect The !t&lize < Color range effect The !t&lize < /alfTone effect The !t&lize < (umi effect The !ource Image notion The Colors < Image !ource effect The !t&lize < Convolve effect 1# ! 1# ! 1# ! 1# ! 1# ! 1# ! 1# ! 1# ! 1# ! 1# ! 1# ! 1# ! 1# ! 1# ! 1# ! 1# ! 1# ! 1# ! 1# ! 1# ! 1# ! 1# ! " " " # # $ ( ( ( ) ) ) . . 10 10 10 11 11 1" 1# 1&
Lesson 1$: The effects of the 0istortion group

The ,istortion < 2lip effect The ,istortion < Mirror effect The ,istortion < >aleidoscope effect The ,istortion < Perspective : ? points effect The ,istortion < Wave effect The ,istortion < Tornado effect The ,istortion < Bump effect The ,istortion < ,isplacement Mapping 6ffect The ,istortion < Wrapping +rid effect The ,istortion < 4ptical 2low effect 1$ ! 1$ ! 1$ ! 1$ ! 1$ ! 1$ ! 1$ ! 1$ ! 1$ ! 1$ ! " " # ( ) ) . 10 11 1%
Lesson 1%: The effects of the 1otion and Paint groups

The Paint < #utoPaint effect Management of Paths The Path recorder The Path manager !ave paths The Pi el Tracker The Motion < >e&framer effect @st e ample : movement, zoom and motion $lur 7nd e ample: Pitch, /eading, Bank and Pivot Ard e ample ?th e ample The Motion < !haker effect The Motion < !ta$ilization effects The Motion < !ta$ilization @ point effect The Motion < !ta$ilization 7 points effect 1% ! 1% ! 1% ! 1% ! 1% ! 1% ! 1% ! 1% ! 1% ! 1% ! 1% ! 1% ! 1% ! 1% ! 1% ! " $ $ % & ( . . 11 1# 1% 1& 1( 1( 1)
Lesson 1&: The 1otion ? 1ultiplane Ca era effect

The concept The $lur caused $& focusing 6diting ta$le and computer multi plane camera The project used in this chapter A, views Positioning in space The %iew ta$ The Planes ta$ Create an animation with the multi plane camera effect, part @ The Position, Pivot and !ize parameters Create an animation with the multi plane camera effect, part 7 Create an animation with the multi plane camera effect, part A Creating movement: move the camera Create and manage focusing $lurs Make the kid run The multi plane camera wizard 4ther situations 1& ! 1& ! 1& ! 1& ! 1& ! 1& ! 1& ! 1& ! 1& ! 1& ! 1& ! 1& ! 1& ! 1& ! 1& ! 1& ! 1& ! " " # # $ % % ( ( ) ) . 10 10 1" 1" 1$
Lesson 1(: The effects of the 6endering group

The .endering < (ens 2lare effect (ens 2lares of the generic t&pe !treak t&pe (ens 2lares (ens 2lares of the Image t&pe The .ender order for lens flares The (ens 2lare 4$scuration la&er The .endering < (ighting effect The .endering < %olumetric (ight effect The .endering < .otoTracking effect The .endering < /ealing Tracker effect The .endering < Background +enerator effect The .endering < Plasma effect The .endering < Perlin 'oise effect The .endering < Te t effect The .endering < Multiline Te t effect The .endering < Time Code generator effect 1( ! 1( ! 1( ! 1( ! 1( ! 1( ! 1( ! 1( ! 1( ! 1( ! 1( ! 1( ! 1( ! 1( ! 1( ! 1( ! " # & ( ( ) . 11 1# "0 "# "$ "% "& "( ".
The .endering < Pattern +enerator effect
1( ! #0
Lesson 1): The 6endering ? Particles @enerator effect

Presentation and concept
(earn $& e ample 1) ! 1) ! 1) ! 1) ! 1) ! 1) ! 1) ! 1) ! 1) ! " " # $ ( . 1" 1% 1)
The tabs of the Particles @enerator effect

The World ta$ The 6mitters ta$ The 6mitters < Particles ta$ The 6mitters < Particles < Current ta$ The ta$ 6mitters < Particles < !hape The 6mitters < Current ta$
Lesson 1.: The advanced functions of TVPaint Ani ation

Custo i>ed ,indo,s
#dding an action The actions at &our disposal /ow to manage the created actions 1. ! 1. ! 1. ! 1. ! 1. ! 1. ! 1. ! 1. ! 1. ! 1. ! 1. ! 1. ! 1. ! 1. ! 1. ! 1. ! 1. ! 1. ! 1. ! 1. ! 1. ! 1. ! 1. ! 1. ! 1. ! 1. ! 1. ! 1. ! " # $ $ $ $ & & & ( ( ) ) . . 10 11 1" 1# 1$ 1$ 1& 1( 1( 1. "0 "0 "0
5o, to use the plug!ins

The Color 2actor& plug"in The Canon plug"in The ,irect !how plug"in The Waveform plug"in
5o, to use the scripting language A @eorge B

Introduction: what is +eorge 9 2inding, 6diting and *sing +eorge !cripts # few e amples of +eorge !cripts Programming in +eorge language Instructions et commands #n e ample of program written in +eorge (anguage) Commands ,escription # few useful options /ow to use the varia$les The operators at &our disposal The Param and Parse instructions, the launching modes) The character strings The arra&s 2unctions and procedures /ow to create li$raries of functions and procedures The !tartup)grg file /ow to create a Plug"in for T%Paint #nimation #dding arguments
Appendi; :
The video cards compati$le with T%Paint #nimation The digital camera working with the Canon Plug"in The +eorge instructions The +eorge language commands The main characteristics of the e port formats The availa$le ke&$oard shortcuts and commands The technical support and Internet resources A! A! A! A! A! A! A! " # $ % & ) 1&
Lesson 00 Introduction
Getting to know TVPaint Animation
TVPaint Animation is a program compiled for graphic design and 2D animation. This program is intended for drawing and animation enthusiasts. With its bitmap approach, its goal is to cover the main needs of the artist. It offers a complete range of high performance tools, the parameters of which ma! be set, whether for the la!man or the professional artist and !et still offers the creative feeling provided b! pen and paper. TVPaint Animation is home studio. "ased on TVPaint technolog!, which is renowned worldwide since its success on the Amiga in #$$# and constantl! upgraded for ever better performance, TVPaint Animation adapts to all production diagrams, whether traditional, full! digital or h!brid. Designed to wor% in all resolutions, it will delight all drawing enthusiasts than%s to its tools which offer limitless possibilities. &our creations are onl! restricted b! the boundaries of !our imagination '
Typographic conventions
In order to simplif! understanding of the techni(ues described, this user guide uses the following t!pographic conventions ) Italics ) the names of menus, buttons, tabs, windows, commands, tools *all elements referring to one of the ob+ects present in the program, are written in italics. -%e!. ) designates a %e!board shortcuts. -%e!#/%e!2. ) designates a %e! combination. 0eep the first %e! pressed and then press the second %e!. left clic% 1 right clic% *23", 43", ) these shortcuts refer to a clic% on the left or right mouse button. As !ou are advancing in this manual, !ou will encounter the following s!mbols) A s!mbol representing a light bulb indicates tips and hints for using the program.
TIP
4emar%
A s!mbol representing a warning sign emphasises information that re(uires particular attention and indicates an important comment.
4eminder
The reminder s!mbol characterises an! information the e5plication of which was alread! given in the manual. All the features with this s!mbol impl! that the! are available onl! in TVPaint Animation Professional 6dition.
Pro onl!
Lesson 1 First approach of TVPaint Animation
In this lesson you will:

Learn to open and close TVPaint Animation. Discover the various panels and windows. Start a project. Access InLine help. Set your preferences.
irst approach of TVPaint Animation
After havin! followed the installation instructions in the "ettin! Started !uide# you may now start TVPaint Animation. To do this# proceed as follows: $ Dou%le&clic' on the des'top icon or use the start menu (for )indows users*. $ Dou%le&clic' on the applications folder icon or doc' icon (for +ac ,S - and Linu. users*. The TVPaint Animation pro!ram and most of the associated files are saved in the /pro!ram0 directory of your operatin! system. To use TVPaint Animation# you may choose %etween the mouse or !raphic ta%let. The latter is more appropriate for persons wishin! to have that / freehand 0 desi!n feelin!.
The various program panels

)hen the pro!ram is started# the followin! screen appears.
1ere you will find a description of the various panels displayed on the screen.
The Menu panel
The first icons on this tool%ar concern the traditional functions found in all standard software pac'a!es: New (start a new project*# Load (load an e.istin! project*# Save (save current project*# Close (close the current project*. The followin! icons are used to open or close various TVPaint Animation panels (display coordinates# li!ht ta%le# timeline# etc.*.
2&3
The various pro!ram panels
To move the menu panel# clic' on the two left vertical %ars of the menu panel and hold the left mouse %utton# then move the cursor as re4uired. The menu Panel then appears as opposite in the form of a panel.
Main panel
This panel is used to draw se!ments# ellipses# rectan!les# curves#... 5rush selection and cuttin! options are also availa%le here.
Color picker
This panel is used to select the color in which you wish to wor'. Distinction is made %etween the A color (always referred to as main color* in the left rectan!le and the B color in the ri!ht rectan!le.
Tool panel
The tool panel contains a wide choice of %uttons correspondin! to traditional drawin! tools: air%rush# %rush# pencil# wet %rush# etc. Various parameters may %e set: si6e# power# opacity# etc.
2&7
Current project window
The current project window (or current drawin! space* is the one in which you will %e a%le to e.press your artistic talents and create a wide variety of animated se4uences.
The Timeline
This window is called a /timeline0 %y many users. It is used to mana!e your notes# your sound trac's# your layers and insert 'eys for your effects (we will discuss these points in su%se4uent lessons*. If the layer window is not visi%le on the screen# clic' on the Timeline icon on the tool%ar to ma'e it appear ('ey%oard shortcut 89: on the numeric pad*.
2&;
The Panel
ins
This feature is represented %y two availa%le free areas on each side of the screen. These two additional areas allow you to place and arran!e almost all the panels of TVPaint Animation. )ith this feature# the wor'space %ecomes totally clear.
The wor'space can now %e divided into ; main parts containin! the Current project window# the Time Line window and the two Panel Bins. A full section will %e dedicated to the Panel Bin feature in a ne.t lesson.
Main menu
TVPaint Animation has menus located just a%ove : File, Edit, Project, Layer, ma!e, E""ects, View, #indows, $elp. <ach of these menus offers specific options all of which will %e descri%ed in detail in this manual.
irst approach of TVPaint Animation 2&=
!orking in Full "creen mode

A %utton# located at the top ri!ht corner of your interface# will allow you to wor' in full screen mode and optimi6e the space on scree. ,n )indows et Linu. ,n +ac
#nfo ar
This n"o Bar is located at the %ottom of the TVPaint Animation window. It contains information that the user li'es to always have under their eyes.
$ The first %o. contains the coordinates of the cursor (.# y*# where the position (9#9* starts at the top left corner of the project. $ The second %o. contains the color of the ima!e when the cursor moves over the project. This color considers the Alpha channel value of the pi.el under the cursor of the project. It means that the selected %ac'!round color has no effect on these values. ()hen you start a new empty project# the ima!e is not w%ite %ut totally transparent# li'e this %o. will show you*.
$ The third %o. indicates the Pro.y state. 5y the way# if you preview an animation with some la!# this element will %ecome red.
$ The fourth %o. can display several informations : 5y default# it displays the title of the timeline. If the cursor is over a %utton with a help tooltip# the %o. displays instantaneously the first line of the help tooltip. And when a pro!ress %ar panel appears# the pro!ress line is also shown in this %o..
The last %o. contains all the &ooms# and !ives you the possi%ility to navi!ate %etween all of them. The &ooms section will %e seen further in a ne.t lesson.
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Some useful tips
"ome useful tips

Move a window
If for some reason you wish to move a window# this is done %y simply clic'in! on the title %ar and then movin! it to the re4uired location while 'eepin! the mouse pressed.
Close$ minimi%e or ma&imi%e a window

,n )indows# +ac and Linu.# three %uttons are present on most of panels and windows.
)indows and Linu. ?lose the software# the project@s window or the panel +a.imi6e A minimi6e the software or project@s window Beduce the software@s window in the tas' %ar or the doc' ?ollapse A uncollapse the project@s window or the panel A +ac
The si6e of some windows# the timeline for e.ample# may %e adjusted: it is possi%le to adjust their si6e with precision %y clic'in! on one of the ed!es. 5y the way# some shortcut may %e used : C 8?TBL D ): or 8?+D D ): to close a the project@s window (without closin! the project* C 8Shift D ): to close a project C 8+: to duplicate the window@s project (attention# this manipulation is visi%le only if your window@s project is minimi6ed*
"liders and mini'sliders
The element a%ove on the left is referred to as a slider. It is located hori6ontally under some windows (in particular under the current project window* or vertically ne.t to these windows. ?lic' on the arrows with the left mouse %utton or slide the rectan!le to view the content of the window with which the slider is associated# either up and down or left and ri!ht. As you have already !uessed: the element on the ri!ht is a mini&slider which may %e used to chan!e the numeric value or percenta!e ne.t to it with a left clic' and slide of the mouse on the dou%le arrow. )hen slidin! the mouse on a mini&slider# press and hold the ri!ht %utton to accelerate movement.
Alphanumeric fields
<ach time you rename a layer# project# effect or other element# you will %e as'ed to enter a te.t in this type of window. ?lic' on '( to confirm the name chan!e or clic' on Cancel)
The standard 'ey%oard shortcuts: 8?trlD-: (cut*# 8?trlD?: (copy*# 8?trlDV: (paste*# 8?trlDA: (select all*# 8?trlDE: (cancel* are valid in all alphanumeric fields (note that these shortcuts are valid for )indows and Linu.. ,n +ac computers the user presses the 8?md: 'ey instead of 8?trl:*. )hen re4uired they are accessi%le with a ri!ht clic' on the concerned field.
irst approach of TVPaint Animation 2&F
Some useful tips
Progress (ar
Sometimes application of an effect with TVPaint Animation re4uires a certain amount of processin! time. If your computer is carryin! out such an operation# the pro!ress %ar appears to inform you of the pro!ress of this operation. If re4uired# the 8<sc: 'ey may %e used to stop the operation in pro!ress.
!orking with projects

TVPaint Animation wor's with Projects which contain the artist@s creations. The notion of project is vast and further details will %e provided durin! the firsts lessons.
Create a new project

To do this# you may: $ Gse the File main menu. $ Gse the 'ey%oard shortcut 8ShiftDH:. $ ?lic' on the first icon to the left on the tool%ar. A panel then appears (see opposite*. This panel is used to define: $ The Name of your project $ Its #idt% and $ei!%t in pi.els $ The Aspect &atio of the pi.els $ The Frame &ate ( ma!es*sec)* $ The Field display mode
The Template concept will %e discussed in lesson =. The Project ta% will %e discussed in lesson I. Settin! each parameter to create an animation in the format of your choice may %e lon! and arduous. Therefore# a popup menu has %een added to the panel to allow you to set the various numeric fields accordin! to the most commonly used formats: PAL# HTS?# V"A# DTV# ilm# etc. Some of the pre&confi!ured settin!s: $ Display : the format of the screen $ ?lip%oard : if there is an ima!e in the ?lip%oard $ ?urrent ?ustom5rush if a custom %rush e.ists $ The ?urrent Project format.
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)or'in! with projects
TVPaint Animation uses all standard formats (even very hi!h definition* %oth for ima!e widthAhei!ht ratios ;A7 and 2>AI as well as others. ,nce all options have %een selected# clic' on New Project. A project window then appears on the screen (see %elow*. It is in this window that you will wor' and view your creations.
TVPaint Animation allows you to wor' on several projects at the same time. The ma.imum num%er of projects is limited only %y the capa%ilities of your computer.
View data relative to )our project
To view data relative to your current project (si6e# frame rate# ratio# etc ...*# simply move the cursor over the title %ar and hold it there. A small yellow window then appears with all the information you re4uire.
*ame a project
The default name for a new project is / Gntitled (92* 0# / Gntitled (93* 0# etc ... To render these names more understanda%le# it is possi%le to rename them as you wish. To do this# simply use the Project+&ename main menu.
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)or'in! with projects
!orking with several projects

TVPaint Animation offers the user the possi%ility to wor' with several projects on the screen at the same time. Kou can switch %etween the projects %y clic'in! on the correspondin! ta% :
If you open several projects# you can switch to the needed project than's to the little arrow on the ri!ht hand side. Please note the name of the open projects are listed in the menu #indows + Projects. The chec'ed name is the current project.
Close a project
A project may %e closed in four ways: $ Gse the %utton on the projects ta%. $ Gse the File + Close project main menu. $ Gse the 'ey%oard shortcut 8ShiftD):.
In order to avoid any mista'es# a confirmation messa!e will appear (see opposite*.
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The 1elp main menu
The Help main menu

#nLine support
At any time# a help function referred to as nLine %elp$ is availa%le in TVPaint Animation. +ove the cursor over the icon for which you wish to o%tain information (without clic'in! on it* and a %rief description of the icon you are pointin! at will appear to!ether with any associated 'ey%oard shortcut. ,pposite you will find the description correspondin! to the Stro,e tool. If you wish to reduce the content of the InLine help or prevent it from appearin! on the screen entirely# the correspondin! options are availa%le in the $elp menu.
The About+++ window

This section provides information a%out the pro!ram : $ name of TVPaint mem%ers $ name of %eta&testers $ date of creation $ serial and license num%er $ copyri!hts
The Check for Updates option

This option allows you to chec' directly on TVPaint DLveloppement@s we%site if there is an update for your software. If your version is outdated# you will %e allowed to download the latest version. Loc, and -nloc, codes are needed to perform this operation.
To ,uit the program

)e will now 4uit the pro!ram. To do this you may: $ ?lic' on the Close %utton at the top of the screen $ Select main menu File + .uit. $ Gse the 'ey%oard shortcut 8ShiftDM: ()indows A Linu.* or (+ac*
If you want to 4uit the pro!ram# with projects that still need to %e saved# a window as's if you want or don@t want to save all these projects %efore 4uittin!.
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The Preferences panel

The Pre"erences panel is accessi%le via the Edit main menu. This function is used to set various user options which ena%le re&or!anisation of the interface. It comprises si. ta%s: /eneral, 0isplay, nter"ace, 1emory 2 Cac%e, Sound, Startup.
The General ta(
The /eneral ta% indicated a%ove comprises five sections. $ The first section Language is used to select the 1+I lan!ua!e. At present# the user may choose %etween rench# <n!lish and Napanese. $ The second section Keyboard shorts is used to attri%ute 'ey%oard shortcuts to almost all icons and menu options.
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To create your own shortcuts# clic' on the Con"i!ure %utton in the second section. The window a%ove then appears. Kou have pro%a%ly noticed that when the InLine help appears# many tools# options# drawin! modes# etc. already have associated 'ey%oard shortcuts : don@t hesitate to chan!e them if they don@t suit to you. Any modification in that panel will cause a modification in the InLine help. ?han!in! the shortcuts is really a piece of ca'e : O The left&hand column indicates all 'ey%oard 'eys and 'ey com%inations with the associated functions when attri%uted. O The ri!ht&hand column indicates all TVPaint Animation functions which may %e attri%uted to a 'ey%oard shortcut. O The Assi!n %utton is used to assi!n a function to a specific 'ey or com%ination of 'eys (in which case you will create a shortcut for this function*. The com%ination 8?trl: D Assi!n is used to add a function to a 'ey. The various functions will %e e.ecuted in the order they were added. O The -nassi!n %utton has the opposite effect (in this case it deletes the shortcut*. O The File popup menu is used to save the ,eymap on your hard drive# load an e.istin! 'eymap# clear the current 'eymap or reset to the default 'eymap. $ The third section Temp Directory of the /eneral ta% is used to define a temp directory in which temporary TVPaint Animation files may %e stored. O This directory may %e modified usin! the associated te.t field or usin! the Set %utton (a file navi!ator window then opens*. O The temporary files contain data relative to the current TVPaint Animation session. Data relative to your animations is also stored here (for e.ample# the various sta!es of your wor' necessary for correct operation of the -ndo and &edo options*. The faster the data stora!e device on which your temporary files are stored# the faster TVPaint Animation will wor'. Always ensure this stora!e device has sufficient availa%le stora!e capacity. Ine.perienced users are not advised to chan!e the default location.
$ The fourth section of the /eneral ta% chan!es followin! your operatin! system. O )indows A Linu. : )indows and Linu. users can ena%le or disa%le the Su34Pi5el mode for future drawin!s. This is in direct relation with your hardware and# more precisely# with your !raphic ta%let if you are usin! one (we stron!ly recommend itP*. All the latest models of )acomQ ta%lets wor' in Su%&Pi.el# i.e. the ta%let precision is !reater than one pi.el on the screen. <na%lin! this function when suita%le hardware is used will allow you to use TVPaint Animation drawin! tools with a precision !reater than one pi.el P In the contrary case# if your hardware does not support this function# ta%let mana!ement may %e ne!atively affected (drift %etween the true position and the position of the cursor on the screen# for e.ample* and will deliver results considera%ly different to those e.pected# in particular if you wor' with a platform of the Ta%letP? type or in dou%le&screen confi!uration. )e therefore recommend you chec' the compati%ility of your hardware to %enefit fully from this function.
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The )inta% option# when ena%le# allows you to use )acomQ drivers installed on your computer. If you are usin! another 'ind of ta%let# %ased on the )indows@ In' drivers# you can disa%le the #inta3 option. O +ac ,S - : there is an additional ,pen"L option. )hen this option is chec'ed# it is ,pen"L which displays all the interface of TVPaint Animation instead of Muic'Draw. 5ut# as it is said in the warnin! messa!e %efore the confirmation to use this option# the ,pen"L support is e.perimental with 'nown %u!s. O That section also holds the Stro,e Animator option. It is a li'a%le function which allows to draw on a layer# durin! this one chan!es the current ima!e each time the current tool is applied on the ima!e. or e.ample# drawin! with Free$and 0ot tool will apply each dot on a different ima!e in the layer if this option is ena%led and the 8?trl: 'ey held durin! the drawin!. $ The section a!e Alarm allows you to set an alarm that will remind you to save a project after a certain amount of time. This time can %e defined in minutes in the te.t field %elow. At the end of the !iven time# a pop up alert will appear and will as' you to save your project :
$ The section "ackup Auto !enerates automatically %ac'up files each time you will save# allowin! you to !et %ac' your project# in case of pro%lems (crash# lost file# human error# corrupted file etc...*
In the present case# R3S is written in the 5ac'up Auto. It means each time you will save# there will %e a shift %etween two %ac'up files# plus a save on the main file (in .tvpp*. 5ac'up files are savec at the same place than the ori!inal .tvpp project and are named as follow : RfileTname.tvpp.Kear.+onth.Day.1our.+inute.SecondS.
<ach time you will save# the more ancient file will %e modified# with a new date and hour. To open a %ac'up file# you just have to delete the part with num%ers# in order to 'eep only RfileTname.tvppS. An alert messa!e will as' you if you want to convert your file as a .tvpp file. Accept# in order to open easily in TVPaint Animation. Kou can also dra! and drop the file directly in TVPant Animation. $ The section "arbecue# once chec'ed# will use your computer@s resources at a ma.imum level. Kou shall avoid it if : O you are usin! a porta%le device (your %attery life will really poor* U O you are usin! other software# ea!er in ressources (crash ris's*.
2&2;
$ The last section T#PP compression allows you to compress the si6e of your TVPaint flies (.tvpp*# %ut 'eeps the same ima!e 4uality. ?ompressed files cannot %e read %y TVPaint Animation versions older than the 29.= version.
The Display ta(
The first section in the 0isplay ta% concerns %rush and tool display (the latter will %e discussed in detail in lesson ;*. $ The Tool 0isplay %utton is used to mas' the tools preview when they are used as drawin! tools. ,nly the mouse cursor remains visi%le on the screen and a frame indicates the e.act location of the tool. This option is sometimes practical when wor'in! on a computer with limited resources: the use and display of lar!e tools may slow the computer down. $ )hen $ide s%ape display is disa%le# you could see the display of the current %rush when usin! a shape tool# such as &ectan!le or Ellipse)
$ The second section with the Layer cons option shows all the thum%nails in a layer when a se4uence is imported. It can ta'e time to load and read all the ima!es in the se4uence to ma'e the thum%nails# that@s why it can %e disa%led and only the first and last one will %e displayed.
irst approach of TVPaint Animation 2&2=
Layer $cons option -na(led
Layer $cons option .isa(led
Kou can also disa%le or ena%le this option in the timeline
$ The last section contains several options for the Panel Bins feature. These functions will also %e discussed in the same lesson than the way to wor' with the Panel Bins. 1ere is only a %rief description : T The left and ri!ht options display or not the left and ri!ht Panel Bins. T The options a%out the Time Line panel allow to display it differently.
/ori%ontal Timeline
Vertical Timeline 2&2> irst approach of TVPaint Animation
$ The last section activate the Time code : your project will not %e presented with a frame rate# %ut with a time code.
The $nterface ta(
$ The first section 6Color6 of this ta% may %e used to modify the pro!ram interface colors. The default colors used in TVPaint Animation are li!ht !ray in order not to interfere with the colors used in your projects. 1owever# you are of course free to modify these colors as you wish. O The first popup menu allows you to select the element for which you wish to modify the color (%uttons# te.t selected# sliders# etc.*. To the left of each element name# you will find a little colored %o. which shows&& the current color of the element. O He.t to this field you will find a s4uare %o. indicatin! the display color of the interface element selected. Simply clic' on this %o. and then select any color on the screen to %e assi!ned to this element. O The Color sc%eme popup menu is used to 4uic'ly select a set of predefined colors or the default color scheme for the interface. O The $i!%li!%t mini&slider# the Border and 1irror options !ive a new !radient loo'.
O The Save and Load options allows to share the interface settin!s.
irst approach of TVPaint Animation 2&2F
7 The &eset %utton is used to return to the colors present when your confi!uration was loaded. O The Apply %utton applies the selected colors to your current interface. $ The second section 6Cursor6 allows you to choose the Style of your cursor. The different choices are: cross# arrow# point or circle as illustrated here.
,n )indows# four additional cursors are also availa%le (Pen from 2 to ;*# with the last one specially made for the left&handed persons. $ In the third section 6#indows6# the 1a!net option allows the various interface windows to %e snapped to other windows and menus. This allows mana!ement of the interface to %e 4uic'er and more practical. Kou may also choose to display the pro!ram without tool or title %ars (for windows users*# which increases the project wor'in! area. $ The fourth section 6File re8uester6 is used to select which type of file re4uester is to %e used. 5elow you will find e.amples of TVPaint Animation specific as well as standard )indows and +ac ,S - file re4uesters.
TVPaint inter"ace
#indows inter"ace
1ac inter"ace
Linu5 inter"ace
The TVPaint Animation file re4uester is common to many software pac'a!es developed %y TVPaint DLveloppement and is present in your pro!ram re!ardless of your specific operatin! system. The Never con"irm %utton# when tic'ed# cancels the confirmation re4uest which normally appears when a file is deleted or rewritten.
2&2J
$ The ne&t section 6Project window6 contains a tic' %o. used to place the current project windows %ehind the other interface panels. $ The last option -se TVPaint 1enu is only availa%le for +ac ,S -. )hen this option is chec'ed# the main menu of TVPaint Animation is %oth availa%le in the +ac menu and inside the TVPaint Animation window.
The %emory & Cache ta(
This ta% first displays the physical memory availa%le on your computer. $ Nust %elow this field you will find a numeric field and mini&slider ne.t to it. This field is used to attri%ute the amount of memory you re4uire for the -ndo option which allows you to /return0 to and undo the previous steps when drawin! on the screen. The hi!her this value# the /further %ac'0 you may !o. 1owever# this default value is lar!ely sufficient. $ TVPaint Animation uses the physical memory of your computer and one or several temporary files as discussed in the /eneral ta%. Kou may want to allow TVPaint Animation to mana!e this function automatically or impose a ma.imum cache si6e to %e used (this may %e useful if you are wor'in! simultaneously with several pro!rams demandin! a lar!e stora!e capacity*. )ith re!ard to this point# it should %e noted that TVPaint Animation mana!es operatin! systems usin! over 7#3 "i!a%ytes of physical memory (for >;%its versions*.
The ound ta(
All these options will %e deeply developed in Lesson J. The first section is dedicated to the scru%%in!# and the second section to the audio fre4uency inside TVPaint Animation.
2&2I
The tartup ta(
In this Startup ta%# it is possi%le to choose what 'ind of project will %e opened at the startup of the software. The first popup menu allows you to select the project parameters which will %e used# li'e the )idth# 1ei!ht# ields# rame Bate# ... . $ R&emem3er last used con"i!urationS will 'eep all chan!es you made in the interface of TVPaint Animation. 5e careful# you must close the software correctly to save your choices. $ R(eep always t%e same con"i!urationS is very useful for schools and trainin! centers where students must 'eep a default interface. )hatever how many chan!es you@ll %rin!# each time you will re&open the software# you will 'eep the interface %y default. $ R'pen Startup PanelS : It is possi%le to open the startup panel when the software starts. See further to have more information a%out this panel. $ RTemplateS : It is possi%le to use a template. )hen this option is selected# a second popup appears to %e a%le to select what template will %e chosen. $ At least# R'pen last used project at startupS will open the last project you used with TVPaint Animation. The "tartup Panel In this panel# there are two parts for the ?onfi!uration and the Template mana!ement. A confi!uration contains a lot of useful informations li'e the layout of panels# the interface colors# the palettes# etc V
)ith the Professional <dition# it is possi%le to create several 'ind of confi!urations
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or e.ample : a confi!uration adapted to dual&screen computer# a confi!uration adapted to 1DTV# another one with other interface colors# etc V The current confi!uration can %e saved when you 4uit the pro!ram. The startin! panel of the pro!ram allows you to mana!e the confi!urations. )hen restartin! TVPaint Animation Professional <dition# the user may either create# copy or delete a confi!uration(you can also select their storin! folder*. $ To create a new confi!uration# clic' on the dedicated %utton in the window which first appears when the pro!ram is started (see %elow*. $ To duplicate an e.istin! confi!uration# clic' on the Copy %utton in the same window. A te.t window will appear. Kou may enter the name of the duplicated confi!uration in the te.t field and then validate it %y clic'in! ,W. $ )hen a confi!uration is deleted# all effects# %rushes# palettes# shortcutsV used previously will %e lost. ,f course# if you saved them in advance# you can reload and re&use them. 5y default# the confi!urations are located in the folder : ' C'(Documents and ettings(your)name(Application Data(T#Paint Animation *+ ,pro-( for )indows users . Home Directory/Library/T#Paint Animation *+ ,pro-/ for +ac ,S - users (%e careful# Li%raries are hidden on +ac Lion and +ountain Lion* . Home Directory/0t!p/ 5e careful# )tvp is a hidden folder
The second part# concernin! the Template# allows you to start the software with a project which has all the parameters !ivin! here. The From File popup menu allows you to start the software %y loadin! one of the ten previously used project.
"ome details
?reation of a new project re4uires some additional e.planations which you will find %elow:
!orking without the notion of .P#

Kou may already %e used to the notion of DPI (dots per inch*. The DPI is a pi.el density unit often used in ima!in! and printin! software pac'a!es. The hi!her the DPI value of an ima!e# the more pi.els it contains and the sharper the printed ima!e will %e. In the animation field# the measurement used is the pi.el. The notion of pi.els is more practical as it adapts to the specificities of %oth metric and non&metric systems. or e.ample: the <uropean PAL format uses a resolution of F39 pi.els in width and =F> pi.els in hei!ht# whereas the American HTS? format uses a resolution of F39 pi.els in width and ;J> pi.els in hei!ht. The !lo%al si6e of your animation in centimeters# meters or inches depends entirely on the TV or cinema screen used to view them.
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Some details
The notion of pi&el aspect ratio

The pi.el aspect ratio is the multiplication coefficient which lin's the pi.el width to the pi.el hei!ht. Dependin! on the video formats# the pi.els may %e either s4uare or sli!htly rectan!ular. Left: (pi.el width* X (pi.el hei!ht* . 3. The ratio is therefore / 3 0. Bi!ht: (pi.el width* X (pi.el hei!ht*. The ratio is / 2 0 and the pi.els are s4uare. The pi.el aspect ratio has a value of 2.9>F for the PAL format and a value of 9.I for the HTS? format. Avoid confusion %etween pi.el aspect ratio and widthAhei!ht ratio of a video (;A7# 2>AI# V*. The ratio is the widthAhei!ht ratio of the pi.els. Gsin! ratios needs a serious 'nowled!e in the video environment. If you %e!in in that domain# we advise you to choose a simple ;A7 or 2>AI format with a s4uare ratio (e4ual to 2*. or e.ample# J99 . >99 for ;A7 or 2>99 . I99 for 2>AI.
Video fields
Hormally# a video ima!e is composed of two fields which alternate at a speed which is too fast for the human eye# these fields are referred to as upper fields and lower fields. A field is a vertical half& resolution ima!e which contains every other line of the ima!e. Interlacin! of these fields is lin'ed with the PAL# S<?A+ and HTS? standards. In PALAS<?A+# the upper fields appear first# whereas in HTS? it is the lower field which appears first.
This framin! techni4ue# even if twice as many ima!es are re4uired for the same video (=9 instead of 3= ima!es per second in PAL mode*# has %een adopted in order to improve the 4uality of ima!e movement and precision. Ta'in! advanta!e of the persistence of vision effect# it also allows the user to wor' with lower resolutions. The use of video formats with fields is possi%le in TVPaint Animation. )hen creatin! a project# it is therefore necessary to indicate which of the two fields will %e displayed first usin! the Fields popup menu. The option None (pro!ressive scan* in this menu is used to create a project without fields (/ighl) advised 0*
2&33 irst approach of TVPaint Animation
Lesson 2 Drawing basics
Learn how to handle the various tools: airbrush, penbrush, wetbrush, pencil, mechanical pencil. Discover the various facets of the color picker. Draw simple geometric shapes and floodfill surfaces. Study the notions of opacity and transparency of a pixel. Study the notions of colored background and layers. !se and manage papers !se floodfill tools "gradients, opacity mappage...#
Drawing basics
It is very easy to draw using $%&aint 'nimation. In this second lesson we will draw a small house "see below# using $%&aint 'nimation(s tools. In this way we can study the basics which will allow you to express your artistic talents.
)ven if it is possible to draw with a trackball or mouse, it is strongly recommended to use a graphic tablet e*uipped with a stylus. $his tool re*uires getting used to for beginners but it is much more natural to use for drawing.
Manage drawing tools

Presentation of the drawing tools Drawing tools are located in the main panel. $hey determine the use of your tool : stroke, line, rectangle, ellipse, floodfill tools...
$his one active the Stroke. If you click on, you a pop+up menu will appear and you could choose Dot, One point Dot and Filled stroke. $his last tool is a filling tool. It will be explained later in that lesson, with other filling tools.
$his one active the Line. $o trace a line in your drawing space : , -lick on the first tip , .old the click and move your mouse , Drop the button to create a line .old /Shift0 to draw a perfect straight line. $his shortcut works with Lines, Dot and Stroke.
1y the way, if you hold the click on the Line(s icon, you will have the possibility to use the tool Fill line. 's a filling tool, its parameters will be explained later in that lesson, with other filling tools.
$o draw a rectangle, click on the center of the image and, without letting go of the mouse button, slide it towards the bottom right hand corner. 2elease the mouse button. ' gray rectangle has now been drawn in the current pro3ect window "see diagrams below#.
4+4
Drawing basics
5anage drawing tools
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.old /Shift0 to draw a s*uare instead of a rectangle.
$his icon is used to draw Ellipse. 6n the drawing space, click on the ellipse(s center, then hold the click until you obtain the wished ellipse. &ress /Shift0 if you want to obtain a perfect circle. If you click on that icon, you could choose different circle modes, such as 2 pts circle and 3 pts circle. $he first one creates a circle by defining its diameter. $he second one creates a circle by defining a diameter and a rotation angle.
77
77
2 pts circle
$his icon will give you an access to different Splines. 1y default, you can draw 3 points splines, but you can also draw multiple points splines, such as Beziers splines and B-Spline splines.
HUD
3 points spline
$o draw a 3 pts spline in your drawing space : 8 click on the first tip 8 hold your click and move your mouse or stylus 8 drop the button and the opposite side 8 move again your mouse or stylus 8 click again, once you are satisfied of your spline. 9hen using the B-Spline or Beziers spline, hold /Shift : Suppr0 to delete the last placed points.
Drawing basics
4+;
HUD
B-spline
$o draw a multiple points spline in your drawing space, click several times with your mouse or stylus to build a line broken by yellow lines or punctuated with red dots. $hese both tools are very useful, because you can modify dots or lines. ,click on one of them and move your stylus in order to edit the spline. If you are using the 1e<ier spline, you can even use the tangent(s handles , for more precision, press /-trl0 to move only one handle in the tangent. ,press /-trl0 and click anywhere on your drawing space to move your spline. , =ou can also close the spline thanks to the option Close spline in the pop+up menu, that will appear if you right click. , $hen, always thanks to that pop+up menu, you can Apply Spline. =ou can also use the key /)nter0. , $he option Add to in saves the current spline, in order to use it later "the software will ask you a name to save the spline#. $o re+use a spline, open the pop+up menu and choose it among the different names proposed at the bottom. $he pop+up menu can appear only if you started to draw another spline. =ou can also delete a spline via the Er!se menu. $he aspect of circles, rectangles, splines... that you obtain depends on the current tool : mechanical pen, pen brush, airbrush, crayon... "see below#. &lease note if you want to use parameters of the current brush, use F!de connection. -onnection will be discussed on lesson >.
circles / lines / Bezier splines applied with different tools! 4+? Drawing basics
"etting the tools

=ou have numerous variables at your disposal to set your drawing tools. 9e will see in details the use of the Air r"sh tool "the other ones will be explainesdin lesson ># : , $he variable Size defines the tool radius in pixels. , $he variable #ower defines the color *uantity applied by the tool. , $he variable Op!city defines the global tool opacity. $he opacity defines a maximum opacity threshold which the drawing tool cannot exceed. , $he variable Aspect enables flattening of the current tool. , $he variable An$le authorises rotation around the tool @ axis. , $he variable Step, if enabled, manages the waiting time between two applications of the same tool. , $he variables Dryin$ and %r!dient will be discussed further in that guide.
In the little window to the left, it is possible to view the effect of the modification of each of the first five variables on the tool.
Some examples to help you understand the notions mentioned above:
See opposite, a straight line drawn with, from top to bottom, the percentages ;AAB, CAAB and AB for the Step variable.
$%&aint written with the airbrush tool : An$le D EAF and Aspect D 4AB
&ech!nic!l pencil tool left without S'oothin$, right with s'oothin$.
If re*uired, the 2eset button resets the settings of the current tool.
Drawing basics
4+G
"etting of the br#sh profile

$he right field in the tool panel provides a view of the drawing tool cross section. 1elow you will find two profile examples for the airbrush drawing tool.
left to right$ profile% three-di&ensional 'iew of the tool and its effect on the screen(
$he profile of brushes may be edited in the window shown opposite. -lick on the profile of the tool you are using to make it appear.
=ou have the choice : , to create or delete the points of the spline "by left+ and right+clicking on the profile line#. , to move the latter. , to flip to the spline along the hori<ontal or vertical axis. , to delete the current point. , to choose the method applied to connect the points with each other: Line!r, Spline or #olyno'i!l. , to select a pre+defined profile.
$here are 4 ways to select a profile : H $he first is as for the palettes and mixers, $%&aint 'nimation offers you the possibility to Lo!d% S!(e and )eset the profiles from a file via the Bin popup menu. H Ior the second way, the Bin popup menu allows also to Add*)e'o(e custom profiles inside the software and Select a custom profile to use and display it on the screen like on the opposite image.
4+J
Drawing basics
)cti'ate Line smoothing

$his feature is located in the menu +indows , Settin$s. =ou can also open this panels with a right click on any button from the 5ain &anel. , 6ption So"rce is used by other modes such as #!nto and -e!lin$. $his option will be explained later. , #!nto !d."sts the #!nto mode. It is explained in the next sub+ chapters. , -e!lin$ ad3usts the -e!lin$ mode. It will be explained later. , $he last section is the option allowing you to smooth your lines. $hanks to that feature, your lines will be optimi<ed, making easier the inking step.
+$he option Acti(!te enable the lines smoother +$he option )e!l /i'e enable the lines smoother in real time. 9hen activated, the lines smoother will works when drawing. +$he option S'oothin$ indicate in pixels the distance used to define the smooth. $he more this value is high, the more your line will be smoothed.
If you activate )e!l /i'e, the more your value will be high, the more your cursor will move forward some pixels from your line. If you disable this f unction, your line will smooth when you will drop the click.
Kot activated 'ctivated : 4G 'ctivated : GA 'ctivated : CAA
Drawing basics
4+>
!se colors
Use colors
A *olor and B Color
' very good tip: It is possible to invert the two colors A and B of the color picker using the keyboard shortcut /K0 or this little button -olor panel has ? tabs that we will study in detail : -ursor, &icker, 5ixer and 1in.
+%,%B and H%"%L color s-ste&s Cursor tab!

$he Slider tab of the color picker is the tab proposed by default. It is possible to define a color following different components :
H 2L1 : 2ed, Lreen, 1lue
H .SL system: .ue, Saturation, Luminosity
H .exadecimal : ideal for webdesigners. =ou can move the cursors with a left click to the wished color. =ou can also move them with a right click on the wished nuances. 6f course, you can also use the alphanumerical field.
Picker .ab
Lo the the #icker tab of the color picker panel and choose a color as in the diagram opposite: a gray color with a slight yellow hue. $he choice of this color is important for the continuation, in particular for studying the drawing modes. =ou will notice that the 2L1 information is indicated at the bottom of the panel, you can try to get as close as possible to them.
' right click on the same window enables the choice of other ranges, the colors of which vary according to hue, luminosity and saturation or according to the intensity of the colors red, green and blue. =ou can also make bigger this window, in order to pick up a color more easily.
4+M
Drawing basics
!se colors
Mixer .ab
, a left click on the mixer surface incorporates the A color to the visible mixer which can then be NspreadO. , hold /-trl0 to select a color in the palette "you can also use the color picker, in the red circle# , hold /'lt0 to smear colors in the palette , hold /Shift0 to erase the colors If you are not satisfied with the color obtained, you can delete it with the Delete &i0er choice. ' right click under one of the two tabs enables display of a contextual menu which is specific to this purpose and offers many choices "see opposite the &i0er tab menu #. 't first you can choose to work with pre+defined mixer surfaces: blue, clouds, inks, dirty, nebula, etc.
If the mixers proposed are not what you want, $%&aint 'nimation also offers you the possibility to create, duplicate, rename and cancel your own palettes or mixers. $hese options are also accessible via the contextual menus "see above#.
Bin .ab
$he contextual menu "right click# will allow you to work with different pre+defined palettes : Lrey, $%& C, 4, ; and ?. In 1ew #!lettes, you can create an E'pty #!lette, D"plic!te c"rrent p!lette, create a 1ew p!lette 2ro' i'!$e "already imported# or create a 1ew p!lette 2ro' l!st "sed colors. Like in the contextual menu of the mixers, it is possible to manage the current palette with )en!'e and Delete #!lette. 6ther additional choices are proposed in the contextual menu : )epl!ce color, Sw!p color, Spre!d and )e'o(e color. $hese options directly behave on the current palette. 2espectively, you can replace the color s*uare by the A color, swap colors from two s*uares, spread colors from a s*uare to another and, at least, delete a s*uare. =ou also have the ability to turn a palette into a c"sto' p!nel. C"sto' p!nels management will be explained in lesson CE.
Drawing basics
4+E
!se colors
Last, but not least, you also have the possibility to change the s*uares( si<e through the option PColors sizeQ.
't any moment, you can import or export palettes and mixers in the sub+menu P FileQ. It allows you notably to share your colors with several $%&aint users, even if it is more advised to use c"sto' p!nels, in order to share also brushes and even scripts. =ou can find the mixers and palettes provided by default with $%&aint 'nimation with parameter De2!"lt "#!lette or &i0er#. $he pre+defined palettes et mixers will be restored by resetting your $%&aint 'nimation configuration. =ou should note, however, that the last two operations will delete the palettes and mixers that you have created yourself unless you have exported them previously. If the Sliders tab of the color picker is not selected "i.e. on each tab of the color picker except Sliders#, a line at the bottom referred to as St!t"s !r is visible. $his line is used to display the A color with 2L1, .SL or hexadecimal values. -lick on this bar to change the display.
*olor Histor9hen you draw with $%&aint 'nimation, the history of colors you have used is accessible with a left click on the button "see opposite#. It is therefore very easy to re+use a color that you have recently used. $o delete all the colors, simply click on the Skull button.
+eco'er a color fro& the screen

It is possible to recover a color among those present in the current drawing in order to work with it again. $o do this: either click on the A color "on the diagram opposite, the main color is marked with a circle# or on one of the two -olor &icker icon. $he cursor of the mouse or tablet appears with a *uestion mark. =ou may then point the cursor wherever you want, the A color will change into the color you point at. $he shortcut for this action is the /R0 key.
4+CA
Drawing basics
!se colors
It is possible to shade the A or B colors by left clicking on the latter in the main panel or the color picker and then keeping the /-trl0 button pressed when moving the mouse to another color on the screen.
.he Color Variations panel

$he Color 3!ri!tions panel is accessible thanks to a right mouse click on the color box of the main panel or via the +indow main menu. It puts at your disposal several ranges of color, derived from the current A color. H Some luminosity variations based on the A color. H Some saturation variations based on the A color. H Some chromatic variations based on the A color. H $he Step option allows to ad3ust the chromatic variation. If the lock button is checked, the color boxes will stay the same whatever you do. If the Lock button is not checked, the color boxes are automatically refreshed if you change the A color. "' simple click on a color of the Color 3!ri!tion panel will change the A color into the one you have chosen#
Use filling tools

/illing tools presentation
&reviously, we studied the shape tools "stroke, rect!n$le, ellipse...etc#. 5ost of these tools has a variant, allowing you to fill a <one : 2illed stroke, 2illed rect!n$le, 2illed ellipse... etc.
$hese tools have more or less the same options than the Flood2ill tool "on the right#. If you are usin the Filled line tool, hold /-trl0 to switch in mode Filled stroke.
/loodfill0s smooth, opacity and a-aliasing

, S'ooth : indicate with a number a *uantity of pixels that will be used to make a gradient from transparency "external# to opacity "internal#. , Op!city modifies the global opacity of your filling tool. : the more your value is weak, the more the result will be transparent. 4 AAli!sin$ anti aliased the result
*olor gradient
$%&aint 'nimation allows you to create gradients with filling tools if you enable the %r!dient option. =ou can also open the panel Color $r!dient "see next page# if you right click on the gradient "after you activate it# or if your go to the menu +indows , /ools.
Drawing basics
4+CC
!se filling tools
, $he first hori<ontal bar represents the aspect of the gradient as it will be displayed on the screen. , $he second bar displays the colors chosen for the gradient. In our case, the two keys at the end indicate the A color on the left and B color on the right. , $he third bar indicates the opacity chosen for both colors.
$he keys are symbolised by a colored rectangle o(
's for the mixers and palettes, there are pre+defined color gradients which you may Copy, )en!'e, Delete. $hese pre+defined gradients are accessible in the popup menu indicated in the image below in the %r!dient panel, on the top+left corner. It is also possible to create your own gradients according to your color and opacity criteria: , ' right click on one of the keys of the color bar enables you to either delete the key, to assign the A color or B color to it or to pick a color. , ' right click on one of the keys of the opacity bar enables you to either delete the corresponding key or to set its opacity "or alpha value#. , $he spre!d number field mixes the pixels within the current gradient. , $he Dither numeric field works in the same way as the Spre!d numeric field but uses colors which are not necessarily among those you have chosen, although they are *uite close to them "this process is often used in the video sector#. , $he 5n(ert option flips the current gradient. , $he cursor enables calibration of the transition area from one gradient to another. , $he File popup menu enables you to load or save your gradients on a memory support. =ou may also choose to recover the pre+defined gradients of $%&aint 'nimation if re*uired. 9hen the gr!dient field is ticked on the Fillin$ sh!pe panel, several types of gradients are available to you "click on one of the five buttons on the panelS#. 9hatever your choice may be, you will have to draw a vector on the screen to determine the direction and extent of the gradient "see below#.
From left to right the gradients Linear, !pherical, BiLinear, "adial and "ectangular .
4+C4
Drawing basics
!se filling tools
-olor gradients and drawing tools 'ssigning a color or opacity gradient to a drawing tool provides a wide variety of interesting visual effects "see example oppositeS#. $he more power applied to the tool or the more repetition on the screen, the more its color will cover the gradient chosen.
#pacity mapping
$his window is accessible with a right click on the corresponding field of the Fillin$ Sh!pe panel and enables precise definition of the opacity and transparency areas when applying a filled shape. =ou may draw the spline of your choice on the T and = axes by placing points at your convenience. $hree types of interpolation are available to connect the points with each other: Line!r, Spline or #olyno'i!l. In accordance with your settings, a new opacity mapping will be defined. $he two red splines define the opacity of each point of the map as indicated in the dotted example.
$he File popup menu enables saving, loading or resetting the opacity mapping. It allows in addition to Add*)e'o(e a custom opacity mapping and Select one from the 1in. If re*uired, you may swap the two splines corresponding to the T axis and = axis of the mapping "Sw!p button# or flip each spline vertically or hori<ontally "Flip 6 and Flip 7 buttons#. $he Copy button is used to copy the current spline "the one that has a point selected thus yellow# on the other axis. 6n the image above, the current spline is the = spline. =ou may also ad3ust the mapping by clicking on the image and sliding the mouse. .ere again, you have pre+defined parameters at your disposal in the 1in menu. Lo to File , Bin and select the pre+defined mapping of your choice.
$he icons at the bottom of the window have a special function. $hey enable you to choose how the op!city '!ppin$ will be applied in the filled shape you will draw. Let(s take for example the opacity mapping "left# in order to floodfill a shape created using the spline tool "see below#.
Depending on the options chosen at the bottom of the panel, the opacity mapping will be applied:
Drawing basics 4+C;
!se filling tools
, without modifications "C# , adapting to the shape you will floodfill "4# , according to a vector of your choice ";# , in a circular fashion along a vector "?#
"C#
"4#
";#
Ior case ";#, you must draw a vector on the screen, as you have done for drawing a gradient.
Ior the fourth option, modify the T spline as shown in the example opposite.
Ior case "?#, you must draw a vector on the screen. Kote that the option on the = axis is disabled.
"?#
"o&e re&ar1s for #sing the 2pacit- f#nction

$he %r!dients and Op!city '!ppin$ functions combined for use in a layer are very useful for creating effects of lighting or transparency independent of the background color or scenery "as they are not part of it#. $his is the case for windows, tinted windows, lamps, pro3ectors, etc S
'bove, the opacity gradients were used on a layer to create car headlights. $hey must no longer be modified when the background color changes, which results in considerable time saving.
4+C?
Drawing basics
!sing papers
Using papers
How to #se papers
'part from reproducing a given pattern, the papers may be used to simulate drawing on a real paper. $he combination of papers with different drawing tools provides very realistic results and enables imitation of different drawing styles: charcoal, painting on glass, lithography, etc. "see below#
Some images are constructed using many papers. $he image opposite, for example, which is available on the -D was compiled using ten papers.
&apers can be activated by a simple click here, in the main panel :
If you right click on this icon, you will open this panel : 't the top of the &aper panel, a menu allows you to select papers in different directories. , All : Display all the papers available in all directories. , /3#!int Ani'!tion : Display all the papers which are in the installation directory of $%&aint 'nimation. , 8ser : Display all the papers which are located in the user configuration.
Kumerous options are available in the papers window. =ou may: , 5odify -!rdness, Size and An$le of your papers.
Drawing basics
4+CG
!sing papers
hardness 333
hardness 443
hardness 5663
size 2663
size 5663
size 763
angle 68
angle 468
angle 5268
, 5n(ert the papers "1e$!ti(e option#.
original paper
in'erted paper
, -reate a symmetry along the hori<ontal axis or vertical axis before application "options Flip 6 and Flip 7#.
original paper
s-&&etr- along 'ertical a9is
4+CJ
Drawing basics
!sing papers
*reate and &anage -o#r own papers

, 2ight click on one of the papers in the papers window to either choose the latter or delete it. , 2ight click on the part of the window that does not contain any papers to create a new paper from the current image.
"elections% crop and transfor&

.he 'ario#s t-pes of selections
Six icons in the main panel are used to enable these selections. , 2ectangle select , -ircle select , Ireehand select , Select with &!$ic w!nd , Splines select
$he last function allows you to clear the selections.
*o&ple9 selections and br#sh creation

$hat(s not all, the Selection tool window opposite extends the range of possible actions. Irom the popup menu: , $he Add and S" options may be used to create complex selections: the Add option allows you to add a new selection to the previous selection while the S" option, as the name implies, will remove the new selection from the previous selection. =ou may obviously combine various Selection tools with each other in order to obtain the re*uired selection. , $he effect of the )epl!ce option is that drawing a new selection will automatically replace the previous selection. , $he S'ooth option works in the same way as that presented in lesson ; to draw a filled rectangle. , 9hen checked, the Anti-Ali!sin$ box smooths the contours of the future selection. , $he 5n(ert button inverts the current selection. , $he Cle!r button deletes it. , $he four buttons which follow are used to copy or cut the pixels contained in the selection and incorporate them in a new layer or new brush "animated brush or animation layer, if several images were selected previously#. , $he Crop button is used to create a new pro3ect containing only the contents of the selection. =our new pro3ect will contain an image or animation layer depending on whether you have selected
Drawing basics 4+C>
Selections, crop and transform
one or several images in the current layer. If your current pro3ect contains several layers you will find the same number of layers in the new pro3ect.
.he transfor&ation tools

It is possible to transform all or part of several images using the three tools shown opposite: #!nnin$, /r!ns2or' and +r!p. These three tools have in common two parameters, that can be found at the top of the tool panel. Those parameters are Shift and Fill :
2riginal i&age
!hift option
Fill option
The option Fill will loop the image, contrary to the option Shift, that cuts definitely the image. Of course, these parameters are memori ed, even if you use different tools.
.he Panning tool

$he #!nnin$ tool is used to move an image or a selection on the screen, pixel by pixel, with a left click : slide of the mouse. , If your check the &o(e 5'!$e the current image will be taken into consideration when shifting "like in the example above#.
: If you check the &o(e Selection Sh!pe box, you will move the selection shape, without modifying
the image :
2riginal i&age
Fill option
!hift option
4+CM
Drawing basics
, If you check the &o(e Selection Content, you will move the selection and its contain at the same time "see the image#.
, If you check in more the &o(e C!'er! box, you will move your image and you camera movement "more information about the C!'er! tool, please read lesson E#.
.he $ransform tool

$he /r!ns2or' tool in the main panel is used to shift, rotate, increase or reduce the image. $his tool is also accessible thanks to the shortcut /-trl : $0. , $he #!nnin$ 6 and #!nnin$ 7 variables are used to translate the image on the screen. $he Center button is used to re+center it. =ou can also use the shortcuts /-trl:M0, /-trl:J0, /-trl:40 and /-trl:?0, to respectively move your image at the top, on the right, at the bottom and on the left. , $he Sc!le variable is used to modify the si<e of the image "increase or decrease#. , $he An$le variable is used to rotate the image. 4 /he )eset "tton resets the settin$s. , $he AntiAli!sin$ popup allows you to choose the precision with which the image contours will be smoothed.
;one
Medi#&
Best
Better
Drawing basics
4+CE
, $he part PApply on9 will allow you to choose if your changes will apply on the C"rrent l!yer, the C"rrent $ro"p or All l!yers. , Iill satisfied with the settings, the Apply button is pressed to finish the operation.
2riginal i&age
Mo%e image and !hift &ode
Mo%e i&age and Fill &ode
Mo%e selection content
$o move several images at the same time "with /r!ns2or' and #erspecti(e tools#, select them all in first befor applying the change. 1y default, the tool will apply on instance(s heads only. 9e will explain everything about instances later.
.he &arp tool

$his tool is used to put the image or current selection into perspective. ' modification of the four corner coordinates of the image is sufficient to obtain a convincing effect. =ou may or may not fill the screen with the current image "see examples below#. .ere again, the same system as above is used " #re(iew then Apply#. !se the )eset button to reset the settings. Like the $r!ns2or' tool, the AntiAli!sin$ popup allows to choose the precision with which the image contours will be smoothed. $he result is similar to the /r!ns2or' /ool.
2riginal i&age with selection
&arp tool in Fill &ode
&arp tool in Fill &ode
$he blue line that appears on the screen during setting is the hori<on line. =ou may move the two vanishing points as you wish to set the perspective.
4+4A
Drawing basics
Iurther details
/#rther details
;otion of pi9el opacit$hanks to what you 3ust learnt, you are now able to draw with $%&aint 'nimation. $o draw the little house described at the beginning of that lesson, please use the )ect!n$le, Line and Flood 2ill tools. !se the 'irbrush or 2-pts circle with a gradient to the transparency to draw the sun. $his drawing will illustrate the next steps. 't this point, it seems at first sight that the image is mainly composed of white... in fact, that is not the case U Kow change the Color option "bottom left of the timeline# into 1one, then into Check and note the changes taking place in the current pro3ect window.
la-er
la-er
la-er
bac1gro#nd < Color
bac1gro#nd < 'one
bac1gro#nd < Check
)verything happens as if our house and sun were drawn on a glass plate, the latter resting on a colored background "see perspective diagrams above...#. 9hat we will refer to as 5'!$e l!yer in all future lessons is the e*uivalent of a transparent glass plate placed on a colored background of your choice. =ou are drawing on this plate and not on the colored background. It is possible to change the color of the backgrounds Check and Color. $o do so, click on the little colored s*uare on the left, next to the pop+up menu, in order to obtain a cursor followed with a PVQ. $his cursor indicates you that you may choose any color on the interface of $%&aint 'nimation. $he second colored s*uare will define the second color necessary for the Check mode.
.he drawing &odes

$here are several drawing modes in $%&aint 'nimation: Color, Behind, Er!se, #!nto, Li$ht, Sh!de, /int, Colorize, S'ooth, %r!in, etc. 9e will study the ; first ones : -olor, 1ehind and )raser, which are the most used mode with drawing tools and filling tools. 6ther modes will be explained lesson > $hey are available in the popup menu located under the icons of the /ool panel "left click to access it#. If re*uired, you may assign keyboard shortcuts of your choice to the various modes "see lesson C#.
Drawing basics
4+4C
Iurther details
Some modes may not be used with all tools.
9e will now draw a blue sky. $o do this: , Select the Freeh!nd line icon "in the main panel#. , Select the wet r"sh tool "si<e: CAA pixels, power: CAAB, opacity: CAA B#.
$he red NC:? O indicates that the tool is four times larger than the one visible in the white rectangle to the left.
=ou have already seen the Color mode "keyboard shortcut /I40# as you have been using it since the beginning of this lesson... 9hen you use the Color mode, your line and color are applied over the already existing image.
=etbr#sh in Color &ode
4+44
Drawing basics
Iurther details
9hen you select the Behind mode "keyboard shortcut /I;0#, $%&aint 'nimation will take into account the already existing pixels from the line as well as their level of opacity. 9hen the option is chosen, the color is only applied to the transparent surfaces of the image. $he color is therefore not applied over the house or over the sun but is partially visible through the latter. Iloodfill in the entire image in blue using this mode.
=etbr#sh in Behind &ode
$he task of the Er!se mode "keyboard shortcut /I?0#, as the name implies, is to erase the pixels of the current layer by making them transparent. $hanks to this mode, it is possible to correct possible faults in a drawing. 6pposite, the Er!se mode is used on a check background.
)irbr#sh in (rase &ode bac1gro#nd<chec1!
Drawing tool historLocated in the &!in #!nel, next to the papers, the history of the drawing tool gives you an access to all drawing tools used since you opened the software : airbrush, pen brush, watercolor...
If you close $%&aint 'nimation and open it again, you will lose the history. If you want to save them definitively, use a Bin "lesson >#, or a C"sto' p!nel "lesson CE#.
.he "e-apply option
>
>
$his is a situation that is often encountered: you have drawn an ellipse on your screenS
Drawing basics
4+4;
Iurther details
1ut, you have used the wrong tool: you used the Oil r"sh instead of the #en r"sh. $he 8ndo option allows you to go back "the ellipse drawn with the oil r"sh will disappear#, but you may have trouble drawing the ellipse again with the same precisionS )ven when having written down the exact coordinates of the ellipse "center coordinates and length of the two half axes#, it may be tiresome to reproduce exactly the same drawing on the screen. $he )e-!pply option "keyboard shortcut /)nter0# was developed to counter this type of problem and facilitate your taskS 9hen your ellipse is deleted, change the tool and ad3ust the parameters and colors. $hen select the )e-!pply option in the Edit main menu. ' new ellipse is drawn. =ou may even do more than that as, before using the )e-!pply option, you have the following choices : change the layer, select several layers, change the type of line to work with filled shapesS "see the examples aboveS# It is even possible to define selections or cut animated brushes from the original drawing U
)oom and Vie* options

!ou will find a "oom in tool in the #ain panel of the software. This tool allows you to oom in or out in the drawing space, repectively than$s to the left or right clic$ on your mouse.
!ou could use also : , !se the small N : O and N - O icons above as well as the mini+slider. , !se the keyboard shortcuts />0 and />0. , 'd3ust the <oom numerically by modifying the percentage in the text field intended for this purpose. , !se the shortcut /'lt : 2ight click : move to the right W left0 Kote that there are other options in the pro3ect window which may facilitate your task : , $he button N ; O enables re+initiali<ation of the <oom to CAA B "the real si<e of your pro3ect#. , $he N F O button +activated by default+ re+aligns the image in the pro3ect window. It is really useful, espcially when you <oomed a lot and want to see a global view of your pro3ect. If the pro3ect window is bigger than the full image, the <oom value will stop at CAAB. , ' right click on the N F O button uncollapses your pro3ect(s window and make it floatting. $hese <oom options are available to make your task easier when working on small details. .owever, they do not modify the images, videos and photos themselves. =ou will find them all in the 3iew main menu too. &ro3ect displays are anti+aliased when <ooming+out "4A, 4G, ;; or GAB of the original pro3ect si<e# $his is very useful for people who works in very high resolution. "for example the .D$% format# In lesson C we learned that it is possible to work with several pro3ects at the same time. It is also possible to open several pro3ect windows for the same pro3ect.
4+4?
Drawing basics
Iurther details
=ou may use the /50 key of the keyboard or select 1ew pro.ect window in the 3iew main menu to do this. $his is recommended when working with large <oom values and to keep an eye on the entire pro3ect. If you don(t see the new window, think to minimi<e the current windows "lesson C#. Kote that in this case, any modification made in one of the windows results in the same modification being made in all the other windows of the same pro3ect. $he button of the pro3ect window also offers you several very useful viewing options depending on whether you use it with the left button of your mouse or the right button. , ' left click, without releasing the mouse button, followed by sliding the mouse, moves the image in the same way as the sliders located next to it. =ou can also imitate this behaviour by using /'lt : Left click : 5ouse move0. , ' right click without releasing the mouse button may be used to slide the current layer and only this layer to *uickly view the enabled layer "see next lesson for the l!yer notion#. 't the moment you release the button, the layer goes back to its initial position. $his is very useful when you are working with a large number of layers and you do not know which one is enabled. $his function is called Sh!ker and is accessible with the keyboard shortcut /'0. ' simple touch on this key will make your current layer shake and reposition it immediately with the aim to rapidly view the current layer.
;otion of pi9el opacit'fter having <oomed to approximately 4AAAB it is to be noted that the pixels in the center of the sun are somehow yellower than those on the outside. In reality, the pixels making up our sun are all yellow. .owever, the pixels in the center are less transparent "or more opa*ue...# than those on the outside.
=ou will notice that the pixels of the sun let the colors of the check background through with more or less intensity while the pixels of the house are completely opa*ue: it is impossible to see the check background through the house.
+otation of the wor1space

6ne of the most useful tools for any artist is the tool that allows rotation of the work top as one would turn a piece of paper while drawing. $here are several ways to turn your workspace. $he button located in the pro3ect window is used to freely define an angle by left clicking and holding the button followed by a left W right movement of the cursor. =ou will see the workspace
Drawing basics 4+4G
Iurther details
rotate in real time and you 3ust release the button once the desired angle is obtained. $his free ad3ustment may also be carried out using the keys /-trl:'lt0 : left click.
.he free ad?#st&ent and its +,- in the for& of a traditional drawing wor1space
=ou may also right click on the same button, which will open a menu "see opposite# in which you have the possibility to : )eset the overall angle value "keyboard shortcut /Insert0#, )ot!te the (iew :;<= "keyboard shortcut /Shift:&age!p0#, )ot!te the (iew -;<= "/Shift:&ageDown0#, manually define an angle value "Set option# or choose a pre+defined angle among CG values all multiples of CG. Flip the view on the T andWor = axis.
Kote that )ot!te :*- ;<= will always be rounded off to the priorWnext multiple of CG. Ior example, if you work at first with an angle of 4GF and then decide to tilt the pro3ect by :CGF using /Shift:&age!p0, you obtain an angle of ;AF and not ?AF as ;A is the first multiple of CG after 4G.
/lip Horizontall- and @erticall%n the pop&up menu above, you can also invert the display following the a'es ( and ! )Flip ( * !+. These functions can also be found in the main menu ,iew, with the options Flip -ori ontally * ,ertically. 9hatever if you choose the option in the main menu or the pop+up menu, the Flip -orizont!lly*3ertic!lly options can be used to invert hori<ontally andWor vertically the image in the pro3ect window. $hese two options don(t change the pro3ect. It(s only a way to see the current image of the pro3ect with a different point of view "like the rotation of the workspace#. Shortcuts / / 0 and / 0 0 allow also to invert T and = axes, respectively.
4+4J
Drawing basics
Iurther details
2riginal A&age
/lip Horizontall-
/lip @erticall-
/lip Horizontall- B @erticall-
.he Coordinates
$he Coordin!tes window is accessible via the +indows , %"ides main menu. , left you find the coordinates in pixels of the pixel pointed with the mouse as well as its 2L1 values. , right you find a small <oom box with a central point. , if you draw a rectangle, the two empty lines will indicate the width and height of the latter in pixels. $here you will also find the length of the two half+axes if you draw an ellipse.
.he .rid
$he grid is, in fact, a kind of plotting paper the parameters of which may be set and the basic unit of which is the pixel.
!sing a grid is very useful when : , drawing parallel lines, , placing a brush at regular intervals on the screen, , aligning a text along a vertical line, , etc.
's you have probably guessed, this option is also accessible in the +indows 7 %"ides main menu. 6nce enabled, it does not affect your pro3ect itself, but the way you will draw "3ust disable the option to make the red grid disappearS#.
Drawing basics
4+4>
Iurther details
, $he %rid panel which is accessible with a right click on the %rid icon in the /ool !r or via the +indows main menu is used to set the width and height of the boxes "use the numeric fields of the same name or the mini+sliders#. , $he St!rt 6 and St!rt 7 numbers will help you shift the grid on the surface defined by the work area. $hose values can be negatives. , If re*uired, you may adapt these four values in such way as to recover the image using the current brush and the Br"sh size button. , $he Set button is used to interactively define the grid parameters by drawing a dummy rectangle in the current pro3ect window. , $he Show box displays the grid when it is checked. , $he Sn!p box renders the grid magnetic. $his option imposes that the user may only use the red pixels at the intersections of the hori<ontal and vertical lines. $his works as if the cursor on the screen were magnetically attracted to the grid intersections.
.he .uides
$he purpose of the %"ides of $%&aint 'nimation is to create customi<ed and magnetic marker points in the current pro3ect window. 9hen using the guides it is very easy to draw concentric circles or parallel lines.
$he following options are available in the guide parameter setting window: , 6nce the Set button is selected, any click with the mouse in the current pro3ect window will generate a hori<ontal and a vertical line. It is therefore possible to create N a grid with irregular graduations O and to impose the line intersection points as the only points to be used. , $he )eset button is pressed to go back to a pro3ect window without guides. , $he Show box, when checked, displays the guides. , $he Sn!p box imposes the yellow pixels at the intersections of the hori<ontal and vertical lines as the only pixels to be used. $his works as if the cursor on the screen were magnetically attracted to the guide intersections. $he Files popup menu enables saving and loading of your guide positions.
4+4M
Drawing basics
Iurther details
.he "afe )rea

$he S!2e !re! may be displayed in the current pro3ect window: it may be enabled via its Displ!y popup menu "see on the left#. $he S!2e !re! allow viewing of what will effectively appear on the $% screen "i.e. the Safe 'rea#. =ou will find also many other options that you can make visible or not : grids, guides, stencils, paper, fiel chart, animator field, animator disk, camera and notes.
Displa- settings
$he Displ!y Settin$s window is accessible via the +indows , Settin$s main menu and is used to choose the color and opacity of the guides, stencils, safe area, animation disk, etc. =ou may also enable display of the stencil, paper and selections when using the latter. $he safe area has some additional parameters: position of the action and text safe areas may be set in percentages.
Histor- panel
Int the menu +indows , /ools, you will find a history panel. $he contain of the history panel depends on the pro3ect. Latest actions are at the top of the list. $he oldest are at the bottom. Same actions are memori<ed in groups. Ior example, if you draw with a brush and then, change your tool, strokes made with the first brush will be put into a group.
>
$he history panel allows you to save the creation(s steps. Ior example, if you hesitate between two renders for an illustration, you can save the both compositions and navigate from one to another.
Drawing basics 4+4E
Iurther details
/irst render
"econd render
$o save an action, click on the action group that interests you and mark an action by clicking on the empty s*uare : it will now contain a green 5. If you mark several actions, you will have the possibility to navigate from a mark to another one thanks to green arrows.
4+;A
Drawing basics
Lesson 3 Spatial Management of Layers
In this lesson you will learn to :

Study the notion of the layer with its multiple aspects. Name, move and select layers. Assign a group to a layer. Use the basic Blending odes of the layers.
!ayers and timeline
Layers and timeline

First drawing
"e#ll start by drawing a little man in the center of our image. $o do this, use the Oilbrush tool, select FreeHand and the red color %&'()), *'+, B'+,.
Now display the Timeline if it is not displayed yet (shortcut [0]). The following window will appear :
$his window shows that our little man was drawn on a layer named -Untitled ./. Indeed, every layer has a name.
Rename a layer
"e will now rename the layer. 0ou have the choice to :
1 Select Rename layer in the Layer main menu.
1 double clic2 on the layer#s name
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Spatial management of layers
!ayers and timeline
19all up the popup menu by clic2ing on the layer name in the "imeline %here : - Untitled . /, or with a right clic2 on the layer name. 8nce the popup menu is displayed, select the name of the layer at the top of the menu and release the mouse. Independent of which method was used, a te:t window will appear. 0ou may now enter the name %- character /, in the te:t field and then validate it by clic2ing on O#.
Create a New layer

$56aint Animation offers the possibility to wor2 with several layers. "ith a bit of practice, this will ma2e your wor2 much easier. $o create a new layer you can : 7 Select New Layer in the main menu Layer You can also use the keyboard shortcut [Ctrl+N] 7 0ou can also use the New button on the timeline. $his panel %see opposite, will appear. 0ou could name the layer, choose the group, the blending mode, the position in the layer stac2 and its behaviors. If you clic2 on m!ort, you could import a footage. If you right clic2 on the button New from the timeline, you will create automatically a new layer using the last parameters configured in the panel on the left.
8ur timeline now comprises two layers: the character / layer and our newly created layer, referred to by default as - Untitled . /. 0ou may also rename this layer. "e will call it - gray blob /.
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!ayers and timeline
The advantage of working with several layers

Now draw a gray blob in the center of the image on the new layer using the penbrush tool %radius: )+ pi:els, power: .++;, opacity: .++;, mode: color, At first sight, the gray blob seems to cover the little man. But in reality this is not the case...
"hen loo2ing at the thumbnails in the timeline, we see that the gray blob and the little man are on two different layers. "e have thus overlaid two layers on our white bac2ground, as illustrated in the diagram below.
- *ray Blob / layer - character / layer "hite bac2ground $he gray blob therefore does not delete the little man. If you use the same tool in $rase mode on the same gray blob, you will note that the little man will reappear< $here are several ways to mi: the colors of overlaid layers. "e will see the basic ways further in the lesson, and all the other ways in a ne:t lesson.
The current layer

$he current layer is symboli=ed by a clear gray color and that little blue pencil :
"hen you draw in the wor2 window, the modifications are only applied to this layer. $he dar2 gray layers remain unchanged, independent of their position. $o change the current layer you can: 1 Use the arrow 2eys > ? @ and > A @ on your 2eyboard. 1 9lic2 on the layer of your choice in the "imeline on the left side of the vertical slider. 1 Use the shortcut > , @ to select the layer. $o do that, press the > , @ 2ey %the cursor change into an arrow with a Buestion4mar2,, position the new cursor over the proCect window, and when it is over a pi:el from which you want to get its layer, clic2 with the left button. If there is only one layer
34D Spatial management of layers
!ayers and timeline
%through all the layers with colors, at this position, the layer will be automatically selected. If there are several layers with colors at this position, then select the layer you wish in the popup menu.
"hen the menu appears, there is a preview near the name of the layer to ma2e the choice of the wanted layer easier.
Show and hide a layer

It is possible at any time to only show the layers of your choice. $he layers visible in the proCect window are those tic2ed in green in the first column of the timeline. $he hidden layers are those which are tic2ed in red in the same column and the name of which is displayed in gray %clic2 on the color fields to toggle a layer from visible state to hidden state and vice versa,. 0ou can draw only on a displayed layer.
"hatever the displaying options are, once the icon with the eye is tic2ed, only the current layer is displayed. 0ou can also use the shortcut >'@. By default, this option only displays the current layer. Eowever, you can manage the layer attenuation through the menu %indows & 'ettin(s & )is!lay settin(s* $han2s to the part F!ayer attenuationG, you can then configure an reduced attenuation.
>>
Display curren layer without Layer attenuation ! Display curren layer with Layer attenuation !
34)
!ayers and timeline
Flip layers
"e will learn now how to flip two layers. $his is how it is done: !eft clic2 on the small frame representing the gray blob in the timeline, then slide the cursor on the timeline until it is under the - character / layer. &elease the mouse button.
>
"efore flip after flip no flip #merge$
- character / layer - *ray blob / layer "hite bac2ground

position of layers after flip
"e now have the configuration as shown in the diagram above. In the current proCect window, the little man is positioned on top of the gray blob. "hen trying to flip two layers, a freBuent mista2e made is to move one layer on top of another. $his is the process of merging two layers %which will be described in detail later in this manual,. $he case being, clic2 on Cancel in the merge options window to return to the original layer arrangement.
$he +ndo option in the main menu may be used to undo the modifications made to the proCect as well as for those applied to the timeline.
%rase the content of a layer

It is possible to erase the content of the current image in the current layer without using the $rase mode of the drawing tools. $o do this, Cust clic2 on the icon of the main panel opposite or use the shortcut >Bac2space@.
8f course, this option only affects the current image of the current layer. 8ther images and layers will stay intact. Hor the ne:t lesson, you will have to create a third layer that you will call - *lass /. $han2s to the tool - Filled rectan(le , with -radient activated, draw a glass in front of our character. Both features have been e:plained lesson (.
34I
!ayers and timeline
Modify the glo"al opacity of a layer

0ou may modify the global O!acity of a layer: 1 by left clic2ing on the white bar on the timeline. 1 by right clic2ing on the same bar to call up the numeric field shown opposite& 1 via the conte:tual menu of the layer.
*lobal O!acity of the *lass layer with various values:
+;
(+ ;
D+;
I+;
odification of the - glass / layer#s global opacity will vary the opacity of all pi:els ma2ing up the layer.
J+;
.++;
Merge layers
"hen it is no longer useful to wor2 with several layers, you have the possibility to merge the layers.
$he .er(e popup menu in the timeline offers you five options for this purpose. $hese options are also available in the Layer main menu. 1 .er(e selected layers: the non4selected layers are not merged. 1 .er(e /isible layers: in this case, the hidden layers remain intact. 1 .er(e all layers: the layer resulting from this operation contains the current image. 1 .er(e Current (rou!0s layers : all layers from the current group will be merged. 1 .er(e Other (rou!s0 layers : all layers from other groups will be merged. $o select an additional layer %multi4selection,: press the >9trl@ 2ey on the 2eyboard and left clic2 on its thumbnail. 0ou may also use the >Shift@ 2ey to select all layers between the last selected and the one you are clic2ing on.
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!ayers and timeline
Another possibility is to slide one layer on top of another and call up the merge options shown opposite. If you tic2 the 'tam! field, the merger is made according to the opacity of the layer moved and the 1 color. 0ou may choose to cancel or 2eep the original layer as well as apply one layer on another in color2 erase2 behind mode, etc.
'lending Modes concept

In this lesson, it has been seen that the layers are overlaid to create the final image of the proCect. $he final image or animation is the result of the mi:ing of all the pi:els of these layers. $he mi:ing of these layers is applied from the bottom to the top of the layers list.
But ... there is maybe a need to mi: the pi:els of each layer in different ways. "ith the above e:ample, layer 3 is applied over the result of layer ( and .. But whereas the colors of layer 3 are Cust copied on the resulting layer, the content of the layer 3 could Lrase, $int, Saturate, 8verlay, ... the content of the resulting layer. It is already possible to do it in some way, with a limited number of modes. "hen you drag a layer over another one and drop it, a popup menu appears and as2s how the pi:els of the dragged layer should be mi:ed with the other layer. But in this case, the two layers will be merged and the informations of each layer will be lost. It is often preferable to 2eep the layers separated. $he solution is to mi: the layers but without needing to modify them. $o do that, the layers should be mi:ed Mon the flyM. $here is a popup menu in each layer in the left side of the !ayers panel which allows you to select the way to mi: the layer, it is called the Blending ode. !i2e it is said, each layer has its own Blending odes. "hat does it involveN ... An infinity of possibilities. Seriously, each layer can be blend in a different way with the other layers. $o be more precise, the image in the current layer will be blend in its Blending ode with the resulting image of the blending of all the layer under the current layer. And the final image is instantly displayed in the proCect window and without having to modify something in any layer< All the Blending odes are available on the left part of the !ayers panel with a left4 or right clic2 on its name.
34J
Blending
odes concept
( Color
$he default Blending ode is the 9olor mode. All the pi:els of the current layer are applied over the source. It is this image that will be called the original image. It is the blending mode of the layer with the house which is changed. $his is the original image.
( 'ehind
"ith this Behind mode, all the pi:els of the current layer are applied in the source, only when the pi:els of the source are transparent.
( %rase
$he Lrase mode will erase all the pi:els in the source, everywhere the pi:els of the current layer are not transparent. %$his mode does not care of the color of the pi:els in the current layer,
( Shade
All the non4transparent pi:els in the current layer will Shade the source. %$his mode does not care of the color of the pi:els in the current layer,
( Light
Almost li2e the Shade mode, the !ight mode will brighten the source depending on the current layer. %$his mode does not care of the color of the pi:els in the current layer,
34O
Blending
odes concept
( Colori)e
$his mode will Colori3e the source with the colors of the current layer. $his mode 2eeps the luminosity of the source.
( Tint
"ith the "int mode, the color of the current layer will tint all the colors in the source. $his mode 2eeps the luminosity of the source, li2e the Colori3e mode, and 2eeps also the saturation of the source.
( Saturate
$he 'aturate mode will increase the saturation of the source by using the colors of the current layer.
( *alue
$he 4alue mode uses the color of the current layer and the saturation and hue of the source.
( +dd
$he 1dd mode will add the colors of the current layer to the colors of the source.
34.+
Blending
odes concept
( Su"
$he 'ub mode will subtract the colors of the current layer from the colors of the source.
( Multiply
$he colors of the current layer will be .ulti!lied by the colors of the source. $he result is usually a dar2er layer.
( Screen
$he colors of the current layer and the colors of the source are inverted, multiplied to each other, and the result is inverted again. $he result of this mode is usually brighter.
( Replace
9opy all the pi:els of the current layer on the source by processing the non4opaBue pi:els of the current layer differently of the Color Blending ode.
( Su"stitute
Blend the pi:els of the current layer with the ones of the source in function of the layer opacity. If opacity ' .++; : the house will be displayed with a transparent bac2ground. If opacity ' +; : the bac2ground will be displayed without the house.
34..
Blending
odes concept
( ,ifference
$he )i55erence mode subtracts the current layer and the source, and get the absolute value of the result.
( ,ivide
$he source is divided by the current layer. $he result is usually a lighter layer.
( -verlay
$he O/erlay mode dar2ens the layer, but not as much as with .ulti!ly mode.
( ,odge #Light.$
$he brighter the current layer is, the more the source gets lightened.
( 'urn #Shade.$
It is the reverse of the )od(e mode. It tends to ma2e the layer dar2er.
34.(
Blending
odes concept
( /ard Light
$he Hard Li(ht mode is the O/erlay mode with the current layer and the source swapped for the computation. $his mode obtains bright colors and sharp edges.
( Soft Light
$he 'o5t Li(ht mode is similar to the overlay mode. It tends to ma2e the edges softer and the colors not so bright.
( 0rain %1tract
$he -rain $6tract mode can e:tract the grain from the source by using the current layer.
( 0rain Merge
$he -rain .er(e mode merges the grain of the current layer into the source.
( Su"tract
Another way to subtract the current layer.
34.3
Blending
odes concept
( ,arken -nly
$he )arken Only mode gets the smaller value of the current layer and the source.
( Lighten -nly
$he Li(hten Only mode gets the greater value of the current layer and the source.
Further details
Delete2 duplicate a layer
It is possible to delete a layer, an option which is Buite different from erasing its contentsP $o do this, select )elete layer then clic2 on Con5irm in the conte:tual menu of the timeline %to do this, you may also use the Layer main menu7.
$o duplicate a layer, proceed in the same way using the same menus.
Lock a layer
$o loc2 a layer may be useful under several circumstances. 9lic2 on the little padloc2 located in the timeline in front of the layer to be loc2ed.
8nce a layer is loc2ed, it is no more possible to draw on it. 9lic2 again on the padloc2 to unloc2 the layer.
34.D
Hurther details
Reduce a layer
It is practical to reduce a layer when there are too many of them to be displayed on the screen. A left clic2 on one of the arrows in the blac2 circle on the diagram opposite increases or decreases the si=e of a layer in the "imeline.
$he layer itself is not changed in any way but only its name and global opacity are visible in the timeline.
3se groups
In $56aint Animation, you have the possibility to organi=e your layers by using pre4defined group. 9lic2 on that icon in the first column of the timeline to modify the group where you will put your layer.
$he opposite popup appears and displays all the available groups, differentiable by a color. $he line of color bo:es, corresponding to the different groups, at the bottom left of the "ime Line window can be very useful when you really begin to have a lot of layers.
If a color bo: is not chec2ed, it means that all the layers put in the corresponding group will not appear in the layer stac2. But their contain will be visible in the drawing space. $he button on the left is dedicated to layers that does not have a any group.
34.)
Hurther details
$he green and red bo:es are not selected, thus the layers don#t appear in the "ime Line window. Nevertheless, their presence is symboli=ed by colored lines. By right4clic2ing on the color bo:es, the opposite popup menu with some options appears.
1 'how this (rou!0s layers %same behavior than Cust left4clic2ing on a color bo:,. 8 'how all (rou!s 8 Hide other (rou!s0 layers 8 'elect or +nselect this (rou!0s layers 8 9rotect or +n!rotect this (rou! %with a password, 8 Lock or +nlock this (rou!0s layers 8 1cti/ate or )eacti/ate this (rou!0s layers 8 1cti/ate or )eacti/ate other (rou!s0 layers All groups# colors and name can be modified, clic2 on that icon on a layer and select the $dit option %see below,. A new panel % $dit (rou!s, appears and allows you to proceed with many changes.
QQQ
In the panel $dit (rou!s, you will see a sub4menu O!tions. $his menu also allows you to... : 7 Reset your colors and use the default ones R 7 'a/e as de5ault (rou!s the current used group R 7 $6!ort the color values of your groups R 7 m!ort these values.
34.I
Hurther details
3se masks
Using the mas2 is very handy when handling the layers. It enables you to draw, on the layer of your choice, the opaBue pi:els of another layer in e:actly the same place. In this way it is possible, for e:ample, to modify the - te:ture / of a drawing without changing its shape %see below,. Eow to proceed : 1 Hirst of all, create two layers in the timeline, then draw the little red man shown above in one of them %whatever the drawing tool,. 1 $hen enable the .ask for this layer %see opposite,. 1 Eide the layer with the little red man, then create a layer above. Now, any drawing will then be limited to the opaBue areas of the layer containing the little red man. Hor e:ample, drawing a filled rectangle with color gradient and use of a paper on the screen will display image ., drawing with drawing tools, gradients, papers and specific modes will obtain the results ( and 3 %see below,.
>>
%.,
%(,
%3,
It is possible to flip the mas2 and only draw on the transparent areas of the layer containing the initial little man %e:amples D and ) ne:t page,. $o do this, proceed as described above and clic2 on the button n/ert the mask indicated in the following diagram %this must then turn blac2,.
S Lnable the mas2 S n/ert the mas2 %D, %),
$his icon on the timeline enables disabling of all mas2s or inverting of all mas2s according to your choice in the menu. It is possible to wor2 with several mas2s divided into different layers: in this case, the mas2s are added up.
34.K
Hurther details
"hen a pi:el is partially opaBue, it may only be partially modified when using a mas2. Hor e:ample, a pi:el with J+; opacity can only be painted with ma:imum J+; opacity when the mas2 mode is used %if the mas2 is inverted, it may only be painted with ma:imum (+; opacity,. Hinally, you should understand that, when pressing the $rase button while using a mas2, only the part of the drawing corresponding to the mas2 will be erased. If you see this icon active in the menu panel, it means a mas2 %or a selection, is active. Ton#t forget to disable that button or disable the mas2 if you want continue to draw, without using a mas2.
4reserve +lpha Channel

In $56aint Animation, you can also preserve the Alpha channel of a layer. Its use is similar to the mas2s# use, as it loc2 the e:isting pi:els in the current layer, in order to modify it %changing the color, for e:ample,.
9ontrary to the mas2s, this function does not affect the other layers, only the current one. Be careful : do not preserve the alpha of an empty layer or turn it into a mas2 < 0ou could not be able to draw anything, without 2nowing why.
,isplay masks and papers

0ou may also enable display of the stencil, paper and selections via the )is!lay menu %e:plained in detail in lesson (,, in order to give you a better idea on the the wor2ing =ones and the used papers.
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Lesson 4 Temporal Management of Layers
In lesson 3, we handled the layers using the timeline. However, the notion of time did not come up at all. This lesson deals with the notion of time. In this lesson you will:

Study the concept of the animation layer. Work with rushes and animated rushes. Handle the commands for pro!ect viewing.
"nimation layers
Animation layers
Start y reproducing the image of lesson # in a pro!ect with s$uare pi%els &"spect 'atio e$ual to (), not using fields &see lesson ( for an e%planation concerning fields and ratio). The image elow has een drawn thanks to the Oilbrush tool. *on+t forget to place the house, sun, sky and grass on four different layers. ,ou should have the following timeline on your screen :
Creation and concept of an Animation Layer

-very ody knows how a film is pro!ected in a movie theater: a film roll is placed in front of a powerful pro!ector, ena ling display of the pictures on a screen located a few meters away. The images are pro!ected at such speed that they give the illusion of movement to the spectator. T./aint "nimation works with the same principle: it is possi le to create your own virtual film rolls and pro!ect them onto your television screen. In T./aint "nimation we refer to this roll as: Animation Layers. "s we will see hereafter: the advantage of T./aint "nimation resides in the fact that it is possi le to overlay several rolls &for e%ample: one with a ackground scenery, another with a character and another with a foreground scenery.) "s we saw in lesson 3, it is possi le to create animation layers using the New menu in the timeline, the main menu Layers, or using the shortcut 01trl234. 1reate an animation layer and name it 7 1loud 8. /lace it in front of all the others. ,ou then have the timeline shown opposite. Some layers may e reduced for future timelines &see lesson 3).
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Temporal management of layers
"nimation layers
If you know T./aint "nimation for a long time, you pro a ly know the Image Layers. Those layers are still availa le in the software, in the menu Layer > New Image layer. 9ut as they are very few used and less useful than the Animation layers, they will not e e%plained in the user guide. We remem er you : if you want to turn an Image layer into an Animation layer, please right click on the the Image layer and Make anim.
Add images
We have !ust created a layer with a single image &empty:). To make our first film, we have to increase the num er of images in our roll. To do this, several ways are availa le :
; ,ou can use that utton
in the Animator Panel &e%plained lesson <).
; ,ou can also stretch the white and &at the end of your image) to the (=th image in your timeline :
When you will drop your click on that window &see instances, then press Apply.
elow) will appear. 1lick on Add empty
Movement and orientation within the timeline

>se the 0 4 and 0?4 keys to change the current layer. When you are in an animation layer, you can move etween the images of this animation using the 0 4 and 0 4 arrows on the key oard.
,ou may also use the mouse to move inside the timeline, y clicking on the space6time location of your choice.
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"nimation layers
The white s$uare with two red ars ena les you to identify the current image viewed in the window of the current pro!ect. The title ar contains several indications. @rom left to right : ; The name of the pro!ect you are working on. ; The time code of the first and last image of the pro!ect & ime!ode, or image num er). ; The total pro!ect duration. ; The name of the current layer. ; The time code of the first and last image of the current layer & ime!ode or image num er). ; The total duration of the layer.
Create a brush
Ao to the first image of the animation layer named 7 cloud 8 and draw a gray cloud using the tools of your choice. Then limit viewing to the current layer &shortcut 0B4).
We will create an animation in which the cloud will move from left to right. To do this, we have to make our cloud into a rush. Select the icon shown elow from the main panel. This option is used to carry out "ectangle !ut#rush. 9ut, what does this meanE
Cet+s take an e%ample: *raw a "ectangle around the previously drawn cloud. When this is done, you will note that your current rush is not one of the standard tools: the cloud itself has ecome your rushD /ress the stylus on your ta let if you dou t it: the cloud has turned into a paint rush. *on+t forget to erase your tests efore continuingD
Several !ut#rush tools are at your disposal in the main panel to simplify your task when creating a rush : "ectangle !ut#rush, Polygonal, $ree%and and Magic &and. See opposite:
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"nimation layers
The first animation

The first image in our animation layer 7 cloud 8 contains : a cloud. The other nine images, however, are empty. ; Ao into the second image of this animation layer using the 0 4 and 0 4 arrows on the key oard and apply the rush in order to place the cloud slightly to the right of the cloud on the first image in the animation layer. ; /roceed in the same way for the third image of the animation layer, again moving the cloud slightly to the right of the one in the second image. ; /roceed in the same way to the last image of the animation layer.
To make easier your cloud+s movement, you can use the Light table &more informations lesson <). ,ou will note that the corresponding icons of the timeline display the cloud and when you move inside the layer using the 0 4 and 0 4 arrows on the key oard, your cloud will moveD 3ow spread the display and press again 0B4 or in order to see the clouds and the other elements of your different layers. If you move on the timeline, you will notice the ackground is visi le on the first image and also on the ne%t images, whereas your layer contains only one image &e%ception for the cloud layer, which contains (= images).
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Cogically, we could not e a le to see the ackground layers after the first image &as they do not e%ist). 9ut, you will notice, ne%t to the ackground layers, the te%t %old.
This te%t informs you that a Post'beha(ior is activated. %old holds the display of the last layer+s image. "s each layer composing the ackground contains only one image, the ackground is hold as long as the animation will e played. Fther Post' and Pre'beha(ior are a(ailable, such as None &image is visi le only if it does e%ist), Ping'Pong and "epeat &those oth modes will e e%plained lesson <). "nother solution consists in stretching all layers as long as the layer with the cloud+s animation :
Select all the layers &e%cept G1loudH). /ress 0Shift4 to select a se$uel of layers or press 01trl4 if you only want to select some layers &e%actly like if you wanted to select files in your computer).
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"nimation layers
Selected layers will o tain a yellow aura &see ne%t page).
6 1lic on the white and at the end of one selected layers &any layer, as you prefer), and stretch it as long as the 1loud+s layer &(=th image, so). 6 *rop the click : that window &already seen a ove) will appear again.
6 1hoose )tretch and disa le Interpolate. Then press Apply.
Fther modes availa le in that window will e e%plained lesson <.
Play an animation
>sing the key oard arrows to play an animation is not very practical. ,ou have certainly noticed already: the most suita le options are availa le in the current pro!ect window. Here are the functions of all uttons availa le : the traditional camcorders, etc. uttons Play and )top as you will find on video recorders and
0Space4 makes a pause during the play. If you press that key again, the play will continue where you had stopped it. to advance or rewind one frame in the current layer.
56< Temporal management of layers
"nimation layers
to go to the first or last frame of the current layer. to go to the pre(ious key or ne*t key &the notion of keys will following lessons). e e%plained in the
to modify the $rame rate when playing the animation. 3ote that this value is not necessarily used when e%porting your se$uences. This function only changes the display+s frame rate when playing your animation. It does not modify your pro!ect and will not e save or e%ported with the pro!ect. If you want to definitively change the frame rate, please go to Pro+ect > Modi,y Pro+ect. /ress this utton to play the animation in a loop. If you have chosen a sound track to accompany your pro!ect &see lesson J), press this utton to play it with your pro!ect. Key oard shortcut 0W4 allows you to play your animation starting a few frames efore the current image and stopping a few frames after the current image. Then you come ack to the image you were working on !ust efore pressing the utton. The framerate used is the one selected in the pro!ect window popup menu. The num er of frames played on either side of the current image may also e set in the preview settings &see the Pre(iew )ettings section of this lesson). ,ou can also use the shortcut 0H4 and 0L4 to GflipH your animation ack and fro, respectively. Hold one of these two keys to move the cursor, than drop it to let it going ack to its initial position. ; The yellow rectangle located in the graduated line underneath the uttons indicates the image and the num er of the image currently displayed on the screen.
; The Mark in and Mark out uttons : These are numeric or time values indicating the frame from which the animation will start playing as well as the frame at which it will e stopped. In order for this function to e taken into account when playing your animation, you must ena le the corresponding uttons. Two red and green markers ena le identification of the mark in and mark out points. Fn the top of the Cayers panel, four options are availa le with the 'M9 to easily set and toggle the Mark in and Mark out values.
,ou may use the arrow uttons point to the current image.
to assign your mark in or mark out
The Remote Control
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"nimation layers
If re$uired, it is possi le to display some of these uttons in a separate window referred to as "emote control, which is accessi le via the &indows > ools main menu. The uttons containing num ers are used to define the play frame rate &in frames per second).
Play an animation on fullscreen
It+s possi le to play the animation in fullscreen, without any panels and menus. If the 0@((4 key is hit, the animation will e displayed on the full siOe of the screen.
The Time 1ode is displayed if the option is activated. &See the Pre(iew )etting section further to have more details)
Other movement methods

,ou may use the timeline or pro!ect window to move within the pro!ect. To do this, !ust click and slide on one of the rectangles shown elow :
If you use the left mouse utton, you change the image.
If you use the left mouse utton, you change the image. If you use the right mouse utton you return automatically to the original image when releasing the utton.
ielded pro!ects
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"nimation layers
3ow let+s move on to fielded pro!ects andPor pro!ects with a ratio other than ( : The uttons #, - and . of the horiOontal ar are only availa le when you are working with a pro!ect containing fields.
; 9utton # ena les display of oth fields simultaneously when playing an animation or video. ; 9utton - will display the field which you have defined as the first field. ; 9utton . will display the second field of the current image. 3ote that the ( and # uttons may only e used if your pro!ect is set to use fields. @urthermore, moving to the ne%t image in a pro!ect containing fields will have the effect that the cursor of the current image does not move to the ne%t image ut to the ne%t field &as an image is composed of two fields).
9utton A of the current pro!ect window is used to ena lePdisa le pi%el Aspect "atio display.
This does not modify the current pro!ect: only its aspect in the pro!ect window will e different.
The Navigator
The other uttons, specifically used for navigation on the pro!ect surface, are found in the Na(igator window which is accessi le in the &indows > ools main menu. This panel also allows you to have a low $uality preview of your se$uencePanimation which can e useful y pressing the utton.
; 9utton N shown a ove is used to open a new pro!ect window. ; The red rectangle indicates the current display area in your window relative to the full image. ; The /isplay popup menu is the same as the one descri ed in lesson 3.
"elect and erase the contents of the images in an Animation Layer

3ow we will see how to erase the contents of the 1loud layer. This may e done with the utton on the main panel for all images one after the other, ut this may e too time6consuming when working on long animated se$uences. The trick is to select all images of the layer using the option )elect all in the conte%tual menu &key oard shortcut 01trl2"4). ,our timeline must e displayed as shown elow: a light yellow rectangle is present underneath the selected images.
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"nimation layers
/ressing the utton will erase the contents of all selected images in the layer.
It is possi le to only select a part of the layer y clicking on the first image to e selected and sliding from there to the last.
Fur se$uence has een replaced y empty images. ,ou may now make another cloud move with the cloud rush, as you did previously. Then, use all the knowledge you ac$uired thanks to this >ser guide to create a sun movement.
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Reverse selected images of an Animation layer

Some options may speed up your work considera ly. The option named "e(erse selected images is used to reverse the images of a layer in time. It is only availa le in the image menu &accessi le with a right click) after having selected the images to e flipped in an animation layer of your choice. See elow an e%ample with our animated cloud whose the image have een reversed :
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"nimation layers
Move the layers in the timeline

"s with the image layers in lesson 3, it is possi le to move the animation layers in space. @or e%ample, you may move the cloud ehind the house or the sun in front of the cloud &in case of a very high cloud, o viously), etc. 9ut this is not all: image layers and animation layers may also e moved in time. Increase the image layers to #= frames and the following timeline will appear :
3ow click on any image of the 7clouds8 layer and slide the mouse to the right efore releasing the utton. ,ou have now moved your layer in time. *o the same with the 7sun8 layer. In the screenshot elow, the 7clouds8 layer will only e shown starting from the tenth image of the animation and the 7sun8 layer starting from the fourth image.
In the Layer main menu, the RLock PositionR option allows to lock the position of a layer, and then, it can+t e moved anymore. The locked layer. sym ol will e displayed immediately after the click on a
The range in num er of frames &or in seconds, if you are in ime!ode display mode) located at the top of the timeline offers a glo al identification system, ena ling location of each layer in relation to the others within the current pro!ect. The ranges under the frames of a layer &in num er of frames or ime !ode) only refer to these layers.
urther details
"how# hide the icons
It is possi le to show or hide the icons of an animation layer in the timeline. ,ou will find this option in the conte%tual menu of the animation layer &the first and last image are, however, always displayed).
The Auto Fit option in the timeline

When using a very long animation layer, it may continually to only view a section of the timeline.S e discouraging having to use the sliders
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@urther details
@ortunately it is possi le to modify the timeline scale :
1lick and hold the Z utton of the timeline to modify its display &stretch or increase the icons from the current image depending on the left or right movement of the mouse or track all).
The Auto $it popup menu may e used to ad!ust the siOe of the icons in the timeline in order to view the entire pro!ect, current layer, current image, current selection or keys.
,ou can also use 0"lt4 2 'M9 2 movement on the right or on the left, respectively to Ooom or unOoom in the timeline.
$sing the Bookmarks
It is possi le to place #ookmarks on the images of your animation layer &circled in lack a ove) using the corresponding option in the 0dit main menu. Fnce the #ookmarks are placed, the key oard shortcuts 0Shift21trl2%4 and 0Shift21trl2&4 ena le you to move to the closest #ookmark to the left or right of the current image. @inally, the key oard shortcut 0Shift21trl2T4 creates a #ookmark for the current image or deletes the #ookmark if the current image already contains one. If the pro!ect contains a huge num er of #ookmarks, they can easily e removed y using the option 0dit > "emo(e All #ookmark in the main menu.
$se the Image mark Panel

In the menu &indows > ools you will find the Image marker panel. This panel allows you to mark images, in order to differentiate key images and reakdowns, for e%ample. All menu : in this menu, you can 0dit mark, "emo(e all mark in the current layer and "emo(e all marks in the clip. 9asically, marks are in dark lue. Fther options, similar to the All menu are also availa le. The menu Add 1 "emo(e allows you to add new color codes. 2 : allows you to add a mark in the wished color
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@urther details
6 : remove the current mark of the current clip : allows to navigate to the previous or ne%t mark &all colors or only the wished color). allows to navigate from marks to marks, from the current layer to the ne%t elow. allows to activate the loop mode.
'ame an instance
The image6mark is not sufficient enough E *ou le click on an image &instance+s head or e%posure cell) and a windows will appear : enter the instance+s name in order to identify it more easily.
(ouble clic) on the instance of your choice
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This windows appears * enter the instance+s name
The new name appears below the instance
More e%planations a out instances will e given in lesson <.
The Stroke Animator option

This option is accessi le in the 0dit > Pre,erence... panel directly under the 2eneral ta . Cike it was said in Cesson (, this option allow you to draw over several frames. With the 01trl4 key pressed during the drawing, the current frame will change automatically.
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@urther details
Here is an e%ample, choose the $ree %and /ot option with the Pen #rush tool. 1reate a layer which has around 3= frames and place the current frame to the first one. 3ow, press the 01trl4 key and start to draw. The current frame changes during the drawing. "nd when the last frame ecomes the current one, the drawing starts again on the first frame. "nd when you stop drawing, you will see one &or more if the animation has looped during the drawing) dot on each frame. This feature is really useful to animate decorative elements, fireflies flying in the night, annoying insects, water !et...
The Preview settings panel

The pre(iew settings are used to configure the way your computer and program interact to play your animations. ,ou may open the pre(iew settings panel shown opposite via the &indows > Parameters main menu. The preview panel settings are also present in the info ar, at the ottom.
#ackground pro*y render : ena le this option if you want the pro%y calculates your animation when you+re doing nothing. If you disa le this option, the pro%y won+t calculate anything.
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$orce pro*y render : ena le this option if you want read your animation after the pro%y has totally calculate you animation. If you disa le this option, the pro%y will calculate your animation when playing it.
In T./aint "nimation, when you play an animation, ratio+s $uality directly depends on the temp file, located in your hard drive. The est $uality will e calculated following the transfer+s speed of your hard drive. Pro*y 3uality : indicate, with a numerical value, the images+ $uality when playing your animation. The more the percent is high, the more the $uality is good. 1heck $ull 3uality pre(iew if you want to play your animation with the real image $uality. )how ! : ena le this option if you want to see the Time code &if your timeline uses the time code mode) or the @/S code &if your timeline uses the frame mode). ime &arning : this option allows you to display the pro%y in red if your animation gets some lag when playing it. Play all : ena le this option if you want the pro%y calculate all images. If you disa le this option, some images can e unread when playing the animation. $lip book : choose how many seconds the @lip ook &shortcut 0W4) will run.
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@urther details
The Stopwatc
The Stopwatch is an innovative function, allowing you to mark the soundtrack. eat of an animation or a
allows you to start the stopwatch. /ress again to pause it. marks the eat measured y the stopwatch. "eset resets the stopwatch. -na le Metronome to eat with a little sound. ,ou can choose the tempo y entering a numerical value &in frames per second). Link to playback allows you to read your animation and the stopwatch at the same time. "fter marking one or several eats, feel free to convert these marks y clicking on the Actions menu. ; New scene 4 put the rhythm into clips, in order to create an animatic ; New layer 4 put the rhythm into instances ; New bookmarks 4 put the rhythm into ookmarks ; New image marks 4 put the rhythm into image marks
*o not forget an instance has to e created efore marking it.
; !reate sound ,rom tempo : turn the created rhythm into a sound visi le in the space for sound tracks &e%plained lesson J) ; !reate sound ,rom marks : turn the mark &made via the image mark) ; !alculate tempo change the metronome+s tempo, following the eat you marked. ; !lear list delete the eat list.
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Lesson 5 Handling TVPaint Animation projects and Layout
In this lesson you will :
Learn how to handle TVPaint Animation projects: load, save, import, export, etc... Study the notions o Templates, Dependencies. !iscover the Share manager. !iscover the Video Grabber Panel. "or# with the Panel Bins concept. Study the notion o Rooms.
$andlin% TVPaint Animation projects
Handling TVPaint Animation projects
Introduction
In lessons & ' ( we studied the concepts o image layers and animation layers as well as their temporal and spatial speci icities. "hat we re er to as a TVPaint Animation project )or simply project*, is all ima%e, animation or +sheet )see lesson ,* layers in a timeline )whether created -y drawin%, scannin% or any other method* with all associated options: %lo-al opacity, pre. post. -ehavior, /+ stac# )see lesson 01*, num-er o ima%es per second, position in the timeline, resolution, etc.
Save a project
In lesson 0 we saw how to create a project with the parameters o your choice. A ter havin% wor#ed with tools and layers )lessons 2, & and (*, you may wish to save your project or later use. To do this, use the Save project or Save project as unctions in the ile main menu. Save project )#ey-oard shortcut 3Shi t4S5, 36trl4S5 and 36md4S5* allows you to save the project under the current name, whereas Save project as as#s you to choose a new ile name or your project. This unction allows you to easily duplicate your project as you pro%ress with its creation.
Use the re uester

A ile explorer then as#s you to select an access path and ile name or your project.
This window is laid out as ollows: 7 The text ield at the top o the window allows you to enter the name under which the ile is to -e saved. 7 The second text ield just -elow the irst is used to select the type o iles to -e displayed in the ri%ht section o the window. 7 The popup menu to the ri%ht o this ield is a shortcut used to select the ile types o your choice. In the de ault settin%, all ile types are displayed )extension .P89 .:;P .<P9 =*. TVPaint Animationprojects have the extension .TVPP. 7 The le t section o the window contains the directory path. "hen necessary, the sliders )and in%erwheel o your mouse* may -e used to scroll throu%h the list o olders availa-le or stora%e. A ri%ht.clic# on an item in this list opens a contextual menu o erin% access to !pen, Delete and Rename unctions.
>.2 $andlin% TVPaint Animation projects and Layout
The and -uttons are used to display or hide the content o your stora%e supports, olders or su-. olders. 7 The is used to return to the parent older. 7 The arrows are used to scroll throu%h the history o selections in the ile explorer. In this way, you may ?uic#ly ind the olders in which you last saved your wor#. 7 The ri%ht section o the window displays the iles contained in the older you selected on the le t side o the window. 7 @ou may choose to display thum-nails o your iles )-utton Th"mbs, -utton Scan* or display a list containin% in ormation relative to your iles: type, name, count, resolution, time, siAe, date o last save )-utton #ist, then -utton Scan*. 8ote that some data is not ta#en into account or all ile ormats. 7 It is also possi-le to delete the selected ile, rename it or create a new older usin% the -uttons Delete, Rename and $e% &older. 7 Bnce you have selected the ile or older you re?uire, clic# on !'. 7 To ?uit the ile re?uester and i%nore all operations, clic# on (ancel.
"hen usin% the second text ield, the ?uestion mar# is considered a random num-er or letter, whereas the asteris# is considered a complete random word.
/or example : 7 Cnter D 7.jp% E to display all ima%e iles o the type jp% in the ri%ht section o the window. 7 Cnter D dessin11&F.jp% E to display all iles named dessin11& ollowed -y another character and the extension D .jp% E. There ore iles -etween dessin11&1.jp% and dessin11&G.jp% will appear whereas dessin1121.jp% or dessin11(1.jp% will not.
A-ove an example o a ile re?uester with projects displayed in the orm o thum-nails.
$andlin% TVPaint Animation projects and Layout
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Save a Template
A template is a -lan# project usin% a prede ined resolution, speed, aspect ratio and num-er o layers and ima%es. It is possi-le to save a Template usin% the dedicated option indicated in the ile main menu opposite )the template will have to -e %iven a name*.
In this way you may select the template you just created when a new project is started. @ou may also use one o the many prede ined models.
Load an e!isting project

To load an existin% project rom the data stora%e support, simply press the #ey-oard shortcut 3Shi t4L5 or the #oad option in the ile main menu. The ile re?uester will then as# you to select an access path and ile name. 8ow that you #now how to use the re?uester, load the ile D runnin% #idH2.tvpp E )the project can -e ound on the TVPaint Animation !V!.IB;*. I the project loaded is too -i%, too small, possesses too many ima%es or has an incorrect pixel ratio, you may modi y it. A list o iles previously loaded with TVPaint Animation is availa-le in the menu. Simply clic# on the name o one o these projects to load it a%ain. ile main
I you #now the TVPaint technolo%y or a lon% time, you pro-a-ly #nows the .tvp ormats and even .mir and .aur ormats. These old ormats are still reada-le -y TVPaint Animation, -ut only the .tvpp ormats can -e still %enerated )see urther*.
"odi#y a project
The option )odi&y project is accessi-le in the Project main menu. The latter opens the panel illustrated -elow: 7 The project properties are indicated on the top le t.hand side o the window and include: Project name, *idth, +eight, num-er o rames per second, Pi,el aspect and ield options. :ottom le t you will see the uture siAe o your project, a ter modi ication.
>.( $andlin% TVPaint Animation projects and Layout
7 <ust -elow, a popup menu is availa-le in which you may select the prede ined ormat you re?uire, correspondin% to the ormat you will o-tain a ter modi ication. It is possi-le to modi y a project ori%inally in V9A ormat, to o-tain a project in 8TS6 ormat.
7 The numeric ields located under the popup menu chan%e accordin% to your choice in the prede ined ormats menu. B course, you may modi y your project or your own ormat ) or example to create an animated %i on a we-site*. All you have to do is modi y each option manually: *idth, +eight, rame rate, Aspect Ratio, ield )a mini popup menu is availa-le or the parameters rame rate and Aspect ratio*. The #oc- aspect -utton allows you to #eep the width to hei%ht ratio o the ori%inal project. The Rotation parameter is used to rotate the project G1, 0,1 or 2J1 de%rees. 7 $ere you will discover the unctions o the next ive -uttons: :y de ault, when the )odi&y project unction is used, TVPaint Animation#eeps your ori%inal project and creates a new project which is modi ied accordin% to the parameters you have selected. . The Resi.e to ne% si.e -utton ena-les, when chec#ed, the resiAin% o your ori%inal project to a new siAe. . The (orrect aspect ratio -utton orces the pro%ram to respect the ori%inal ima%e aspect ratio )this avoids the creation o disproportionate ima%es*.
. The Stretch to ne% &rame rate -utton, when chec#ed, increases or decreases the num-er o ima%es so that your new project has the same duration as the ori%inal project. I , or example, your ori%inal project displayed 2( ima%esKsecond and your rame rate is set to 02 ima%esKsecond, your project will last twice as lon% )the num-er o ima%es is, -y de ault, retained*. I the -utton Stretch to ne% &rame rate is chec#ed, some ima%es will -e deleted so that the ori%inal project and modi ied project have the same duration.
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In the opposite case: ori%inal project with 02 ima%esKsecond, modi ied to a project with 2( ima%esKsecond, the modi ied project will -e shorter than the ori%inal project. I the -utton Stretch to ne% &rame rate is chec#ed, intermediate ima%es will -e added to the modi ied project to ma#e it coincide with the duration o the ori%inal project. . The two a orementioned examples are similar to the layerLs contract and stretch section discussed in lesson M. The Time interpolation -utton also re ers to this unction as it imposes layer stretchin% or contractin% with interpolation when the -utton Stretch to ne% &rame rate is chec#ed. . The Remove project -utton is used when the ori%inal project is not to -e #ept on the screen. Nse o the Remove project option is at your own ris# as in this case the /ndo unction cannot -e used to help you out= 7 The ri%ht section o the project modi ication panel ena-les selection o the portion o the project which is to -e modi ied. The mar- in and mar- o"t -uttons as well as the associated numeric ields will help you select the irst and last ima%es o the project to -e modi ied. 7 The central numeric ield and slider are used or navi%ation over the entire duration o the project.
Load an image or animation

It is sometimes use ul, when wor#in%, to load an ima%e, video or animation which has not -een saved in a ormat which mana%es layers as well as their layout and opacity, etc= )in other words, an animation which has not -een saved in one o the ormats TVP, ;II or ANI* In this case, a new panel, re erred to as import &ootage panel, appears directly a ter selection o a ile in the re?uester. This panel is as ollows:
This panel is similar to the project modi ication panel. LetLs assume you have loaded a video ile )AVI or ;BV*
>.M $andlin% TVPaint Animation projects and Layout
. Bn the top le t.hand side o the import panel you will ind all in ormation relative to the ile selected in the re?uester window )siAe, rame rate, aspect ratio, etc.*. . These are ollowed -y a text ield which indicates the path and name o the ile you have chosen. . The Bro%se -utton allows you, in case o error, to choose another ile in the re?uester window. . The Preload -utton will -e discussed in the Dependencies section o this lesson. @our video ile may -e modi ied when imported to suit your needs: project name, %idth, height, &rame rate, aspect ratio, &ield, rotation may all -e modi ied as we discovered in the previous section. The Alpha popup menu, however, possesses speci ic options includin%: G"ess, Prem"ltiply, $o Prem"ltiply, *itho"t alpha and Alpha only. 7 The option G"ess will consider that the Alpha value is e?ual to the maximum I9:A values present in the se?uence. 7 The option Prem"ltiply re ers to the method o calculatin% each pixel. In this case, each pixel is multiplied -y its alpha value which results in the act that these pixels are calculated ?uic#er than with the $o Prem"ltiply option. 7 The option *itho"t alpha will load your se?uence without transparency i it had any -e orehand. 7 /inally, the option Alpha only will only load a mas# o the se?uence. This mas# will -e extracted rom the alpha layer o the se?uence. /urther down, three ta-s allow you to choose the orm to -e %iven to your imported video: the imported video may -e created either as a new project, a new layer in the current project or as a custom -rush )these three options are mutually exclusive*. 7 "hen a video is loaded as a new project, three options are availa-le:
. The video sample loaded will -e that located -etween the two time mar#ers on the ri%ht side o the panel. @ou may also choose to include sound with your video -y chec#in% the 0mport a"dio -ox in the import oota%e panel. . The single &rame chec# -ox, i chec#ed, will create a project with a layer and a sin%le rame: the rame selected in the ri%ht side o the panel.
The last menu )Split scene* will -e explained lesson G 7 "hen a video is loaded as a new layer or a new clip, a new set o options similar to those encountered in the )odi&y Project section -ecomes availa-le. @ou may: . Stretch your video ile to it the dimensions o your current project, . Adapt the aspect o your video to that o the current project, . 6ompensate or any possi-le rame rate di erences -etween your current project and your video -y stretchin% or contractin% your video, . 6hoose to stretch or contract with or without interpolation, . 6reate a layer with a sin%le rame )here a%ain, a sin%le rame or lar%e sample may -e imported -etween the mar# in and mar# out points*.
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7 "hen a video is loaded as a custom -rush, the same options are availa-le with the exception o the Stretch to project si.e option. "hen you load a ile in PS! ormat, a new project is automatically created )no import oota%e panel is opened* and the ima%e layers are all present in the timeline.
$ependencies
The Preload -utton present in the import oota%e panel is used to choose whether the video oota%e on which you wish to wor# is to -e read directly rom the computer stora%e support or i it is to -e included in your current project. This option is important or the ollowin% reasons: 7 LetLs assume your projects possess layers composed o non.preloaded video oota%e. "hen loadin% the same project a%ain, TVPaint Animationwill loo# or the data necessary to display the ima%es, layers and timelines in the external video iles. This unction is interestin% as it saves space when savin% as your project does not contain all the ima%es it comprises. Attention however: i the video ile to which your project re ers is deleted, modi ied or renamed, this will have an incidence the next time your project is loaded )the layers and ima%es concerned will not -e ound=*. 7 To avoid havin% a project which is dependent on external videos, you may, when video oota%e is imported or the irst time, preload it immediately. @our project will then -e more voluminous when saved, -ut at least there will -e no ris# o loosin% the data when the imported iles are modi ied. I you or%et to do this, it is possi-le to preload the iles later via the main menu Project 1 Dependencies 1 #oad all. This menu also displays the path and name o iles on which your project depends. 7 In addition o ima%es and videos, sound trac#s can -e lin#ed to your project. To #now more a-out, please read lesson ,
%!port #iles
Savin% a project in TVPaint Animation ormat with all associated layers may re?uire a considera-le amount o stora%e capacity. Cven i it contains speci ic data relative to your project )opacity, layers, etc=*, the TVP ormat is not a practical solution i you want to share it with your riends at parties or on a we-site. Nse o the dependencies unction will render your project smaller, -ut it is not more practical in the a orementioned cases. The option ile 1 2,port project to... is used to convert your project into a ormat o your choice: animated 9I/, AVI or Ouic#Time ile, num-ered rames se?uence, etc. @ou will ind this very practical as you are a-le to save your wor# in smaller iles.
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This option is present in the ile main menu. Bnce selected, the ollowin% panel appears:
Its layout should -e amiliar to you. @ou may choose to export an ima%e, an ima%e se?uence, a video, #eep the layers or a custom -rush )possi-ly animated*. @ou will see ( di erent ta-s : Project 3 Display, (lip 3 Display, (lip 3 #ayers str"ct"re and ("stom Br"sh 3 Display. Cach ta- will -e discussed in that lesson, -ut irst at all, we will see the irst part o the export panel, identical rom a ta- to another. 7 The #irst section o the panel contains several options: . The Bro%se -utton and an associated text ield are used to enter the name and location o the ile to -e exported. . As allows to choose the #ind o export you want : P Single image 4save the ima%e visi-le in the ri%ht section o the panel only*, 5 Se6"ence 4save, rame per rame, the ima%es located -etween the )arin and )ar- o"t points. :y de ault, the ima%es are num-ered as ollows: ileHnameH0, ileHnameH2, = = = ileHnameH02&, = Se6"ence -ecomes Animation when exportin% in a video ormat. Includin% a D 1 E in your ile name may help with num-erin% your ima%es. /or example i the irst ile name is D dessinH111 E, the ima%es will have the names dessinH110.jp%, dessinH112.jp%, = =dessinH&>(.jp%= P Animation -utton is used to save all the rames -etween the )arin and )ar- o"t points in a sin%le ile and is availa-le or some ile ormats )deep, %i , ?uic#time, li, avi*. . 2,port and (ancel respectively export your animation or cancel )and so, close the export panel*. :ut -e ore exportin% anythin%, we will study the options rom the di erent ta-s.
$andlin% TVPaint Animation projects and Layout >.G
Project and (lip ta-s :
The di erence -etween the Project and (lip ta-s will -e explained lesson G. 7 The second section deals with the export ile ormat: TVPaint Animation allows you to export your projects in a wide variety o ormats: !IP, AVI, 9I/, :;P, ONI6QTI;C, !P+, /LI, P89, P6+, SN8IASTCI, PS!, T9A, <P9, IL:;, TI//, and you can add these ormats or TVPaint Animation: /L@CI 6LIP, !0 ITV, 6I8CB8, S9I, SB/TI;A9C, VP:. Cach ormat has its own eatures which are explained in an appendix. Some are con i%ura-le ) or example AVI ormat*, others are not. "hen the export ile ormat imposes the choice and settin% o a video and audio codec, clic# on the (on&ig -utton to display the correspondin% settin%s panel.
The codecs present in the popup menus and their con i%uration options are those installed in your operatin% system. In order to save a TVPaint Animation project in !V! ormat, you must have a ;PC9.2 encoder codec installed on your computer. "hen re?uired, and dependin% on the various ormats o export, you may need to set the ollowin% option parameters: . ;ode : you may choose to export your wor# in the orm o ima%es or a video with a limited palette ), -itsR2>M colors*, a lar%e palette )2( -itsR0M.JJJ.20M colors*, a palette which ta#es into account the pixel transparency: &2 -its, a palette with no color data, -ut only pixel transparency )a mas#*. . The palette : in the case o a limited color palette, you may choose to use a gray scale palette, the "ser de&ine located in the Bin ta- o the palette panel, a global 6"anti.ed palette to -e used or all rames o your oota%e or animation, or a local 6"anti.ed palette which is modi ied or each rame o an animation. . The num-er o colors : you may also choose a precise num-er o colors -etween 2 and 2>M )to do this you must irst choose one o the two ?uantiAed palettes*. . !ither : the Dither -utton is used to disperse the pixels o your animation in order to simulate use o a palette with a lot more colors )technically re erred to as D/loyd.Stein-er% ditherin%E*. . Alpha : options relative to the Alpha unction were discussed on pa%e J. 7 The third section o this panel mana%es the restrictions and attri-utes imposed on a ile to -e exported )width, hei%ht, rame rate, pixel aspect ratio, ield*, compared with the ori%inal attri-utes )chosen when you created your project*.
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7 The last section allows you to choose some -ehaviors, ollowin% the options you chose in the thrid and secon section. . The Bac-gro"nd -utton, when chec#ed, renders all the pixels o your ima%es opa?ue usin% the -ac#%round selected )color, chec# or none* which is placed -ehind the transparent pixels o your ima%es. . The (orrect aspect -utton is used to correct the pixel aspect ratio o the ima%es to -e exported in accordance with the settin% made in the ourth section. The Stretch to &rame rate -utton, when chec#ed, imposes a previously selected rame rate on the ile to -e exported while retainin% the ori%inal duration. . I the a orementioned -utton is chec#ed, the Time interpolation -utton allows you to decide whether the rame rate )or ields* correction should -e carried out -y interpolation )smoothin%* or duplication )or deletin% as the case may -e*. #ayer Ta- : 7 Bld TVPaint ormat : This ormat is use ul or persons who wor# with the current version o TVPaint Animation and a version older than the G.> version )released in Septem-er 211G*, usin% the .TVP ormat )and not the current .TVPP*. @ou will o-tain a ile e?ual to the current clip. I you didnLt #now or used these old versions, do not care a-out this export. 7 .PS! ormat : I you want to export a project in .PS! rom the Project or (lip ta-s, you will export one ima%e )or an ima%e se?uence* with all the layers mer%ed, without transparency. I you want to export your project with layers, you will need the options o the #ayer ta-. Two modes are availa-le : . Single image : all layers and all ima%es that compose your project will -e in only one ile. Cach element will -e save as a layer and transparency will -e preserved. . Se6"ence : each ima%e will -e save in a .PS! ile. I that ima%e is ori%inally composed o several layers, the .PS! ile will #eep all the layers. Transparency is also preserved. 7 .6SV ormat : This ormat is really use ul or people wor#in% on several so tware and who ?uic#ly need an xsheet. The .6SV ormat %enerates a .6SV ile )reada-le with Bpen B ice or ;icroso t Cxcel* and an ima%e older. Those ima%es are in act the irst ima%e o each instance )the instance meanin% is explained lesson M*, rom each layer. Cach ima%e has a name and a num-er se?uel )do not chan%e them S*. 6om-ined with the .6SV ile, now you are a-le to #now in which order those ima%es does appear, exactly li#e a traditional xsheet.
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("stom br"sh ta- : CxportLs options are the same than the Project ta-. As you %uess, this option allows you to export directly the custom -rush you are currently usin%. This option is really interestin%, in particular i you want to %ain time )it is aster to cut a custom -rush and export it, than croppin% an ima%e and then, export it* or create a tutorial. @ou want to explain to someone how to use a panel F $old the said panel )as i you wanted to move it* and press 395 on your #ey-oard. I you %o on your drawin% space : surprise S @our panel is now a custom -rush S Bnce all the options are set or the current project in the export project panel, they will -e lin#ed to the current project. So, each time the export project panel will -e opened, all the parameters will -e illed -y the ones set -y the user the last time he exported a ile with this project.
The Share manager

This unction -ecomes really use ul, especially i you are usin% TVPaint Animation in networ# )ethernet or wi i connection*, inside a studio or a school. The Share manager simply allows you to share a project, a clip )explained lesson G* or a c"stom panel )lesson 0G*. @ou will open this mana%er -y clic#in% on that icon *indo%s 1 Tools. The mana%er will appear li#e this : rom the )en" panel or -y %oin% to
Bn your ri%ht hand side, you will see all people connected to your networ#. The %reen people are the persons currently connected. The %rey people are the persons who have -een already connected -e ore, -ut who are currently o .line. A new person is connected on your networ# -ut you donLt see himKher in your list F !onLt or%et to Re&resh list to detect the newcomers in your networ#. A simple ri%ht clic# on the list will open this pop.up menu : P avorites will allow you to choose your avorite nei%h-ors and display them only. P +ide o&&line "sers, as you %uess, allows you to hide the o line users rom the list. P Remove allows you to remove a nei%h-or rom your list. As you are connected to a networ#, you will also appear in you nei%h-orsL list. In order to -e easily reco%niAi-le, you can chan%e the 0denti&ier at the top o the mana%er.
>.02 $andlin% TVPaint Animation projects and Layout
At the le t -ottom corner o the mana%er, you will notice two menus : TType7 and T*hich oneU.
In TTypeU, you will have the possi-ility to choose the type o ile you wish to send : ull project, a clip )a soty-oard element explained lesson G*, or a c"som panel )that may contains your -rushes, your colors and your script, which is explained in detail lesson 0G*. In *hich one, you can choose simply the name o the element you are a-out to send, ollowin% the Type you have just chosen. In the example a-ove, we have chosen to send the current project. $owever, i we decide to send a ("stom panel, choices will -e di erent :
A ter choosin% the o-ject to send, select the addressee )-y clic#in% on his K her name, which will -e underlined in yellow* and clic# on the -i% -utton TSendU :
Then, your nei%h-or will have the choice -etween accept it... :
= or not
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Then, when it will -e your turn to receive a ile, you will o-tain a visi-le alert. The -utton rom the )en" panel will -ecomr -lue )see next*. The Share manager will display an alert too and will propose you to accept or re use the o-ject sent -y a nei%h-or :
Then, you are ree to accept or re use the o-ject. I you accept it, this o-ject will -e automatically availa-le in your TVPaint Animation inter ace. I you closed -y inadvertence, you can still re.open it -y clic#in% on the -leu older icon.
A-ove the o-ject list, you can or%aniAe the element types you want to Display or eventually (lear the list.
Video options
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Video options
The Video Input panel

It is sometimes use ul to re er to video oota%e to create the drawin%s necessary or an animation. /or this reason, it is possi-le to enter a video directly into the so tware. TVPaint Animation is compati-le with "!; standard e?uipment without havin% to install speci ic drivers or plu%ins. /or in ormation, "!; devices are "indows !evice ;ana%er devices )used -y most "e-6am and !V ormat camcorders*. Bn ;ac BS +, TVPaint Animation is compati-le with Ouic#Time devices. To %ra- video oota%e, you must irst ensure your peripheral device is correctly installed. Then, you must ri%ht.clic# on the V -utton located on the -ottom ri%ht.hand side o your project window or %o to the menu *indo%s 1 Parameters.This action opens the Video inp"t panel. I your device is correctly connected to your computer, openin% this window will show what is presently DseenE -y the device in the preview window. $ere is the Video inp"t panel :
8 Device : you choose here which video input source you need )very use ul i you %et several cameras or we-cams*. The TSettin%sU -utton, just -elow, directly open you camera K we-camLs application. 8 )i, : the mix option is a little li#e a li%ht ta-le )very use ul i you ma#e stop.motion movies*. This option chan%e your drawin% space and your previewLs opacity.
Grabbed image (on the left : drawing space / on the right : the video input panel)
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Video options
Grabbed image + new stac ed preview image! not grabbed "et (the drawing space and the image from the preview are #$% opa&ue)
8 Rotation : rotate the %ra- an%le rom 1V, G1V, 0,1V or 2J1V. )very use ul i you want to use the video input to line.test an animation made on paper. Instead o turnin% your camera, rotate I with TVPaint S*
8 Apply in : you can choose where you %ra--ed ima%e will %o. : HAppend image : add a new ima%e into the same layer 9$e% layer : add a new layer with the %ra--ed ima%e H("rrent image : replace the current ima%e -y the new %ra--ed one 7 #ength : here you can de ine how many exposures your %ra--ed ima%e will %et. In that case, the instance will only have one exposure. 8 ield : here you can mana%e the ields durin% %ra--in%. : HAs is : no ield H#o%er &irst : only lower ields will appears 9/pper &irst : only upper ield will appears 9)i, : the ima%e will -e composed o >1W hi%her ields and >1W lower ield 8 2nable play : read the entire clip )very use ul i youLre ma#in% a stop motion movie* 8 rame rate : choose here the preview rame rate HPlaybac- read the preview li#e the clip play-ac#
>.0M $andlin% TVPaint Animation projects and Layout
Video options
H:;< playbac- read the preview hal as the clip play-ac# 9:;=7 playbac- read the preview our time less as the clip play-ac# 9Project read the preview with the projectLs speed )the one youLve chosen when youLve created your project* H:;< project read the preview hal as the project H:;= project read the preview our times less as the project 8 Play &rame : choose how many ima%e you want to see when play the preview 8 +old &rame : choose how lon% will appear what your camera K we-cam is ilmin% )in /PS* a ter playin% the preview. And then, the Grab inp"t -utton %ra- the an ima%e. A detailed example o animation created with the help o the video %ra--er and a 6anon camera is availa-le in lesson 0G )chapter D 6anon plu%.in E* o this manual.
The Video 'utput panel

The Video Butput ta- o the Video 9ra--er panel allows you to mana%e the visualiAation o the project window throu%h an external hardware such as television, overhead projector, ... 7 The popup menu allows you to select the device you will use to display the content o the project window. 7 The Activate -utton allows you to start the selected external device. 7 The 2nable !"t -utton allows you to activate the visualiAation throu%h your external device 7 The Re&resh -utton allows you, i possi-le, to o-tain a real time display on the external device. )-y de ault, the display is re reshed a ter each stro#e* 7 The 'eyer -utton allows you to improve the mana%ement o the transparent pixels with some external devices. 7 The it -utton allows you to adjust the dimensions o your current project in order to o-tain a -etter result on the external device.
Please read the appendix o this manual to o-tain the complete list o external hardware compati-le with TVPaint Animation Pro.
Np to the end o this lesson, we only spea# a-out the inter ace eatures, the content and the parameters o all the panels are not really important. This lesson is principally -ased on the panels position and the layout.
The (anel )ins #eature

The idea o the Panel Bins, is to Xclean upX the inter ace o TVPaint Animation. "hen you -e%in to have around ten panels open at the same time, it can -ecome a little con used. And I donLt spea# to have to move several panels. 6onse?uently, the idea was to -rin% to%ether all the panels in a sin%le place to simpli y the mana%ement o the panels. It is li#e that the Panel Bins concept came.
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The Panel :ins eature
Locate the (anel )ins

There are two areas which represent the two Panel Bins, one located at the le t side o the TVPaint Animation window, and the other at the ri%ht side. The two Panel Bins are ena-led -y de ault.
Bn this screenshot, you can see that the wor#space can now -e divided into ( main parts: 0* The Project window 2* The Timeline window &* The le t Panel Bin (* The ri%ht Panel Bin Almost all the panels in TVPaint Animation will -e a-le to -e stored in one o the two Panel Bins.
&or'ing (ith the (anel )ins

The use o the Panel :ins is aw ully simple ... just dra% and drop a panel inside a Panel Bin. @es, thatLs allS A panel is automatically added to a Panel :in when it is dropped on it.
To dra% a panel, clic# and dra% the title -ar o the panel.
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I there are too many panels inside a Panel Bins, a slider appears on the ri%ht or le t side o the Panel Bins.
@ou want to %et a panel out rom a Panel :in, just dra% and drop the panel outside it. And as it is possi-le to do this, it is always possi-le to #eep loatin% panels anywhere in the pro%ram window. @ou can also see that when you add a panel to a Panel :in, all the other panels inside it, move automatically to add all the necessary space or the dropped panel. Same -ehavior i a panel %ets out o a Panel Bin, all the panels under it, will ill automatically the empty space le t -y the panel.
To %ain even more space in the Panel Bins, all the panels can -e collapsed )the trian%le on the top ri%ht corner o the panel*. B course, when a panel is collapsed or extended, all the other panels in the Panel Bin move automatically.
;ac user does not have a trian%le, -ut this %ray -utton :
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Another option o the Panel Bins allows you to wor# on an even cleaner wor#space, it is the trian%le on the top o the Panel Bins.
"hen this option is activated
)li#e in the ima%e a-ove*, the Panel Bins are always visi-le.
"hereas when this option is not activated when the cursor is not over them.
)li#e in the ima%e -elow*, the Panel Bins hideout
And when the Panel Bins are hidden, only a thin -ar is still visi-le near the TVPaint Animation window -orders. To show the Panel Bins a%ain, move the cursor on this -ar, and the Panel Bins will reappear.
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Some e!ceptions
Cven i almost all the panels in TVPaint Animation can -e dropped inside the Panel Bins, there are some exceptions li#e: the Project window, the Time #ine window, the #ight Table and the > Stac-, and some others ... 7 The #ight Table, the Share manager and the > Stac- are always loatin% panels. They can not -e re.stretched on the standard width o the Panel Bins without an important loss o their user. riendliness. 7 The Time #ine window can not -e inside the Panel Bins -ut has some options relatives to the Panel Bins. This window can -e a loatin% one or a window ixed at the -ottom o the TVPaint Animation window. )The ixed window is reco%niAa-le with the uni?ue -utton in its top ri%ht corner*
)i!ed Time Line &indo(
)loating Time Line &indo(
To chan%e the ixed window into the loatin% window, dou-le clic# on the title -ar o the Time Line window. To chan%e the loatin% window into the ixed window, clic# on the trian%le )an oval icon on ;ac Y see lesson 0* in the top ri%ht corner o the Time Line window.
I it is ixed at the -ottom, an option -ecomes availa-le li#e in the Panel Bins. It is the aculty to hide out when the cursor is not over the Time #ine window. Li#e in the Panel Bins, this option is the trian%le on the top ri%ht corner o the Time #ine window.
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7 The Project window, when it is maximiAed, ills always all the empty area le t -y the two Panel Bins and the Time #ine window. :elow, there are some examples o the automatically restretchin% o the Project window.
(ro*ect (indo( (ith (anel )ins and Time +ine
(ro*ect (indo( (ith Time +ine (indo(
(ro*ect (indo( (ith (anel )ins
*nly (ro*ect (indo(
"ore options +++

;ore options are availa-le to mana%e the Panel Bins. They are accessi-le in the 2dit 1 Pre&erences panel under the Display ta-. 7 The two irst options ena-le and disa-le the le t and ri%ht Panel Bins. I these options are not chec#ed, the two Panel Bins totally disappear rom the TVPaint Animation window. They are not only hidden, they really donLt exist anymore. I you disa-le a Panel Bin while there are panels inside, these panels -ecome normal loatin% panels. And i you ena-le a%ain the Panel Bin, you must add a%ain all these panels inside the Panel Bin. 7 The #arge Time #ine option stretches the Time #ine window -etween the 2 sides o the TVPaint Animation window, rather than -etween the two Panel Bins.
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I this option is not chec#ed, the Time #ine window will -e li#e in the ima%e -elow.
7 The Right Time #ine option places the Time #ine window vertically near the ri%ht Panel Bin.
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"or#in% with Iooms
&or'ing (ith ,ooms

8ow we have seen how to mana%e and optimiAe the position o all the panels in the so tware. "hy not apply the concept to several XvirtualX so tware windows, to still improve the wor# low. This is called the Rooms concept, and we will see how this idea has %rown up. To create an animation, several steps must -e respected, the s#etch, the in#in%, the compositin%, ... , and each step needs its own tools, panels, shortcuts, ... . It is as simple as thatS Cach step doesnLt need to display all the panels, li#e durin% the compositin%, there is no need to #eep the )ain or the Tool panels open or example.
As viewed in lesson 0, all the Rooms are easily accessi-le in the ri%ht side o the 0n&o Bar or with the main menu Vie% 1 Rooms. There are our Rooms which are totally customiAa-le.
The aim o# a ,oom

The only %oal o a Room is to store the inter ace and layout o the pro%ram and reuse it. That means all the position o the panels, i they are openedKclosed, the #ey-oard shortcuts, the color scheme, the li%ht ta-le parameters, ... . And li#e there are our Rooms availa-le, itLs li#e you have our TVPaint Animation windows opened at the same timeS ItLs a ;ulti Inter ace 6on i%uration. @our projects are always the same -etween each Room, itLs only the inter ace and layout o the panels which chan%e. I you select another Room with the 36trl5 4 3Alt5 #eys pressed, the new selected Room will %et all the parameters o the previous Room. :y this way, you can easily copy the layout o a Room into another Room.
>.2(
"or#in% with Iooms
,ustomi-ing your .ooms

The de ault Rooms are only a startin%.point. There are many many other ways to use the Rooms. The ollowin% examples wonLt -e detailed li#e the de ault ones, the aim o these examples is to let your ima%ination and your needs o course, mana%e and arran%e your own Rooms.
.oom / 0 *riginal TVPaint Animation /1 inter#ace
.oom 2 0 s'etching room
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"or#in% with Iooms
.oom 3 0 Inter#ace using TVPaint Animation 4 color scheme
.oom 5 0 Inter#ace (ith a special -orrection panel, #or teachers and studios
>.2M
Lesson 6 The steps to create animations
Learn, one by one, the various stages involved in the creation of an animation using this application (Scan cleaner, light table, rotative drawing disk and inking options will be introduced). se the !nimator "anel. se the scan and print options of the software. Learn how to use instances. Study the notes over an animation.
#he steps to create animations
Introduction
#he aim of this section is to sum up the various steps involved in creating a cartoon using #$"aint !nimation and to deal with fre%uently asked %uestions. Some steps will be e&plained in more detail when studying the corresponding effects.
Working with hand-made drawings

Import an images sequence
'ou may choose to create the images for your future cartoon either traditionally on paper with "() holes (see below) or more directly in #$"aint !nimation.
#$"aint !nimation works with #wain standard scanners in *indows and Linu&. + #he File > Twain > Select option is used to choose the scanner you intend using. + #he File > Twain > Acquire option displays the #wain interface of you scanner in order to begin working with the latter. ,n -ac ,S ., #$"aint !nimation works with I/! standard scanners. option to display the ac%uisition interface. se the File > ICA > Acquire
"ay attention : 01 bits versions of #$"aint !nimation do not always support scanners If you could not scan directly into #$"aint !nimation, scan your images from the software provided with your scanner and save your images as an image se%uence : 2 image334 5, 2 image336 5 etc... #o import that se%uence, drag and drop the first image from that se%uence into #$"aint !nimation. #hink in uncheck Single image in the import panel and all your se%uence will be imported. -ore information lesson 7.
In this way, when you scan a set of images, you may either import these images directly after the current animation layer, or in a new animation layer, or simply in a new pro8ect.
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#he steps to create animated graphics
*orking with hand9made drawings
Inversely, it is also possible to print the content of a pro8ect. #he File > Configure printer option displays the options available on your printer, The File > Print option opens a new window: 9 !t the top of this window you will find the name of your printer. 9 #he Setup button displays the options available on your printer. 9 #he Single tab opposite is used to print the current image. 'ou may ad8ust the si>e and position of your image on the future sheet of paper using the click and slide function as well as the Scale field. #he Center button places your drawing in the center of your future sheet of paper.
9 #he Anim tab offers the possibility to print several images of your animation (merged layers) on the same sheet of paper. In addition to the image si>e and position setting options, you may: /hoose the number of rows for your images. <isplay the position of each image on the timeline. /hoose every second, third, fourth, etc. image in the Step" field. #he two buttons in the bottom right9hand corner of the panel are used to scroll through the various pages to be printed.
Crop a project
#he Crop tool is used to define a rectangular area in the current pro8ect and to transform the content of this area (including all layers) into a new pro8ect. #his is very practical when cropping your animations due to badly defined edges (see e&ample below). #he variables Start X and Start Y are used to define the top left9hand corner of the rectangular area, whereas the ne&t two variables ad8ust the Width and Height. oc! a"pect retains the current width:height ratio. 'ou can also use the ; < to edit the area to crop.
before cropping
after cropping
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*orking with hand9made drawings
Clean-up the sequence

,nce the drawing has been scanned, it is possible to : + <elete white or gray pi&els to imitate the use of a true animation overlay (this operation is necessary for later coloring as well as for use with a background).
or
will give
+ /lean up your drawings in order to correct rough pencil lines.
(>oom)
!!
#o obtain this result, use the feature #a"ic "can cleaner$ available in the Image > %odif& menu$ specially designed to accomplish the two aforementioned operations in a few clicks. 'ou can also use the ?. Color > Scan Cleaner, if the parameters of the #a"ic "can cleaner does not fit to you. ?. stack will be discussed in lesson 43. ,nce all drawings have been scanned, many users wish to delete, add or duplicate images. Sometimes, they also have to transfer complete images or layers from one pro8ect to another. It is this traditional, and yet vital, aspect that we will now e&amine in more detail.
"lip an image
It is possible to flip your images around the hori>ontal, vertical or both a&es.
#riginal image
$ori%ontal flip
&ertical flip
$ori%ontal and &ertical flip
#o do this, simply use the main menu options Image > %odif& > Flip 'Hori(ontall&$ )erticall& or #oth* an image or the selected images.
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*orking directly with #$"aint !nimation
Working directl' with T&(aint )nimation

The Sketch panel
#he S!etch panel comprises some useful preset tools which will allow you to create and clean sketches, as if you were drawing by hand. #he S!etch panel tools are designed for users who work with both computer and graphic tablet and who want to keep their old drawing tools habits. (pencil, eraser, ...) ;ere is a detailed description of the panel : + #he pencil icons allow you to draw sketches as if you had real pencils. #hree colors are available : black, orange and blue. #he blue and orange pencils draw with #ehind mode though the black pencil draw in Color mode. + #he paint+ru"h icons allow you to paint any pre9e&isting line into the color. 'ou can turn any line blue, orange or black. + #he fla"! icons allow you to turn your image into blue, orange or black. + #he first series of erasers allow to erase only the color that is displayed on the icon. + #he cro"" icons delete the color(s) : orange, blue, orange and blue, black while leaving the other colors intact. + #he era"er icons allow to ... erase a portion of the image. #he first eraser is small. #he second eraser is bigger and smoother.
#wo supplementary S!etch panel" are available : the first one is S!etch Panel ,ed (orange is replaced by red) and the second one is S!etch Panel ,-#. It contains = colors (red, green, blue) and the black. #hese both panels can be found in Window" > Cu"tom panel".
@ow, letAs study how to draw and clean a sketch step by step : + ?irstly, erase the content of the current pro8ect or open a new pro8ect window. + se the blue and the orange pencils to rough out your drawing. #he two colors, orange and blue, can help you to differentiate the portions of the image (here, the head and the legs are in orange, the arms are in blue.)
+ If you need to do so, use the two erasers at your disposal to refine on our image. In the e&ample below, the first eraser was used on the head of the character, the second eraser was used on the arms. (the colored eraser will only delete the corresponding colors)
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*hether you draw or erase, donAt forget that the rotative drawing disk can help you work with more precision.
+ ,nce the sketch with orange and blue colors is finished, use the black pencil to clean up the drawing.
+ @ow use the +lue cro"" icon : you now have deleted the blue construction lines of the arms : only the black lines of the arms are now visible. #he orange and black areas of the image (head and legs) are still visible.
*hen you use the two colors blue and orange to draw, it is easier to choose whether part of the image should be erased or kept.
+ If you use now the orange cro"" icon, only the black lines will stay on the screen. #he sketch is more precise than at the beginning.
090 #he steps to create animated graphics
+ !t this state of the process, you can stop here or continue to have a better result. + *e have turned here the lines into orange by using the orange fla"! icon. It is still possible to add some lines or to clean the image with the erasers.
+ If you want, you can turn the arms of the character into blue by using the blue paint+ru"h icon.
+ ;ere again, we draw with the black pencil on the colored construction lines.
+ @ow we can delete the orange and blue construction lines : #he image is not rough anymore. (if it is not the case, you can return to the previous steps)
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#his method is not the only one that can be used with the S!etch panel : you can use three colors in a different way or you can use only two colors. Some artists uses one color for the characters and another color for the background landscape ... It should be easy for you to adapt the S!etch panel to your workflow.
*anaging the images of an animation la'er

*ove and duplicate one or several images
#o move one or several images, select at first the images you want. It is possible to select several consecutive images of a layer with a simple click and slide of the left mouse button under the timeline icons. #he selected images are then marked in yellow (see below).
It is therefore possible to duplicate or delete all selected images in the same way as described above. #hen, click again on the selected images and hold the click : selected images will become pink and will indicate that you can move them in the timeline. If you move your selection in an empty space : you will remove its presence from its original place, and move it somewhere else. If needed, the previous instance will be stretched automatically.
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-anaging the images of an animation layer
#o duplicate your images selection into the same layer (in order to repeat it further in your animation, for e&ample), you 8ust have to hold your click and press D/trlE.
'ou can also duplicate your selection to another layer by dropping it to the layer above or below (the layer has to be created before).
Fe careful G If you put your selectionAs copy above an image se%uence, your selection will overwrite the images. #o avoid any incident, press DShiftE to insert your selection between two images, without overwriting them.
'ou can also copy, cut or paste an image selection, respectively with the shortcuts D/trl H /E, D/trl H .E and D/trl H $E (use D/mdE instead of D/trlE if you are a -ac user).
Insert or delete one or several instances

! right click on the timeline opens a conte&tual menu which allows you to insert instances (this function has been already e&plained in lesson 1), after the current image. 'ou can also use those buttons information about that panel further). from the Animator Panel to add instances (more
images inserted from image +,
#o delete several images, think at first in doing a selection, then press the key D<elE (be careful : DFk SpE does not delete the images but clear their contain). 'ou can also delete them from the conte&tual timeline menu (do not forget to confirm) #he In"ert$ /uplicate$ /elete image" options are also available in the Image main menu and in the Animator Panel.
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Cut, Copy- Paste la'ers

#he method used to cut, copy and paste an image or animation layer from one pro8ect to another is the same as that used for images. #o select several layers, simply left click on these layers while pressing the D/trlE or DShiftE keys as e&plained in lesson =. #he layers selected then appear in yellow. #he layerAs conte&tual menu is located in the left section of the timeline, the timelineAs conte&tual menu is on the right side of the timeline (see below).
#he Cut$ Cop&$ Pa"te la&er" options are also available in the a&er" main menu.
Fefore transferring the layers from one pro8ect to another, always ensure the resolution is correct, otherwise your images may be distorted.
.se the Peg-holes registration

J"egsK are little holes made in paper sheets to hold them together on a Jpeg barK, in order to draw and animate. If you want to scan an animation made on paper and use a scanner with feeder you will notice your sheets are not stabili>ed and so, when playing the animation, the result is really unpleasant. #o fi& this problem, #$"aint !nimation contains a tool named Peg0hole" regi"tration. #he peg0 hole" regi"tration is a very useful option to %uickly and efficiently scan animations made on paper. In fact, this option realigns the animation, thanks to the peg holes. #o use this function, 8ust open the Window > Tool" > Peg0hole" regi"tration. ! little window like this will appear :
Into this window, you can configure the peg holeAs si>e (height and width). #o see the peg holes on your workspace, please click on Set peg" po"ition.
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"lace the two red rectangles above the original peg holes. -odify their si>e to precise the alignment. Fe careful : do not set the red rectangles too near from the pegs G 'ou must respect a tolerance or the registration will not be efficient (see below).
!nd then, apply. #he animation will be re9aligned automatically.
Fy the way, you can choose any image from your animation to set the peg9holes registration : the layer will be entirely re9aligned.
Working with instances

In this chapter : + #he blue images are the new ones. + #he grey images are those which have been drawn in one of the previous steps. + #he green images are here to show the global render of the animation, once it is finished.
Introduction
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*orking with instances :
In traditional paper animation, the animators are often using the following method : + ?irst the key images are drawn. #he purpose is to get a handle on the global movement, on the re%uired number of images, on the timing to schedule, etc ... In the e&ample opposite, the kid is running from the left to the right of the screen. #wo key images are drawn. + #he second step is to locate and draw the most important frames. In our e&ample, this is when the kid is 8umping (the two feet are not on the floor). + ?inally, the inbetween pictures are added :
/
#o begin, an image is drawn between each picture already visible on the timeline. !fter this, new inbetweens are added among the previous one. this usually helps a lot to obtain a good %uality of animation (in other words a smooth flow of movement) + #he subdivisions are repeated until the animator is satisfied of the rendering.
final
#his simple process needs some successive subdivisions along the animation layer of the timeline. #hatAs not always easy because the images duplication, creation or copy are not always convenient to use. !d8usting the timing of the whole animation usually needs to duplicate and:or delete some frames and can be time consuming. #hat is the reason why the use of the images instances is clearly advised.
What is an Instance 3
!n instance is simply an image in an animation layer, an image whose duration can be ad8usted. (ach instance in the timeline has now two small s%uares which allows to use this feature. #he one at the bottom on the right is for stretching the duration of the current instance. #o do so, simply click on this little handle (it becomes yellow) and move it as shown opposite. 'ou have 8ust increased the duration of the current image. !ny image of an animation layer is considered as an instance. ,f course, if you stretch an instance, the following instances will shift back :
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#riginal la'er
45tend 45posure Cells without 6Ctrl7 ke'
If you pull on the left, your instance will decrease to the headAs instance (the first image). 'ou will notice another s%uare on your instances, on the left at the top, this time. #his handle allows you to stretch an instance without modifying the total duration of your animation.
;old the click on the handle (that will become yellow) and move on the left or the right :
8ome vocabular'
;ere is the name of each new element visible on screen : ,pposite, we have an In"tance containing four Cell". #he first cell is called Head Cell or more simply : Head. #he following cells (when e&isting) are called 12po"ure Cell" or 12po"ure". #he tail of our instance is the little handle ending the Instance which you can drag to ad8ust the number of 12po"ure Cell". !bove the Head, you will find a handle, named the "proc!et. #he sprocket allows you to ad8ust the number of e2po"ure cell" without change the global timing of the layer. #he number of Cell" in an instance is displayed on the top right corner of the In"tance.
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The content of the cells

*hatever the si>e of the instance could be, the e&posure cells are an accurate reproduction of the head cell. !t the first sight, all the cells of the instance have then the same content. 'ou should however take into account that all the cells of an instance do not have the same function : Indeed, if a modification of the head cell has a repercussion on the e&posure cells, itAs clearly not the same if you decide to modify an e&posure cell directly.
8plitting an Instance into two smaller Instances

,nce an e&posure cell is modified, the current instance is broken into two smaller instances. ?or e&ample (opposite), our instance contain the letter J!K. -odifying the third e&posure cell by deleting the letter J!K and drawing the letter JFK will create two different instances, the first one containing the letter J!K, the second containing the letter JFK. *e will then see the following images when playing the se%uence: ! ! ! F F.
#he option Image > In"tance" > Auto #rea! In"tance is available in the main menu *hen it is not checked, the e&posure cell which is modified, wonAt create a new instance. #he new image will be copied in the head of the instance
It is also possible to force the splitting of an instance. "lace the current image at the position you want to split the instance, and select the Image > In"tance" > #rea! In"tance option.
$ow to use the Instances for animating

@ow, letAs study a new e&ample : In our animation, the elephant falls from the top of the screen, then gets up, and finally leaves the screen by walking to the left.
+!/
/!0
0!1
*e can already and easily distinguish four key images from which the inbetweens will be drawn. LetAs re9use the method introduced earlier in this lesson, but with image instances : + ?irst create a new animation layer and duplicate the current frame three time. 'ou must have four empty instances on the timeline. + *e need then to draw the four key images in each instance.
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+ Lust after this operation, you can ad8ust the timing by choosing the appropriate number of e&posure cells in each instance.
If you need a %uick preview of the animation when drawing, it is advised to use the Flip0#oo! option. (see lesson 1 for more details)
+ ,nce this task is finished, we can break the four e&isting instances in order to draw the first inbetweens. (the inbetweens are drawn in blue for more readability)
'ou can use the ight Ta+le option to help you during the drawing process. It will take only the head cells into account. (please read the ight Ta+le section further in this lesson)
+ @ow we can break, move and resi>e again the e&isting instances in order to draw the second series of inbetweens. Felow, you will find the beginning of the resulting timeline.
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!t any moment of this process, you can, by only a few mouse clicks, change the number of cells of your instances, and then improve the whole timing of the animation. + /ontinue the process by breaking again the e&isting instances and by adding inbetweens. Stop it once you are satisfied with your animation. 999999999999999999 #o finish, here is a %uick overview of the steps which were needed to create the animation from the first to the second key image : #he blue 2 I 5 below shows where the last instance was broken (ie : split) into two instances.
+!/
;ere are the two key images, at the ends of the animation ! first instance is created in the middle of the layer.
#wo new instances are created for the inbetweens.
#he instances are moved and resi>ed.
#wo last instances are created for the last inbetweens.
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The Faux-Fixe feature

Fy default, all the images in the e&posure cells are the same, by definition, they are only a MlinkM on the head image. ;owever, this feature allows to use the previous images of an instance, in its e&posure cells. #his option is really useful, in particular when a character stops moving, but whose the lines still shake (a graphical aspect very appreciated by traditional animators). #his is made possible by the option Fau20Fi2e )alue available in the timelineAs conte&tual menu. #hat value is applied on the wished e&posure cell (you cannot use that value on the instanceAs head). LetAs see an e&ample of the behavior of this feature. LetAs say we want to repeat elements from that animation on the last instance, on the the third e&posure cell :
In this feature, the value represents how many previous images will be repeated in the e&posure cells of the last instance, from the e&posure cell of your choice (in the present case : the third one). Nn our e&ample, we want to repeat the previous e&posure cells, the instanceAs head and the three previous instances, so 46 images :
#he third e&posure cell contains a blue circle, the si&th one will contain a red rectangle etc... and this repetition will loop as long as the instance will have e&posure cells.
The Faux-Fixe Value set to +/ images
'ou can also set different behaviors than ,epeat, such as Ping0Pong and ,andom.
Ping-Pong
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Random
$ow to change the line9s color

'ou can use the option opposite in the layers stack in order to draw only on the e&isting pi&els of your image. It allows, for e&ample, to change the colors of your drawings.
,nly the layer with that option enable will be affected.
4rase the content of an image instance

sing the erase button of the main panel on the head cell of an instance erases its content. ! sing the erase button of the main panel on an e&posure cell of an instance always breaks the instance into two smaller instances. ! sing the erase button an empty single instance. of the main panel on several cells and:or instances turns each cell into
:avigate in the la'er

Some options are available in the Image > 12po"ure menu to make the way to navigate between the different parts of the instances easier . + #o navigate between several instances, it is possible to use he shortcuts D"age upE and D"age <ownE or D/trl H left arrowE and D/trl H right arrowE on your keyboard or click on these icons in the remote to go to previous instance and go to ne&t instance.
094C #he steps to create animated graphics
#riginal position
;o to (revious Instance
;o to :e5t Instance
+ #he layerAs beginning or end are also easily accessible via these icons or the shortcuts DE (also called D;omeE) and D(ndE of your keyboard.
in the remote
#riginal position
;o to beginning
;o to end
!s we saw in lesson 1, you can use the shortcut D;E and DLE to flip your animation respectively back and fro.
)dd 45posure cells in an instance

*ith the Image > 12po"ure > Add 12po"ure option, itAs possible to add a new e&posure in the current instance.
#riginal
)dd 45posure
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<emove 45posure cells from an instance

#wo different options are available to remove e&posure cells from an instance. + #he Image > 12po"ure > ,emo3e 12po"ure option removes one e&posure cell in the current instance.
#riginal
<emove 45posure
+ #he Image > 12po"ure > ,emo3e all 12po"ure" option removes all the e&posure cells in the current instance. ,nly the head of the instance will be kept.
#riginal
<emove )ll 45posures
'ou can also use buttons from the Animator Panel, that will be e&plained later.
+ If several instances are selected and the ,emo3e all 12po"ure" option is used, all the e&posure cells from the selected instances will be removed. !nd the selection will be stretched on the heads of the modified instances.
#riginal
<emove )ll 45posures
=elete 8elected images

In the previous part, the function only applies on the e&posure cells, and now the %uestion is how to remove heads O #o do so, 8ust select the delete option in the conte&tual menu of the layer or the appropriate button in the animator panel.
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ItAs always possible to delete e&posure cells by this way. <eleting the e&posure cells of an instance will make all the images of the layer move to the left. #he head of your instance stay the same.
<eleting the head cell of the first instance of the current layer will make all the images of the layer move to the left, but will keep the containing of the instance.
<eleting the head cell of an instance in the middle of the layer will also make all the images of the layer move to the left, but will keep the containing of the instance.
*erge la'ers
*e already saw in lesson = how to merge image layers. It is not really different if you decide to merge animation layers with instances. 'ou can use the merge menu of the timeline or dragAn drop a layer on another layer. #$"aint !nimation will always try to create instances in the merged layer.
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,pposite, four layers : !, F, / and < are going to be merged. (we used the option %erge all a&er")
#he resulting layer uses the instances system.
#he empty space between the two original layers is replaced by an empty instance.
Stretch a la'er
*e have described how to increase the number of images of a layer by inserting some new e&posure cells in the instances. #here are, however, other methods to increase the number of images in a layer. /lick and slide to the right on the tab encircled in black (see below) to call up the panel shown opposite.
#he e&ample (ne&t page) gives you an idea of the effects produced by the various options. Interpolation is nothing but a fade effect computed and applied by #$"aint !nimation to fill the intermediary images which will be inserted between the original images.
It is possible to stretch a layer to the left by repeating the operation described above with the left tab.
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,riginal layer to be stretched to the right. Stretch without interpolation. Stretch with interpolation. Pepeat: Loop. Pepeat: "ing9"ong. Pepeat : ;old. Pepeat : (&posure. !dd empty Instances. !dd empty (&posures.
Shrink an Animation layer

It is also possible to reduce the number of images in a layer using an analog method. /lick and slide to the left on the encircled tab below to call up the panel shown opposite. #he e&ample below gives you an idea of the effects produced by the various options.
#he original layer which will be contracted in time. -ove the tab to the left. ,ption Shrin! without interpolation. ,ption Shrin! with interpolation. ,ption Cut image".
*ith interpolation, the numbers 2 4,6,= 5 are mi&ed in the same image, the numbers 2 1,7,0 5 in the ne&t, then 2 B,C,I 5 etc Q *ithout interpolation, the intermediary images between images 4, 1, B and 43 are deleted.
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It is possible to shrink a layer from the left by repeating the operation described above with the left tab.
Pre- and Post-behavior

<id you notice the small triangles on either side of the layersO ! left click on the triangles offers you access to the options regarding pre9 and post9behavior of the layers. LetAs take the case of post9behavior as an e&ample (pre9behavior works in the same way). 'ou may choose between the options: 4one$ ,epeat$ PingPong (the last option only applies to animation layers), Hold. #hese options have the same effect as those offered when stretching a layer. ;owever, in the present case, the layer is not stretched and the post9behavior will be taken into account until the end of the animation. #hese options are also present in the conte&tual menu of the layer.
$ow to use several la'ers at the same time

If you use instances when working, it could be sometimes helpful to use several layers at the same time (for instance, if you want to stretch a drawing and its colors). 'ou can select one layer by using the left mouse button on its main thumbnail. If you want to select more than one layer, you can use the DctrlE key and select the needed layers by using the same method. ,f course, you can also use the layers conte&tual menu. !nd by right9clicking on the colored bo&es in the #ime Line window, all the layers of the color can be selected. LetAs imagine we have selected the two layers below (which yellow enlightened). *e are currently located on the fourth image of the timeline.
If we stretch the instance on the 1dge" layer by moving its tail, the corresponding instance on the Color" layer will be stretched in the same way.
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If you stretch the 1dge" layer by moving the right tab, the Color" layer will be stretched in the same way (we have chosen here to add empty images)
If you move the Sproc!et to ad8ust your instances durations :
If you click and slide a selected layer on the timeline, the other will follow.
The Recompute xposures option

#his option of the a&er main menu will try to transform the images of the current layer into heads or e&posures cells. #his option will only work if there are several identical images in your layer.
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#he !nimator "anel
The Animator Panel

*e have not yet discussed these panels which appear in the right panel bin, when the program is started. #hey comprise a wide variety of functions which will help you save a great deal of time when you start to get the hang of using the program. 'ou will have noticed that many of the functions already discussed are present in the Animator Panel. It was, however, important for us to start by e&plaining the fundamentals of the program before introducing you to some shortcutsG
(verything in relation with the creation or modification of custom panels will be discussed in lesson B and 4I.
!mongst these, you will find the possibility to add images before or after the current image, split a layer (after the current image), delete an image or layer, convert an image layer into an animation layer and vice versa, define bookmarks (add:delete), etc. @ow we are going to take a closer look at these functions... #he first thing you will notice is that the panel is sub9divided into several sections: Clip, a&er, In"tance$ 12po"ure and %i"c.
Clip
#hese icons 8ustify all layers from a clip on the left or on the right. #his icon selects all layers from the clip. #his icon moves the layers forward, in the way to make a layer begins when the previous one is finished.
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#he !nimator "anel
#his icon splits a layer in two after the current frame. #he old part (left) stays on the current layer and clip, the other part (right), will be created into another layer, into another clip. #his icon creates bookmarks. *ith these icons, you can circulate between bookmarks. JClip"K are storyboard elements. #hey will be discussed about lesson I.
La'er
#his icon selects the entire layer. #his icon deletes the current layer. #hese icons duplicate the current layer, by keeping its contain (green) or by emptying it (white). #hese icons split in two the layer after the current frame (left) or 8oin together two selected layers (right)
Instance
#his icons selects the entire instance. #his icon deletes the current instance. #his icon duplicates the current instance. #his icon erases the current instanceAs head. #his icon applies special effects from the ?. Stacks and recompute the instances.
#he steps to create animated graphics 096B
#he !nimator "anel
#his icon adds a ?au&9fi&e (loop animation). #hese icons add a new instance before (left) or after (right) the current frame. #hese icons add as much as instances you need before (left) or after (right) the current frame. If you remember well, you have the possibility to name an instance. #hanks to this button, you can apply the same contain than the current instance to all instances using the same name. ?or e&ample, letAs take this e&ample below, where several instances with the same name are repeated in the timeline :
LetAs draw a blue cross on one of them :
!nd now, letAs use the button to apply the same drawing on all instances using the same name :
45posure
#his icon select the current e&posure. #hese icons add one or several e&posures into the current instance. #hese icons delete one or several e&posures into the current instance. #hese icons convert an e&posure into an instance by keeping its contain or by clearing it. #his icon recomputes several similar instances to create only one instance with several e&posures.
096C
#he !nimator "anel
#his button has pratically the same role than the previous one, e&cept it allow you to define a range. #his feature is really useful for people who made their storyboard on a different software and want to work then with #$"aint !nimation. Import your storyboard as a video format and use the tolerance range to recompute the instances with a similar content.
#riginal images sequence
"inal result
*iscellaneous
#hese two buttons enable the use of a virtual stack in which you will store the current image with the first button. #his image may then be used by simply pressing the second button. @ote, on the one hand, that the last image added to the stack is always the first to be removed and, on the other hand, that the number of images stored in this virtual stack depends on the hard drive space available.
The classical tools of the animator

<otate workspace
#his a sum9up of the informations from lesson =.
*hen working with pencil and paper, you often have to rotate the page in order to touch9up the lines drawn. #his is also possible with #$"aint !nimation thanks to the workspace rotation function. #his is done by left clicking on the button illustrated opposite in the current pro8ect window and then moving the mouse.
096I
#he classical tools of the animator
It is possible to play your animation with a tilted workspaceG
@ote that workspace rotation always takes place from the center of your pro8ect window. If necessary, you may use the bottom and right9hand sliders of your pro8ect window to position the latter (see opposite).
*hile the workspace is rotated, it becomes visible in the form of an animation disk. If you do not need this function, it may be disabled in the /i"pla& popup menu of the current pro8ect. !nimation artists who prefer to use the Animator field" may use the same menu to select this option (see below).
.sing the light table

#he light table is a familiar tool to cartoon and animation artists. It simplifies drawing of the current image by offering a tone9down view of the images before and after the current image.
09=3
#o activate the light table, click on this icon, on the wanted layer. If you click on the light bulb icon main menu : in the menu panel or via the Window"
+ Load the animation 2 Punning Rid 6 5 and display only the current layer. + Start by choosing the color option in the popup menu on the left9hand side of the ight ta+le panel to display all frames in front of the current frame in the color indicated (default color red). + #hen disable all the frames behind the current frame that you do not want to see by clicking on the corresponding frame number. + )o to the frame in the center of the animation. + #o enable the light table in your layer, click on the T icon in this layer. #he following image will appear in the current pro8ect window:
#he frames in our animation layer which precede the current frame are displayed on the screen. #he frames closest to the current frame 2 in time 5 are the most visible and those furthest away 2 in time 5 are the most transparent.
#he light table is an e&tremely practical tool as it is also possible to display all frames after the current frame in time and for a given layer. If you configure your light table as indicated below (choose the gradient option in the popup menu on the right9hand side of the ight Ta+le panel), the frames after the current frame 2in time5 are displayed in a colored gradient, with more or less opacity depending on their position in relation to the current frame.
@ow that you understand how this tool works, letAs go back and take a closer look at its control panel:
#he steps to create animated graphics 09=4
+ #he two popup menu allows you to display the images after and before the current image with : their original colors, a color or a gradient of your choice. + #he two colored bo&es near those popup menus allow you to select the colors on the screen or a gradient in a preset list to view the frames before and after the current frame. + #he use of colors in this viewing mode is not mandatory. If you wish to keep the original image colors, select the option none (See below).
+ #he sliders are used to manage the opacity level of frames displayed. + #he numbers are used to select the frames to be displayed. ?or e&ample: in the panels shown as an e&ample above, the number 7 to the right of the >ero is selected and its slider is set in the center of the scale. #his means that the fifth frame after the current frame will be visible with medium opacity. + #he second popup provides some options on the displayed images. S #he light table can be apply on the frame" before and after the current one, or on the in"tance head", or on the +oo!mar!ed images. S #he Front option allows to display the light table images in front of the current image. S #he All and 4one options allow to display all the images of the light table or no images. S #he in! option avoids having to move each slider individually by linking them to one another. + #he bin popup provides all the standard functions to load:save custom light tables.
#he number 3 enables or disables the light table, its slider manages the global opacity of the table.
The !ut-o"-Pegs feature

#he J,ut9of "egsK feature allows you to move images coming after or before the current image, in order to make easier the inbetweens. #his feature is situated in the Light #able and does not modify the final render of your animation, even when you play it.
09=6 #he steps to create animated graphics
;ere is an animation with a running character :
#his animation contains = instances and needs inbetweens, between the first instance and the second one. Freak the instance thanks to the key D<elE or thanks to that icon in order to create a clear instance between the two instances. #hen, open the light tableAs panel and activate it on your layer (see the screenshot), in order to see by transparency your previous image and your ne&t image.#hanks to the Light #able, start to %uickly draw the inbetween.
!s you can see, the light table has gray s%uare under each imageAs slider and because there is a black triangle under the current image. /lick on a gray s%uare when you want to select and move an image before or after the current one. ?or e&ample, if you click on the s%uare of the image after the current one, the s%uare will be activated : a J3K and a green ; < will appear. #he ; < allows you to move the display in order to,
#he steps to create animated graphics 09==
for e&ample, trace the head, check the legAs length etc... *hen you move the display, the ; < becomes red. If you want to move another image, click on another imageAs s%uare (for e&ample : image after the current one).
*hen an image is moved, the J3K stays, in order to remind you there was a change. *hen you moved all your images, you simply have to choose your drawing tool and complete your inbetween. If you want to reset the display, click on on the black triangle, under the current imageAs slider, in order to open this little pop9up menu (on the right). J in! allK will allow you to move and resi>e all your Jout9of9pegsK positions in once and ,e"et will clear all the positions. 'ou can also remove individually the Jout9of9pegsK with a right click. #hen, you will be fere to finish your drawing properly.
09=1
The #imeline $otes

#he Timeline 4ote" was created in order to provide the animator with a way to add graphical annotations and notes to its animation. It is a tool to make its work easier. #he Timeline 4ote" is accessible in the Timeline window and looks like this :
,n the screenshot, you can see that the Timeline 4ote" is divided into two parts, a left and a right one. !ll the options of the Timeline 4ote" are available in the left part. #he right part is dedicated to the drawing annotations. Fy default, you can directly draw on the right part with a blue pencil. #he options part
*e can see that there are = sub9sections in this part.
+ LetAs start with the second part.
It holds the main tools of the Time ine 4ote" feature. -ost of the tools available here look a lot like the tools of the S!etch panel, studied at the beginning of this lesson. #he three colored circles allow you to change the color with which the annotations will be drawn. #he five options underneath change the current tool type. #he Pencil tool icon allows you to draw annotations with the color of the icon, as if you had a real pencils. #he /olor 1ra"er tool allows you to erase only the color that is displayed on the icon. #he Tint tool icon allows you to paint any pre9e&isting annotations into the current color. 'ou can turn any line blue, red or black. #his action deletes all the annotations of the current color, and leaves the other colors intact. #his action allows you to turn the Time ine 4ote" into blue, red or black color. !ll the annotations will be colori>ed with the current color.
09=7
Pemember that the ndo (DuE) and the Pedo (DShiftEH DuE) actions are available in the Time ine 4ote".
#he 1ra"er tool completely erases the annotations independently of their color. It has the same functionality than the Color 1ra"er tool ( ) but without taking care of the line color.
#he Clear All action simply erases all the annotations in the Time ine 4ote". #he Slice tool allows to split the Time ine 4ote" into two parts. Select the tool, click on the position you want splitting and drag the right part of the Time ine 4ote" where you want. #he %o3e tool moves all the Time ine 4ote". Lust click on the right side and drag it. + @ow, letAs say a word on the option in the third sub9section.
S #he -rid slider value enables discreet gray vertical lines on the Time ine 4ote". #his value represents the number of image between each vertical line. #he aim of this option is that the animator can clearly see to what images, his annotations correspond. If the slider value is 3, the vertical lines are disabled. It is the default value.
+ ?inally, the first sub9section holds 6 options. S #he Si(e slider parameter allows to change the si>e of the different pencils which are used. (ach pencil ( , , and ) stores its own value.
S #he functionality of the popup is really interesting. It allows you to play all the Time ine 4ote" over the pro8ect when it is played in real time. #his option can draw the Time ine 4ote" at different positions and si>es over the pro8ect. 45amples @ow that all these options have been studied, letAs see an e&ample with the elephant pro8ect.
)dd annotations with the Pencil tool and with different colors
09=0
With the Faux-Fixe feature- >? e5posure cells have been added to the project- so the annotations don9t correspond an'more to the animation
@o problem ..., select the Slice tool above the 61th frames, cut it and move the right part of the #imeLine @otes to the corresponding frame
(la' 'our animation- and 'our #ime%ine $otes will be displa'ed during the pla'back over the project
'ou will find a little dot on the top right corner, in that part of the timeline. If you click on it, you will lock the timeline for notes, in order to avoid any mistakes or errors.
09=B
#he inking process
The inking process

The floodfill tool
,ur running kid is drawn on an animation layer. *e will now fill in the background with the Floodfill tool.
,nce the Floodfill tool has been selected, various options are proposed in the Filling "hape panel shown opposite: 9 #he color modes were discussed in lesson 6 and B, 9 #he Smooth, 5pacit&, -radient and 5pacit& mapping options were discussed in lesson =, 9 #he Cu"tom +ru"h option was introduced in lesson 1 and will be fully e&plained in lesson B. *e will therefore only take a closer look at the second section of the Filling "hape panel@
*hen using the traditional Fill option you choose a pi&el in the current pro8ect window and then click on it. *e refer to this pi&el as the origin pi2el. #he Fill option changes the color of neighboring pi&els until it is prevented from progressing by the 2border5 pi&els. ,pposite, the 2border5 pi&els in black and the color dispersion from the origin pi&el in blue.
#he options indicated above allow you to choose the type of pi&els to be used as a 2barrier5 for the Floodfill function (i.e. pi&els which will not be modified after choosing this option). <epending on your choice made in the Fill popup menu, the pi&els considered to be 2barrier5 pi&els will be those with: + a different color from the original pi&el color + a different density + a different color and density + a different luminosity + a color identical to the # color. <epending on your choice in the Source popup menu, the pi&els considered to be barrier pi&els are located: + on the current layer (by default) + on all layers behind the current layer + on all layers in front of the current layer + on all layers displayed on the screen It is therefore possible to color our running kid on a layer independent of its contours.
09=C #he steps to create animated graphics
#he inking process
LetAs take a look at the timeline below: (in this case, the white pi&els are transparent following a clean up of the animated footage)
)o to the 2coloring layer5 located behind the 2Punning Rid5 layer and choose the layer placed in front of the current layer to color the running kid in the 2coloring layer5 using the outline of the 2Punning Rid5 layer. It is then possible to obtain the following result :
+ #he ,ange option enables you to numerically ad8ust the tolerance threshold for the aforementioned criteria (Fill "hape menu). ?or e&ample, opposite, a green shape is drawn with an airbrush on a transparent surface with a checker background. #he floodfill option applied in the center of the circle with the color blue provides the image results shown below.
fill 2 color and opacit'- e5pand 2 ? Ain all cases belowB
range 2 ?
range 2 >?
range 2 +??
range 2 /??
range 2 />>
"rogressively, it is noted that the tolerance to 2border5 pi&els becomes less and less. + #he 12pand option increases the si>e of the floodfill area to the number of pi&els of your choice. #his enables you to limit the number of border pi&els.
#he steps to create animated graphics 09=I
#he inking process
?or e&ample: you draw a green line with the airbrush. ! left click with the Floodfill tool and the color blue and you will obtain the following results:
"loodfill 2 color and opacit'- range 2 ? Ain all cases belowB
e5pand 2 ?
e5pand 2 >
e5pand 2 +?
e5pand 2 +> e5pand 2 /?
e5pand 2 />
e5pand 2 0? e5pand 2 1?
/ombine the two options 12pand and ,ange to avoid the result indicated below left and to obtain the result below right.
!! + #he -ap option allows you to avoid 2overspills5 when you try to fill a surface which is not completely closed. Low values are used in the case of 2small gaps5, whereas high values are used for larger gaps (it is worth noting that higher values sometimes result in a lower floodfill %uality).
Image with Ca gapD
"loodfill the character without &ap closer
"loodfill the character with &ap closer
0913
#he inking process
The )uto (ick Color option

?inally, you have noticed that there is also a bo& called Auto pic! color. #his option will save a great deal of time as it allows you, when checked, to pick a color when you click and to place it when you release the button. /ombined with a ight ta+le which only displays the previous frame, you may pick the color from the previous frame and place it in your current frame.
Fill inside
!nother way to fill your drawings does e&ist, through filled shapes, 8ust like Filled stroke. #his option is called 2 Fill in"ide 5.
0914
#he inking process
#his feature allows you to %uickly fill a drawing >one. It is really useful, especially when you want to fill a comple& drawing with a lot of little stroke, like the drawing below, made with a pencil tool. Fy creating a new layer below the <rawing layer and by choosing some parameters of Filled "tro!e, we will have then the possibility to fill all the drawing (the red ; < visible in the image below)...
Q and so, fill inside the drawing very %uickly.
#he feature proposed are very similar to the ones met in the flood fill tool. ,nly ths function JInclude linesK is a little different. #his option allow you to include or not the lines in the colorisation. Felow, you will see an e&ample of colorisation, without the lines.
0916
#he inking process
Create shadows
,nce you have finished coloring your running kid, you may add shadows to the latter using the toonshading effects discussed in lesson 4=.
toonshading
toonshading
=rop 8hadow
To finish the animation

Camera movements
@ow that your running kid is animated, it is possible to add a scenery behind him and to add camera movement (see below). #wo effects will help you with this: 6e&framer and %ultiplane camera (go to lessons 47 and 40 for details of these effects).
)dd music
#he graphic design side of your pro8ect is now complete. If you wish, you may now add a sound track in order to give it that final touch. (Pead lesson C for more details about this sub8ect.)
091=
Lesson 7 Other TVPaint Animation drawing tools
In this lesson, you will:

Finish studying the drawing modes. Use the clipboard. Use the spare image. Learn how to use animbrushes as drawing tools. Use cutouts and selections. Create and manage custom panels
The other drawing modes

We studied in lesson 2 se eral drawing modes : color, behind and erase. We are now going to study the other drawing modes at our disposal. The drawing and the photography below will ser e as a basis in this chapter.
The Shade and Light drawing modes

!s their names spea" #or themsel es, these drawing modes re$uire almost no additional e%planation. They are used to dar"en or brighten the opa$ue areas o# the image where you draw your line. &ust note that the higher the Power and Opacity o# the drawing tool, the more the drawing carried out in these modes will approach opa$ue white or opa$ue blac". In this e%ample, we used the Airbrush tool with a power o# '(( ) and an opacity o# '* ).
Airbrush tool in Shade mode
Airbrush tool in Light mode
I# the chosen bac"ground is white or blac", do not con#use the Erase mode with these two modes : the modes Shade and Light modi#y the color o# the pi%els, whereas the Erase mode modi#ies their opacity.
The Darken only and Lighten only drawing modes

Darken only dar"en pi%els lighter than ! color.
Darken only with dark blue
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,ther T-.aint !nimation drawing tools
Darken only with kaki
,n the other side, lighten only lighten pi%els dar"er than ! color.
Lighten only with dark blue
Lighten only with kaki
The Saturate and Unsaturate drawing modes

These two modes are used to increase or decrease pi%el saturation. ! highly saturated color is a ery bright color whereas a less saturated color is rather dull and closer to gray. /ere, the Penbrush tool was used with an opacity and power o# '(() #or a radius o# 0( pi%els.
Penbrush tool in Saturate mode
Penbrush tool in Unsaturate mode
The pi%els o# the house are gray with a light red hue. The Saturate mode will there#ore increase their red components and render them more i id. The Unsaturate mode will ha e little e##ect on the same pi%els as they are already close to gray.
*+0
The pi%els o# the sun and s"y are ery saturated. The Saturate mode will there#ore change the yellow hues only a little. The Unsaturate mode will modi#y them according to di##erent shades o# gray.
Penbrush tool in Saturate mode
Penbrush tool in Unsaturate mode
The Smooth and Sharp drawing modes

The Smooth mode attenuates the contours o# elements in the image and creates a blurred e##ect while the Sharp mode will accentuate them.
Penbrush tool in Smooth mode
Penbrush tool in Sharp mode
The Burn and Dodge drawing modes

Burn and Dodge respecti ely allow to increase or decrease the light density o# your image.
Burn
*+1
Dodge
The Colorize and Tint drawing modes

These two modes modi#y the color o# the pi%els: 2 The olori!e mode adds the A color while respecting the pi%el luminosity o# the source image. 2 The "int mode also adds the A color but respects the saturation as well as the luminosity. The more a pi%el is close to a gray, white or blac" color 3with all the shades they contain4, the less e##ect the color change will ha e. This is isible in the drawing areas corresponding to the cloud : they are less a##ected by the "int than by the olori!e mode. /ere the A color is red.
Airbrush tool in Colorize mode
Airbrush tool in Tint mode
The Negative and Solarize drawing modes

The #egati$e mode in erses the alue o# the pi%els in the source image 3the yellow o# the sun becomes blue, the blac" te%t becomes white, etc.4. The Solari!e mode gi es a slightly di##erent result than the #egati$e mode.
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It mi%es the negati e o# the source image with the source image itsel# and thus imitates the photographic solari6ation procedure.
Airbrush tool in Negative mode
Airbrush tool in Solarize mode
The Grain and Noise drawing modes

The %rain mode adds a multi+colored grain to the current image. This creates a te%ture imitating a light photographic grain. The #oise mode adds a single+colored grain. The color applied is the A color. The %rain and #oise modes themsel es also depend strongly on the power and opacity o# the drawing tool. /ere the A color is a gray color.
Penbrush tool in Grain mode
Penbrush tool in Noise mode
*+7
The Emboss drawing mode
Airbrush tool in Emboss mode
The Emboss mode accentuates the image contours by adding a shadow. ,nce the tool is used on the image, it appears to ha e more olume.
The
dd and Sub drawing modes
The Add mode adds the 8,9,:,! alues o# the current tool with the A color to the 8,9,:,! alues o# the source image pi%els. The result is the image shown on the le#t. The Sub mode subtracts the 8,9,: alues o# the A color #rom the 8,9,: alues o# the source image pi%els. The result is the image shown on the right. /ere the A color is purple: 8;'2<, 9;(, :;'2<.
Airbrush tool in
dd mode
Airbrush tool in Sub mode
The !ultiply and S"reen drawing modes

The &ultiply mode multiplies the indi idual alues o# the 8,9,: channels o# the source image pi%els with the sum o# the 8,9,: alues o# the A color pi%els. The Screen mode in erses the alues pre iously used. /ere again, the A color is purple: 8;'2<, 9;(, :;'2<. These last #our modes: Add, Sub, &ultiply and Screen are more use#ul when they are used with brushes or with certain e##ects. We will come bac" to them in #urther lessons.
*+*
Airbrush tool in !ultiply mode
Airbrush tool in S"reen mode
The
lpha Di## drawing mode
The Alpha Di'' mode wor"s essentially on the !lpha channel o# the tool and the image pi%els. I# the !lpha channel alue o# the pi%el in the image is less than the !lpha channel alue o# the pi%el o# the tool, the new image pi%el color gets the tool pi%el color. ,therwise, a percentage o# the tool pi%el !lpha channel alue is computed in #unction o# it and o# the image pi%el !lpha channel alue. This percentage is applied on the image pi%el color, and then, added to the tool pi%el color. This !lpha =i## drawing mode is ery use#ul #or drawing transparent colors and "eeping the same >global> !lpha component alue o# the tool in the image. ! good e%ample is #or a layer which would contain shadows. With this mode, it is possible to draw a shadow with di##erent tones o# grey but always "eeping the same !lpha alue. We can see this mode li"e a global non+drying mode. Let?s see an e%ample with the cloud abo e the house. ,n the #irst images, three ellipses ha e been applied successi ely on the cloud layer with the de#ault olor mode with di##erent color alues.
Original Image
color 255 0 0
color 12 0 0
color 20 0 0
,n the #ollowing images, the same ellipse with same colors has been applied on the cloud layer. The only change is the Alpha Di'' mode.
*+< ,ther T-.aint !nimation drawing tools
color 255 0 0
color 12 0 0
color 20 0 0
The $anto drawing mode

The Panto mode is used to reproduce, by translation o# the ector o# the @,A coordinates, all sections o# the layer 3the @,A alues being those present in the Shape settings panel4.
It is possible to interacti ely de#ine the @,A alues using the Set button 3"eyboard shortcut BChi#tD.E4 o# the Shape setting panel 3drawing a segment on the screen will determine the @ and A alues4.
F.g. #or @; +07( and A; +20< you will obtain, a#ter ha ing used the penbrush to draw a line at the height o# the sun in the #inal image 3corresponding to the diagram below4 :
/ere are the steps to use the panto mode correctly : '4 #irst, use the 8G: on main panel tools and set the ector @ and A 3set alues or clic" on the ?Cet? button and draw the ector on your proHect4. 24 choose a drawing tool li"e !irbrush and set drawing mode Panto in the popup menu under the drawing tools icons. 04 on your proHect you ha e two cursors. ,ne simple #or the source and another with pre iew #or the destination. .i%els under the #irst one are copied under the second one with the settings o# the current tools. :y changing the Source option in the Shape settings panel, the pi%els used, under the source cursor, will be the ones which are in the selected Source.
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The image to clone can be: 2 The current one. 2 The pre ious image o# the current layer. 2 The displayed image o# the proHect 3li"e in the pre ious e%ample4. 2 The selected paper 3opposite4. 2 The image pro ided by the spare.
An e!am"le with the source set to "a"er
The %ealing drawing mode

The (ealing drawing mode is an image+editing tool. It will certainly interest some users who want to impro e their photography. I wor"s li"e an enhanced pantograph : it allows to reproduce the te%ture and the global illumination o# a re#erence area, and preser e the color data.
The re#erence area can be set in the shape setting panel 3we already tal"ed about it in lesson 24) It is accessible in the *indows + Parameters menu or with a right clic" on one o# the se en drawing shapes.
In the e%amples below, two wounds o# a photographed hand ha e been corrected by using the (ealing mode with the airbrush tool. The pantograph mode on the right doesn?t gi e good results, with similar settings.
,pposite, the source picture and two #ingers that will be retouched.
$ource "icture with
%orrected "icture
%orrected "icture
*+'(

the re&erence area 'black cross( with the %ealing mode with the $antograph mode
With a bit o# practice, it could be easy #or you to remo e the dimple o# your photographs.
#
The &ace with dim"les The same &ace with the dim"les remo)ed
.lease note that the re#erence area can be located on a di##erent picture than the current one. The re#erence area can be the bac"ground, the displayed picture, the current image, the pre ious image, a paper or an image copied into the spare. It is there#ore possible to #a"e your photographs : here below, some scars ha e been added to the s"in by using this #issured wall picture as re#erence layer.
The same &ace with scars added
The re&erence "icture &or the %ealing tool
%li"board and s"are

The cli"board
The clipboard menu is located in the Edit main menu and comprises #our use#ul options which, in a way, ser e as an inter#ace between T-.aint !nimation and your other so#tware pac"ages.
,ther T-.aint !nimation drawing tools *+''
Clipboard and spare
2 The opy brush to clipboard option ma"es the current brush a ailable #or other so#tware pac"ages installed on your computer. 2 The opy image to clipboard option ma"es the current image displayed in your proHect 3including the bac"ground4 a ailable #or other so#tware pac"ages installed on your computer.
Word processors, spreadsheets and digital creation so#tware pac"ages generally use a #unction re#erred to as Paste bu''er content or Paste which you simply ha e to call up in order to use your brush or image.
When you use the Bprint screenE "ey on your "eyboard or when you use the opy option 3to be understood Jcopy to bu##erK4 in the program, it is possible to reco er the image stored in T-.aint !nimation : 2 The %et brush 'rom clipboard option ma"es the current image stored in the bu##er memory o# your computer a ailable as current brush. 2 The #ew layer 'rom clipboard option creates a new image layer #rom the clipboard.
For the latter option, ensure the si6e o# your current proHect is adapted to that o# the image stored in the bu##er memory, otherwise the image may be cropped.
The Spare image

It is possible to irtually store the current image in order to use it at a later time 3mi%ing options4 or to use speci#ic drawing modes 3&erge or ,mpressionist modes4. This image is re#erred to as spare image. The #ollowing e%amples will pro ide a better understanding o# this notion.
!bo e you will #ind the options a ailable in the Edit + Spare main menu.
Ca e the T-.aint logo opposite as a spare image 3main menu Edit + Spare + opy to spare or shortcut BChi#tD&E 4 =elete it #rom the current layer 3standard delete tool: 4, then draw an ellipse with an opacity o# *5) in its place.
$"are
2 The option Swap spare 3shortcut B&E4 returns the T-.aint logo to the screen and replaces the spare image with the ellipse. Using this #unction again will rede#ine the T-.aint logo as spare and will display the ellipse in the center o# the window. 2 =epending on your selections in the popup menu, the Cpare mi-er option o##ers the #ollowing results:
%urrent image
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Clipboard and spare
2 Finally, the option Delete spare is used to delete the spare image. I# you are wor"ing with se eral proHects at the same time, note that each proHect has its own spare image.
When you sa e a proHect, the spare page is also sa ed with this proHect.
The !erge drawing mode

The &erge drawing mode is only a ailable once a spare image has been de#ined. It may only be used with the airbrush, penbrush, mechanical pencil, pencil and wetbrush tools. It is used to draw the portion o# the spare image corresponding to the area tra eled by your stylus on the screen.
The &mpressionist drawing mode

This drawing mode will be discussed in the Special brushes section o# this lesson. It also re$uires the use o# a spare image.
To "er&ectl* master the drawing tools+

,sing Drying- Grain and Light
In lesson 2, we ha e seen di##erent drawing tools and some brushes #rom the tool panel. This lesson will teach you how to increase our "nowledge o# the di##erent brushes and their options. Drying rein#orces the painting illusion :
without Drying
with Drying
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To per#ectly master the drawing tools.
%rain 3a ailable with Oil brush and Pencil brush4 rein#orces the tool?s te%ture
silk
so#t
medium
hard
Light 3Oil brush only4 gi es olume to your painting
Three di&&erent Light con&iguration
The 'arp brush

The *arp brush may be used to gi e the impression that a drop o# water has #allen on the image. Combined with certain types o# paper, it gi es the impression that you are loo"ing at the image through a window. There are two types o# warps: warp out and warp in 3see below4.
.ar" in at to" .ar" out at bottom
Original image
,se o& this tool on an image
The Spe"ial brush

The special brush wor"s di##erently according to the drawing mode selected. It shi#ts the image pi%els: 2 uni#ormly in Shi't mode, 2 degressi ely in Smear mode, 2 by adding color in &i- mode , 2 by ta"ing into account the spare image pi%els in ,mpressionist mode. :elow you will see the results o# the #irst three modes #rom top to bottom 3each line was drawn #rom le#t to right4.
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olor smear mode 3the A color is red4
2 &i- mode 3the A color is red4
2 Shi't mode
2 Smear mode
!s indicated abo e, the ,mpressionist mode re$uires a spare image in order to wor". When drawing a line in this drawing mode, the current image is deleted in order to ma"e place #or a spare image and the latter is smeared in the direction o# the line drawn. This creates $uite an eye+catching e##ect when wor"ing with a small tool and with J dotted K Pro'iles and a .atio close to () 3see Special brush panel below4. When re$uired, the current image used as spare image may also pro ide a ery original artistic e##ect.
,pposite an illustration in impressionist mode with parameters panel together with the current image ; Cpare image. 3The use o# the spare images is e%plained #urther4
The Te(t tool

The "e-t tool is used 3shortcut BTE4, as its name implies, to generate te%t brushes.
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/ere you will #ind a general introduction into how to add a te%t to your images: 2 Fnter the te%t o# your choice in the te%t #ield at the top o# the panel. + That button LMN gi es you an access to the last sentences and words that you wrote in the te%t #ield. + The LLN button open a window with a larger te%t #ield, in order to wor" with long sentences. 2 Direction is used to choose the direction, between hori6ontal and ertical lecture. 2 Celect Letter mode or *ord mode depending upon whether you wish to display the entire content o# the te%t #ield or simply one letter at a time.
Letter mode u" / 'ord mode down
2 Celect your #ont on the pop+up menu or on the L...N icon, Hust ne%t. This icon opens a te%t editor, in order to easily choose a #ont and its si6e 3the panel change a little, #ollowing your operating system4 :
!ll changes to the numeric #ields or using the mini+sliders will be ta"en into account and displayed interacti ely on the screen #or se eral seconds in order to allow you to iew the result o# changes and settings made.
*+'7 ,ther T-.aint !nimation drawing tools
2 The Si!e ariable de#ines the #ont si6e in pi%els. 2 The /Scale ariable manages the #ont width. 2 The Space ariable de#ines the space between characters 3a negati e alue o erlaps the characters4. 2 The ,talic ariable modi#ies the inclination applied to characters. 2 The .otate ariable is used to increase or decrease the angle #ormed between the te%t and the hori6ontal a%is. 2 The "rack ariable adapts the space between characters, but this time, in proportion to the si6e o# each letter in the te%t #ield. 2 The Opacity ariable de#ines the te%t transparency. 2 The Outline ariable creates an outline o# arying thic"ness around the letters, but renders the interior o# the letters transparent. 2 The Smooth ariable applies a blur to the letters. 2 The Border ariable creates an outline o# arying thic"ness around the letters. 2 The %low ariable creates a luminous halo around the letters. The border and glow may be o# any color o# your choice. 2 I# the Letter button is selected, an Anim. 3!nimation4 popup menu is present: you may then choose to apply the letters in the te%t #ield once only, in a loop, randomly or in ping+pong. 2 I# the *ord button is selected, a Step ariable is present: this ariable wor"s in the same way as #or standard drawing tools 3see lesson 24. Oow you Hust ha e to apply your te%t on your layer, where er you want, with a simple clic" on your drawing space. The #onts used by T-.aint !nimation are o# the J .tt# K 3True Type Font4 #ormat.
2 The 8eset button resets all settings. 2 The JMK button pro ides access to the last phrases or words entered in the te%t #ield. 2 The : button opens a larger te%t #ield in order to wor" with longer te%ts. 2 The number in the bottom le#t hand corner o# the panel represents the te%t width in number o# pi%els 3a width which is dependent on your settings4. 2 The reate brush button allows you to trans#orm your te%t into a custom brush and switch to the brush settings in the tool panel. In addition to the settings ia the mini+sliders, do not #orget to tic" the bo%es to ta"e these ariables into account.
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The Custom Brush tool o"tions

In lesson 1, we ha e e%plained how to use the cut brush tools. In that lesson, we will see in detail how this tool wor"s. I# you select one o# the #i e icons in the main panel, the in place o# the tool panel. Aou may: 2 Create a brush by deleting at the same time the area in which it is located on the screen 3Cut option in the popup menu4. 2 Smooth the cut brush 3see lesson 0: smooth the contours o# a sur#ace4. 2 8emo e as many transparent pi%els as possible around the brush 3Optimi!e option4. 2 The Display option is used to cut your brush through the isible layers. This is re#erred to as deep cut. :elow, the sun, cloud and s"y are placed on three di##erent layers. The current layer is the cloud layer: ut Brush panel appears
Area to be cut
0rush obtained without dee" cut
0rush obtained with dee" cut
2 With the 0eep option you may "eep all the pre ious brush tool parameters 3re#er to the #ollowing section to study the arious parameters a ailable4. Co i# this parameter is not set, the new brush tool parameters will be initiali6ed with their de#ault alues. 2 The Brush Smooth option is only accessible i# the 0eep parameter is not set. It is coherent, because i# the 0eep parameter is chec"ed, the pre ious Smooth option o# the brush tool will be "ept. This Brush Smooth option is a way to create a new brush tool with de#ault parameters 3the 0eep parameter is not set4, with only setting the Smooth parameter o# this brush tool with the Brush Smooth option alue o# the ustom Brush tool. ,nce a brush is cut, you will automatically switch to the tool L Stroke1. The "ool panel will use the option L ustom :rushN 3see ne%t4. I t is possible to use it as such. Oumerous parameters are a ailable. 2 Godi#y the *et Pro'ile option. This option is only wor"ing with the Alpha Stamp and Alpha &a- Stamp mode. :e#ore the current custom brush is applied in the current image, the *et Pro'ile modi#ies the original custom brush, and it is the result which is applied to the image. /ere are some e%amples o# di##erent Wet pro#ile using the same brush :
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.et "ro&ile 1
.et "ro&ile 1
Godi#y the shi#t and the ,pacity options :
shi&t 2 100 / o"acit* 2 100
shi&t 2 100 / o"acit* 2 0
shi&t 2 100 / o"acit* 2 15
2 Godi#y the brush mode : 2 olor : corresponds to the original colors o# the brush 2Alpha Stamp : only opacity is considered. The brush now use the ! color 2Luma Stamp : colors o# the brush will change #rom ! colors to : color, #ollowing the luma. 2Luma ,n$ert Stamp : wor"s li"e Luma Stamp, but in erted 3see opposite4 2(ue Stamp : uses the ! color but "eeps the hue.
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The e%ample abo e uses colors A 38 ; 5, 9 ; 255, : ; < 4 and B 38 ; 255, 9 ; '<0, : ; ''4.
2Alpha &a- Stamp : records the ma%imum opacity alue o# your brush pi%els and uses it as a limit not to be e%ceeded during the drawing. !n e%ample with that brush :
lpha !a( mode
lpha mode
2Smear stamp smears your brush 3whose the color is de#ined by ! color4 with the current image :
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2Smear source is a little more comple%, because it needs a source, that you can de#ine in the Shape settings panel. Smear source allows you to smear the source you de#ined with the ! color. This option is really great #or people who want to ma"e Lpainted rotoscopyN. In the #ollowing e%amples, we used the #orest photography 3used to e%plain the drawing modes4 and di##erent custom brushes #rom the "ool bin 3e%plained later in that lesson4 :
2 Godi#y the global Si!e o# the brush. 2 Use the Shi't option. It allows you to distort the current image in the direction o# your stro"e. It is o#ten used with the opacity parameter set to (). 3see below4
When using the Shi't option, the Alpha Stamp and Alpha &a- Stamp modes are not a ailable.
2 Godi#y the 3itter o# the brush. 2 Godi#y the Opacity o# the brush. 2 Godi#y the Angle o# the brush. 2 Godi#y the Step between two applications o# the brush on the screen. This option enables drawing in a discontinued manner.
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2 The Smooth option is used #or more precision during drawing. P #one : Oo smoothing during the drawing. P &edium : a standard smoothing. P Best : a best smoothing but re$uires more computer resources. 2 Use the #eature *arp : this option allows you to warp your custom brush automatically #ollowing your 6oom alue on the wor"ing space.
)oom value * +,,-
)oom value * .,,-
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)oom value * .,,-
=o you see Q Whate er your 6oom alue, your brush will always warp itsel# and will always seems to "eep the same si6e. 2 Use the Pro4ection #eature, that allows you to turn a custom brush into a splatter brush.
.ay attention : the rendering o# this #eature depends a lot o# the tilt sensiti ity set in your graphic tablet?s dri ers. 2 Use the Drying option 3saw in that lesson4. 2 Change the (andle o# the brush: in other words, change the position o# the cursor in relation to the brush which is centered by de#ault. 2 The Anim option will be discussed later. 2 Optimi!e the brush: i.e. re+align the brush to conser e less transparent areas around the brush 3see ne%t page4.
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3ormal brush
3on4o"timi5ed brush
O"timi5ed brush
%entered handle
6andle to" right
6andle custom4"laced
2 Use the Stamp in place option which allows to apply the current ustom Brush on the current image at the same coordinates at which it was Cut in its original image. 7 .eset the brush settings+ Traditional drawing modes are applied to the brushes and sometimes pro ide interesting results:
Original brush 'the white "i!els are o"a8ue(
Image on which the brush will be a""lied
A""lication in !ultiply mode
A""lication in S"reen mode
Let?s tal" about the Edit button: it is used to display the panel shown opposite. The arious buttons #rom le#t to right and top to bottom ha e the #ollowing #unctions: 2 double the si6e o# the brush. 2 double its width or height. 2 turn the brush DI(R. 2 #lip brush on @ a%is. 2 optimi6e the brush. 2 cut brush si6e in hal#. 2 cut brush width, height in hal#. 2 turn the brush +I(R. 2 #lip brush on A a%is. 2 replace the transparent areas with : color. 2 loc" the widthSheight aspect ratio. 2 modi#y the si6e o# the brush numerically or in the proHect window. 2 rotate the brush to an angle o# your choice. 2 add a border to the brush 3you may choose the color and thic"ness o# the border4.
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2 anti+aliase the brush when modi#ying si6e and angle. 2 use the opacity map 3see lesson 04. 2 reset all settings and reco er the original brush. 2 alidate the modi#ications and use the new brush. It is possible to obtain all the con#igurations shown below and many more T
The notion o&
nimated Brushes
Using the Display option which was displayed during the brush cut, we saw that it is possible to cut a brush in space, se eral layers deep U It is also possible to cut a brush in time: this is re#erred to as animated brush) We will study this notion in detail using e%amples. Create an animated brush 2 Create an Animation layer o# '( images, then create a bird with a di##erent wing position in e ery image o# the layer 3see timeline below4.
Aou can use the light table 3lesson 74 to help you in the ma"ing o# the animated brush.
2 Celect all the images o# your layer. 2 Carry out a rectangular brush cut in a si6e similar to that o# the image. 2 T-.aint !nimation will as" you i# you wish to cut an animated brush ia a small window. 2 !nswer yes. Aou ha e Hust created your #irst animated brush T We will soon be able to use it in the current proHect or in another proHect 3in the e%ample, we are going to use the same proHect, used in lesson 14 : Chec" that you are wor"ing in color mode then clic" se eral times anywhere in the blue s"y.
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This is the result : The birds you ha e drawn be#ore ha e become your brush Jeach in turnK as you place them on the screenT
! #ew words on parameter setting #or animated brushes: 2 !t the bottom o# the "ool 5 Brush panel you will #ind the number o# the image currently used. 2 The Anim popup menu o# the "ool 5 Brush panel controls how the images appear.
The images in your animated brush may appear in arious ways :
,ther modes also allows you to modi#y the animation with a connection with your stylus, #ollowing the pressure, the speed, the direction, the tilt, the twist, the a!imuth and the altitude) Aou can also in$ert those connections. Gore in#ormations about connection #urther. !ll other options and parameter settings #or the brushes studied pre iously 3modi#ication o# si6e, opacity, direction4 also apply to animated brushes U 8eproduce an animation #rom an animated brush Oow, imagine you want to re+use your animated brush as an animation, #rame per #rame. 2 First create a new proHect in the same dimension than your animated brush 2 In an layer, create as many instances as images composing your animated brush 3'(, in the present case4. 2 In the "ool panel, clic" on .eset to reset your brush?s parameters. Chec" also i# the animation is in Loop mode. 2 Clic" in the center o# your #irst instance, in order to apply the #irst image #rom your animated brush 3do not draw T &ust clic" once4 2 Oow select the ne%t instances 3not the #irst one4 2 !nd press BFnterE !ll images #rom your animated brush are applied, #rame per #rame, on each instance.
9lood&ill using a brush

The 6illing shape panel appears when you decide to draw a #illed sur#ace or #lood#ill a sur#ace on the screen. This panel enables the use o# the brush as a #ill pattern. The Brush *rapping button
*+27 ,ther T-.aint !nimation drawing tools
enables this #unction. There are se eral methods a ailable. Following the hori6ontal andSor ertical a%is, you may : 2 apply the brush while adapting its si6e 3width andSor height4 to the sur#ace to be #illed, without distorting the brush 3i# necessary, the whole brush will not be isible4 3Stretch option4. 2 apply the brush at regular inter als without distorting it 3"ile option4. 2 distort the brush so that it ta"es the shape o# the sur#ace to be #illed 3*rap option4.
$tandard brush
Stret"h
Tile
'rap
The connections
Throughout this lesson, we ha e modi#ied the si6e, power, opacity, etc. o# our tools and you ha e certainly noticed the letters located in a bo% le#t o# the corresponding numeric alue. These are the onnection parameters. The corresponding conte%tual menu is accessible by clic"ing on the bo%. Gost graphic tablets a ailable on the mar"et are sensiti e to pressure, stylus tra el speed and inclination, etc U T-. !nimation ta"es all these ad antages into account and it is there#ore possible to imitate the speci#ic aspects o# drawing by hand.
/ere are some e%amples: 2 I# you connect the Si!e o# the pen tool with the stylus "ra$el Speed, the thic"ness o# the line drawn will be thic"er the #aster you mo e your stylus 3to do this, select Speed in the Si!e connection menu4. 2 I# you connect the stylus Pressure to the airbrush tool Power, the more you push down on the tablet with the stylus, the brighter the color will be on the screen. 2 I# you connect the Opacity o# the wetbrush tool to the Altitude o# the stylus, inclining the stylus will render the a$uarelle almost transparent. ! wide ariety o# setting combinations are a ailable. :elow we will describe each o# them. It is then up to you to ma"e the connections according to your needs and creati e spirit, don?t hesitate to e%perimentT The #irst set o# connections applies to pointing peripherals 3mouse, trac"ball, stylus4 : 7 ,n$ert5 in ert the e##ect o# the connection chosen. 7 Pro'ile Editor5 it will be e%plained in the ne%t chapter. 7 #one5 no connections. 7 Speed: the parameter connected to the Speed will change at a speed proportional to the stylus tra el speed. 7 Direction5 the parameter connected to the Direction will change according to the direction o# the stylus. 7 Orientation5 the parameter connected to the Orientation will change according to the stylus orientation.
,ther T-.aint !nimation drawing tools *+2*
7 6ade5 the parameter connected to 6ade will decrease its alues as the line drawn progresses. 7 .andom: the parameter connected to .andom will ary randomly. The second set o# connections applies only to stylus and graphic tablets: 7 Pressure5 the parameter connected to Pressure o# the parameter connected will ary proportionally to the pressure applied to the stylus on the tablet. 7 Altitude5 the parameter connected to Altitude will ary proportionally to the angle #ormed by the stylus inclination on the tablet. 7 A!imuth5 the parameter connected to A!imuth will ary proportionally to the angle #ormed between the stylus proHection on the tablet and the ertical plane. 7 "wist5 the parameter connected to "wist will ary when you roll the stylus between your #ingers. 3you need a 7= !rt pen #rom Wacom to use this connection4 7 6inger *heel5 the parameter connected to 6inger *heel will ary according to these options when using the Wacom airbrush #inger wheels.
&ust abo e, you will #ind a summary diagram o# the connections pre iously indicated. Oote that some tablets do not o##er all these options. For optimum results, T-.aint recommends the use o# WacomV tablets T
The speed, #ade, orientation and direction connections are adHustable. ,rientation angle, direction angle, speed cur e and #ade speed may be modi#ied in the onnection Settings window 3select Option in the connections conte%tual menu shown on the pre ious page4. :elow you will #ind some e%amples to illustrate the e##ects: Si!e connected to 6ade #or arious #ade alues.
Si!e connected to Direction 3le#t drawing4. Si!e connected to Orientation 3right drawing4.
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Si!e connected to Speed using arious cur es. !ll three lines were obtained by increasing the stylus tra el speed 3i.e. with progressi e acceleration4.
The "e-t tool with .otation connected to the stylus Direction.
The connections Pro&iles

! Pro'ile Editor option is also a ailable in the connection menu. ,nce selected, it opens a new window with a pro#ile cur e. This pro#ile cur e allows you to adHust the interaction between the parameters 3si6e, power, opacity, ...4 and the connection you ha e Hust chosen 3#ade, pressure, random, ...4 ! lot o# pro#ile cur es are then a ailable. For instance, the airbrush tool has 1 parameters which can use up to '( connections. There are then 1 % '( ; 1( potential pro#ile cur es. The applications o# the pro#ile cur es are numerous, and we will only study here the most important e%amples.
W $i5e and Pressure
I# you connect the stylus Pressure to the Power o# the Pencil tool, the more you push down on the tablet with the stylus, the thic"er your line will be. In the e%ample below on the le#t, the si6e o# your tool will be bounded between ( pi%els and 0( pi%els. 3In this e%ample, we want to #ocus on the si6e parameter beha ior, so we will choose connection 8 none #or the power parameter.4 Oow i# we change the pro#ile cur e as shown below on the right, the minimal si6e alue #or your tool will be '5 pi%els.
W $i5e and 9ade
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Let?s admit that we draw a straight line on the current picture, #rom right to le#t with the oilbrush tool. I# the pro#ile cur e stays unchanged, the line thic"ness is smaller and smaller. The hori6ontal a%is o# the onnection pro'ile panel shows the chosen connection #rom the ma%imal alue to the minimal alue. The ertical a%is o# the onnection pro'ile panel shows the alues o# the Ci6e parameter. !s a conse$uence, i# we change the pro#ile cur e as shown below, you will obtain the #ollowing results :
W Angle and :andom
Let?s admit that you are using an animbrush with #our images in order to add some colored #lags on a picture. 3see below, the handle o# the animbrush is on the red cross or red line and the anim beha ior is set to .andom4
<
handle
/ere is the result i# you draw a straight line with the settings opposite : 3=on?t hesitate to modi#y the Step parameter i# you need to change the distance between the #lags4 I# we choose an angle o# I(R, the result is monotonous ...
I# we connect the animbrush Angle parameter to .andom, the #lags will be arranged in e ery directions. It is completely disordered ...
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Oow let?s modi#y the pro#ile cur e as shown herea#ter : The angle o# the animbrush will be randomly chosen between <(R and '((R compared to the hori6ontal a%is. The general aspect will be less monotonous. 3each gradation represents I(R4
The minimal and ma%imal angular alues on the ertical a%is o# the pro#ile cur e are the same as the one you ha e chosen in the tool panel o# the current custom brush. For instance, i# you select an angle o# +5(R, the gradations will then be :
###
W $i5e and :andom
We will now continue to wor" on the same e%ample : The purpose is now to ma"e all the #lags ha e a di##erent si6e. ,# course, we can connect the Si!e parameter o# the brush to .andom)
Oe ertheless a problem persist : we can ha e too small #lags. To remedy this, we only ha e to select a minimal si6e #or our animbrush in the pro#ile connection window. ,pposite and below, some randomly selected alues between *5) and '(() o# the original si6e will be used.
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The drawing tool "anel 1 Bin tab

Two tabs are a ailable #or each drawing tool: The Options tab you ha e already seen and the Bin tab. 8egardless o# the tool you are using, you may sa e the settings applied 3Si!e, Power, Opacity, Angle, Pro'ile, onnections, %radient, &ode, etc.4 in order to use them again later. 8ight clic" on the empty area o# the Bin tab to: 2 either Add the current brush to sa e it. 2 or %et a brush o# your choice to be sa ed. In both cases, a miniature o# your brush appears under the tab. The numbers ne%t to the brushes indicate the number o# animated brush images or si6e o# the brush. 8ight clic" on the brush in the tab to: 2 Add the current brush to the bin 2 %et the brush you Hust clic"ed on as current brush 2 Swap the current brush with the one you Hust clic"ed on 2 E-port the brush 2 Delete the brush #rom the bin Aour settings are sa ed i# your normally $uit the so#tware. I# you sa agely $uit the T-.aint !nimation, your brushes will be lost. That?s why we ad ise your to use custom panels 3see #urther in this lesson4.
The Tool Bin "anel

The "ool Bin panel is one o# the custom panel present when you start the program #or the #irst time. Aou will #ind that panel in the right panel bin. !lthough relati ely basic at #irst sight, this panel is also ery use#ul to store your brushes than"s to the last two buttons it contains. The is used to grab the current tool and place it in the panel under the two buttons. !n icon is automatically created according to the tool to be used. The second button #ul#ils the same #unction as the #irst e%cept that it grabs the tool together with the A and B colors acti e when the tool was grabbed. ,nce you grab a tool with or without its colors, the current paper, the parameters and the connection pro#iles are ta"en into account. It is then possible to create and store more realistic drawing tools.
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Oow all you ha e to do is clic" on the icon o# the tool grabbed in order to use it again. This pro es e%tremely practical when you ha e speci#ic drawing habits T F en i# this panel is included with T-.aint !nimation, the "ool bin is a custom panel. It means it a panel that you can create by yoursel# T Aou are also #ree to create new panels #or each type o# tool and to sa e your #a orite brushes which are easily identi#iable T This $uic" initiation to custom panels will allow us to continue this lesson on the creation and management o# these panels.
%ustom "anels 4 1st "art

Introduction
It is possible to create your own custom panels and icons in T-.aint !nimation to adapt the inter#ace to your needs. To access the custom panels o# T-.aint !nimation, use this menu 3on the le#t4. The custom panels are similar to the "ool bin that we Hust met. Oumerous icons are represented and each o# them has a speci#ic #unction : brush, color or action.
%reate a "ustom panel

:y de#ault, when you create a custom panel, it will be empty, but we will learn how to #ill it #urther. ! newly created panel is as shown in the image opposite ! 8G: clic" in an empty area o# a customi6ed panel will open the menu shown opposite. The #ollowing options are a ailable : 2 %rab urrent tool allows you to sa e your current tool with all its settings and connections: airbrush, penbrush, custombrush, etc ... This action creates a button in the current panel. The icon o# this button is the one o# the tool grabbed and it pro ides #ast access to the pre iously grabbed tool. Oote that the option to grab the current tool is also accessible by simply pressing the button o# the "ool Bin panel which is present by de#ault. 2 9rab the current tool with colors has the same e##ect as the pre ious operation e%cept that the tool is sa ed with the ! and : colors de#ined at the moment o# grabbing. This option is also accessible ia the button o# the "ool Bin panel.
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Custom panels + 'st part
2 %rab current colors and create a library o# colors. 2 Add Action or series o# actions 3this part will be more detailed lesson 'I4. 2 Add new line o' icons to be #illed. 2 Add $ertical and9or hori!ontal separators between your icons 3clic" with the right button on the latter to remo e them ...4. Oote that the hori!ontal separators can be collapsed to sa e space. They can be named also, by a right clic" on the triangle. :e care#ul : when you sa e a custom panel, the papers lin"ed to your tools are not sa ed. In other words, i# you decide to sa e a custom panel, only the brushes and their settings will be sa ed on your hard dri e. This doesn?t matter i# you used the papers that are gi en by de#ault with the so#tware. /owe er, i# you ha e created and used your own papers, you will ha e to sa e and load them separately. Aour custom papers are located in the Papers sub+directory o# your con#iguration. /ere is the path #or Windows, Gac and Linu% users : 'indo/s * C*0Do"uments and Settings0User0 ppli"ation Data0T1$aint nimation +, 0"on#ig2name !a"33333333 * User4%ome4Library4T1$aint animation +, 5pro64"on#ig2name Linu(33333 * User4%ome43tvp4"on#ig2name ! lot o# thematic custom panels 3manga, pi%el art, chinese brush, ...4 are a ailable in the ontents:Sharing section o# our online #orum. http:SSwww.t paint.comS#orumS
6ow to manage the "anels+

Oow we will loo" at the options proposed in the panels themsel es. In the sub+menu shown below, which is accessible with a right clic" in an empty area in your custom panel, you may : 2 .ename the current custom panel. 2 Show icon only 3without te%t4. 2 Delete the current panel. 2 Duplicate the entire panel. 2 E-port as a T-.@ #ile. 2 ,mport 9 E-port the current panel in .bin 3#or T-.aint !nimation older than I ersion4. 2 Send to somebody connected on your networ" 3see lesson 54 2 Embedded in pro4ect your custom panel, so it will open automatically with your proHect.
! custom panel can be now tagged as Editable or not. In a non+editable panel, all options which modi#y the panel, are not a ailable anymore : .ename, Select action buttons with the cursor, ut, opy, Paste, Add Action, )))
*+01
In the second sub+menu you may : 2 Create a #ew custom panel 3you may create an unlimited number4, embedded to your proHect or not. 2 Load a new tool bar #rom its .bin #ile. 2 -iew the name o# the custom panels isible on the screen.
Aou may also de#ine a "eyboard shortcut #or each action created using the "eyboard shortcuts panel T
6ow to use the TVP= &ormat

Oow it is possible to e%port a Custom .anel as a T-.@ #ile. This #ormat ma"es easier the way to share all your creation inside a Custom .anel. !ll the brushes, plugins, scripts, ... inside the Custom .anel will be compacted into one simple T-.@ #ile.
,nce your Custom .anel is #inished, right+clic" on it and choose the option "his Panel + E-port As ";P/)))
! panel will appear to set some options o# the e%ported #ile.
2 The #irst #ield Uni<ue #ame is used during the e%port. It has an internal use in the T-.@ #ile. 2 The #ame #ield will be displayed during the installation o# the T-.@ #ile. 2 The Splash Screen image will be displayed during the installation o# the T-.@ #ile. The options a ailable are: P #one : Oo image will be displayed. P urrent ,mage : It is the current image o# the proHect which will be used. P ustom Brush : The current image o# the custom brush P %rab ustom Panel : Use the pre iew o# the custom panel to get the image. 2 The license #ield as"s a te%t #ile to display the license during the installation.
,ther T-.aint !nimation drawing tools *+05
2 The author?s name o# the T-.@ #ile, and a copyright. 2 !nd #inally, the location to sa$e the T-.@ #ile. !ll these options will be used during the installation o# the T-.@ #ile. Co how to install a T-.@ #ile Q ... Hust drag?n drop the #ile o er the T-.aint !nimation window.
! window will then appears to present the T-.@ #ile 3with the license, author name, copyright, ...4, clic" on the Oe%t button to access the second window.
In this second window, it is possible to see which custom panels are a ailable #or installation, clic" on ,X, the custom panel will install.
*+07
Lesson 8 Sound and XSheet
Manage the Audio Multi Tracks. Learn to use the XSheet layers. Make a Lip-Sync.
Audio Multi Tracks
Audio Multi Tracks

All the audio parameters are availa le in the second part o! the Time Line window" etween the Notes and the Layers.
The audio section can e separated into two parts. #n the le!t side" there are all the parameters o! the tracks $name" volume" o!!set" ...% and on the right side" there is a preview o! the track during the animation. &ust a little word a out the Master Track" it is a sort o! special track. It always e'ists even i! no track is loaded. This !unctionality will e detailed elow. #therwise" all the imported tracks add a new entry under the Master Track.
The sound track here" in the Clip : timeline ta is a (local) sound. A (glo al) sound" whose the use is very similar to the local sound" also e'ists. It will e discussed in lesson *.
How to add audio tracks to a project

There are two ways to add new audio tracks to a pro+ect. , In the main menu" the Project > Load Sound ... option opens a panel to choose the audio !ile to import. , In the le!t side o! the audio section" a click on the sym ol elow" to the right o! the Master Track name" opens a popup menu and allows you to Load a Sound Track... .
I! you have already loaded tracks" a history o! the previously loaded !iles will appears in this popup menu under the Load a Sound Track ... option.
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Sound and XSheet
Audio Multi Tracks
/ow it is possi le to load several tracks on a pro+ect" let0s talk a out the Master Track !unctionality. The aim o! the Master Track is to merge all the audio tracks" and see preview o! what the !inal sound will look like. 1e can say that the Master Track is to the pro+ect preview" what the Tracks are to the layers.
The audio tracks parameters

The main audio parameters are availa le on the le!t side o! the audio section. 2ere are the various !unctions proposed : , The triangle at the le!t o! the track name displays the optimi3ed display or the reduced display.
1ith the optimi3ed display" the preview o! the track is more accurate in the right side" and new options appear in the le!t side. , This icon allows you to put sound tracks in a group. Its use is similar to the color groups" discussed in lesson 4. , This icon shows the sound is audi le. I! you click on" you will mute the sound track and this icon will appear. 5e care!ul" i! the Master Track is muted" no sound will played" even i! your track is active. e
/ote that the utton in the current pro+ect window is used to play a sound track when the pro+ect is viewed.
Sound and XSheet
--4
Audio Multi Tracks
, The triangle at the right side o! the track name opens a popup menu. The options availa le are di!!erent i! the menu is the one o! the Master Track or o! another Track. The menu with the Master Track has een descri ed a ove. The options availa le with the standard tracks are :
6 Lock: allows to lock the current track. All the options which would modi!y the track" are disa led. 6 Duplicate: clones the current track and adds it to the end o! the tracks list. 6 Delete: removes the current track !rom the tracks list. 6 Move down and Move up : respectively allows to move down or move up the sound track $those options are in grey in you have only one sound track%. 6 !!set ... : opens a dialog o' to choose when the track starts inside the animation. The additional !ollowing options appear when the optimi3ed display is activated:
, 7ou can lock a track y clicking on the lack point 8 or via the popup menu. 1hen the track is locked" this icon appears The Master Track has no Lock utton" it is no possi le to directly modi!y it. , The near y check o' is to mute the track. $It is the same check o' o! the reduced display% , And !inally" the slider is the glo al volume o! the track.
The audio tracks preview

Let0s take a look at the right side o! the audio section. All the audio tracks are graphically represented in this side.
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Sound and XSheet
Audio Multi Tracks
As said previously" the Master Track is the :sum: o! all the tracks o! the pro+ect. It0s clearly visi le here.
The o!!set option is already detailed in this su section. /ote that the other way to modi!y this option is only to click on and drag an audio track $ y clicking on its preview%.
Some lue lines can also e seen on each audio track. The aim o! these lines is to allow a asic "ade option. , 1hen the lue line is at the ottom o! the audio track" the audio sound is on the minimum $i.e. no sound played%. , 1hen the lue line is at the top o! the audio track" the audio sound is on its ma'imum. $Set with the slider option o! the optimi3ed display% , ;uring the time that the lue line is increasing or decreasing" the program !ades the audio sound in !unction o! the current time and etween the minimum and the ma'imum values o! the audio sound. It is also possi le to add #nnotations on each audio track and at any position. 5y dou le clicking on a track" a popup appears $with the current time in its title% and asks the te't which will e displayed under the cursor position.
1ith a right click on an audio track" a popup menu appears and asks to split the current track. This option doesn0t really split the track" it duplicates the current track and ad+ust the "ade option on oth to simulate the splitting o! the current track.
Sound and XSheet
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Audio Multi Tracks
Before Splitting
After Splitting
The =ndo $>u?% and @edo $>Shi!t?A>u?% actions are o viously availa le !or the audio tracks.
The Preferences panel options

In the Pre!erences panel $$dit > Pre!erences%" under the Sound ta " more !unctions are availa le concerning the audio. , The !irst section o! this ta re!ers to the Scru options. 6 The !irst Scru% Duration option sets the duration o! the scru ing. 6 The second popup Scru% Mode allows to choose when the tracks should #lways" or only when the user Scru%s.
e played" Never"
, The popup Samplin& 'ate in the second section" lets the user select the sample rate wherein every audio tracks will e re-sampled during their import in TBCaint Animation. To have the est results" all the imported audio tracks should e at the same sample rate than the one given in the Sound ta o! the Pre!erence panel. I! it is not the case" it is o! course possi le to import the audio track" ut there will e may e a loss o! Duality o! this audio track. , The last option" Play project sound in clip allows to play the glo al sound when working in Timeline : clip mode $more in!ormation a out the glo al sound in lesson *%.
--E
Sound and XSheet
The XSheet Layers and XSheet Canel
The XSheet La ers and XSheet !anel

"ntroduction and principle
May e are you not !amiliar with (S)eet layers and Lip*Sync notions. 2ere are some in!ormations regarding their origin : The word (S)eet comes !rom e(posure*S)eet or dope*S)eet. It comes !rom the days o! traditional animation when the XSheet was a paper list that num ered all !rames o! a scene and in which the animator could write down his drawing num ers with the right timing. $see elow% It helped the animators to plan their animations and also worked as a guide !or the cameraman to know how to shoot the scene. For instance" synchronising the lips o! a character with a recorded soundtrack $in other words doing a Lip*Sync% was possi le with the XSheet.
The (S)eet panel" commonly called (S)eet ta% in TBCaint Animation Cro $see ne't pages% is the digital transposition o! the classical paper XSheet. The reason (S)eet panels were included in TBCaint Animation Cro is to make easier to time and synchronise the animations" thanks to the (S)eet layers. It is also a very use!ul tool !or people who uses to scan their drawings. The main advantage o! the (S)eet layer is that a !rame that is used multiple times in a scene need only to e ad+usted or colored once and all instances o! this image in the (S)eet layer will change accordingly. It saves a lot o! time since the process o! copying and editing !rames is much simpler and easier to control through the (S)eet panel. $This is much simpler than the old way in which you0d have to manually copy and paste !rames in the layers o! the timeline.% For e'ample" let0s assume that the coloring and the shadows o! a character are on separate layers: I! you need to re-arrange your animation in time" it is always very tedious to edit a layer in the same way twice or more ... Fortunately" with the (S)eet panel this can e done really easily and Duickly. All those notions may seem a stract at !irst" ut you can rela'. 1e will Duickly study some concrete situations and e'amples.
Sound and XSheet --G
The projects used in this chapter

To make the XSheet layers easier to understand" you will have to load the pro+ect !ile $@unning Hid.tvp% !rom your TBCaint Animation Cro ;B;-@om. Those who have downloaded the demo version o! the so!tware will !ind this !ile in the download > content s)arin& section o! the TBCaint we site $www.TBCaint.comI% #nce the pro+ect is loaded" you should o tain the !ollowing animation and timeline.
Five layers are visi le: an image layer called J ackground K and !our animation layers called J shadow K" J colors K" J @unning Hid K and J Toonshading K. Lach layer has its own assigned color. Clease note that the pro+ect does not have any XSheet layer at this time.
#irst approach of the XSheet panel

To swap etween the Timeline and the XSheet panels" you only have to click on the corresponding ta $see elow%
LetMs study !irst the le!t part o! the XSheet panel. $the right part will e the su +ect o! a !urther chapter%. The le!t part o! the (S)eet panel is in a way the mirror o! the Timeline. $see ne't page !or the screenshots% : , Lach column o! the (S)eet Panel corresponds to a layer o! the Timeline" with its color. The title o! a column is the name o! the corresponding layer. , Lach line o! the (S)eet panel is num ered. This num ering is the same as the one you can !ind on the top o! the corresponding timeline $see elow% , The image layers contain an uniDue image repeated through the time" so they are not su divided in the XSheet panel. , As the animation layers contain di!!erent images" they are su divided. , The ookmark located here and there on your timeline are also visi le and modi!ia le in the XSheet panel. 7ou can also use the sliders or the arrow keys o! your key oard to navigate through the XSheet panel.
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Sound and XSheet
, The thum utton o!!ers several possi ilities to change the display mode o! all the layers. 1ith a le!t click on this utton" it swap etween the classical XSheet display and the thum nails display $see !urther in the section (S)eet ta% +le!t part,%. 5ut i! you right click on it" a popup menu appears" and allows to choose the si3e o! these thum nails.
The si3e o! the thum nails can e Small" Medium and -i&.
, The second column" etween the column o! the image num er and the !irst layer column" can contains two in!ormations. It contains oth the Master Sound Track" and the Time Line Notes.
The Master Sound Track and the Time Line /otes are not edita le in this column.
There is still the possi ility to add some annotations in this column y a dou le click" like it is done in the Master Sound Track in the Time Line ta .
Sound and XSheet
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--NO
Sound and XSheet
A few simple options of the XSheet panel

A lot o! options regarding the layers are oth availa le in the Timeline ta and the XSheet ta . A right click with your mouse utton on an image in the XSheet panel opens a conte'tual menu compara le to the one encountered via the timeline. 7ou will !ind in this menu some options already encountered in lessons 4 and 9: , Insert" ;uplicate" ;elete" @ename" Popy" CasteQone or more images. , Set Cost or Cre ehavior. , Set #pacity" etc ... 6 6 6 6 6 6 6 6 6 6 6 6 6 , The $green or red% colored circle" once you click on it" allows to display or hide the corresponding layer. , The small lock utton allows to manage the locking o! a layer. , The grey dot under the ul manages the activation o! the light ta le. , The lack triangles allows to reduce or increase the si3e o! the columns in the Xheet panel. , The current layer is lighter than the other layers. - The J ackground K layer is hidden - The J Toonshading K layer is locked - The Light Ta le o! the J Polors K layer is activated - The J Shadow K layer is reduced - The J @unning-Hid K layer is the current layer In the XSheet ta opposite : , The letter J A K indicates that the column represents an animation layer. , The letter J I K indicates that the column represents an image layer.
Timeline ta$
XSheet ta$
At the ends o! the column" it is still possi le to set the pre and post ehavior o! your layers $see ne't page%. In the e'ample elow" a !ew pictures !rom the third layer are selected. They are enlightened in yellow in the Timeline and also in the XSheet ta .
Sound and XSheet
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%&
Timeline ta$ XSheet ta$
A!ter selecting several layers" the option #li&n le!t and #li&n ri&)t !rom the Layer menu allows to align your layers on either side o! the current image in each ta $Timeline or XSheet%
How to create a XSheet la er

Let0s now open a new pro+ect and come ack to the Timeline ta : 7ou already know how to create an .ma&e or an #nimation layer. Preating an (S)eet layer can e done using the same way" using the New popup menu o! your Timeline or using the Layer main menu.
R
At this state" the 'ename/ Duplicate/ Delete/ Copy/ 0ide and other classic options o! the so!tware are still availa le. 5ut you certainly noticed that you can0t shrink or stretch this new layer. There are no thum nail icons too. The ' and ( uttons o! the XSheet ta can also e used to create or delete a XSheet layer. The letter J X K indicates that the column represents an XSheet layer. Managing the content o! an image o! the XSheet layer or managing the position in time o! its images have to e done in the (S)eet panel. #nce your XSheet layer is created" you have to speci!y in the XSheet ta one or more sources. #therwise" it will not e possi le to use it" ecause you canMt draw on a XSheet layer. The images o! the chosen sources will constitute the elements o! the (S)eet layer.
--N.
Sound and XSheet
How to create and manage the sources

The source management can e done in the right part o! the (S)eet panel. In order to add a source column" you have to use the (' src) utton encircled elow. The () src) utton allows to remove a source column !rom the right part o! the XSheet ta . The choice o! a source !or your column can e easily done thanks to the popup menu located at the ottom right o! the XSheet ta . 7our source can e : , an animation layer in the current pro+ect , another open pro+ect , a seDuence ItMs also possi le to change the names o! your source layers" !or a etter reada ility. 7ou only have to use the popup menu name opposite. I! the Layer Type is selected" a menu Layer will allow you to choose which one you want as source. $see opposite% Same ehavior with the Project Type selected. Image layers are not availa le as source. The width o! oth sides o! the XSheet ta can e ad+usted y dragging the middle separator. The thum nails options and the position o! the separator are also saved with your pro+ect. ;o not con!use the source columns on the right part o! the XSheet ta and the layers columns on the le!t part o! the XSheet ta . The source columns are used to manage the content o! the XSheet layers and are not visi le in the timeline whereas the layers columns are also visi le in the timeline. $see elow%
Some e'planations a out the Se1uence source option. As seen previously" a source !or the XSheet Layers can e an open pro+ect or one o! the layers o! the current pro+ect. The Se1uence source allows to choose an e'ternal !ile $all the supported !ormats in TBCaint Animation Cro!essional Ldition are availa le% and use it as a source.
Sound and XSheet
--N4
A concrete e*ample
I! you have !ollowed this lesson !rom the eginning" you should have two pro+ects on the TBCaint Animation Cro screen. The pro+ect 'unnin&*2id.tvp and a new pro+ect called 3ntilted*45 containing an XSheet layer. Cro+ect called 3ntilted*45 we added the 'unnin&*2id image seDuence as source" as shown elow. /ow we only have to add some images !rom our source into the XSheet layer.
2ere again" the thum thum nails display.
utton allows to swap etween the XSheet display and the
I! you selected a (clip) as source" its layers are considered as i! they were merged.
How to manage the content of a XSheet la er

1e are now going to modi!y the content o! our XSheet layer. , 5e!ore eginning" you must know that it is possi le to stretch a XSheet layer y doing a drag0n drop at one o! its e'tremities. So you can o tain several cells" as shown ne't page. , A!ter this operation" you have to enter in the cells the re!erences !rom a source image. To do so" you have to use the !ollowing synta' : Source +olumn , Source Line $The cells containing the character J ) K doesn0t have any re!erence.% , The cells manually !illed have their re!erence image written in lack. , 5y de!ault" all the cells !ollowing a manually !illed cell are written in pink color and have the same re!erence image. Those images are also called key!rames. , #nce !inished" each cell !rom the XSheet layer correspond to an image chosen into the Source columns. $For a etter reada ility" you can use the thum nail view in order to replace each cells y its corresponding image%
--N9
Sound and XSheet
#pposite" here is how to stretch an XSheet layer.
#pposite : , The !irst three cells o! the e'position layer are empty. , The !ourth cell o! the XSheet layer is the .E th image !rom the source column called 2id. , The !our last cells have the same re!erence as the !ourth cell.
-ith thum$nails -ithout thum$nails
XSheet La er with its cells
Source images and columns
I! you selected an open pro+ect as source" the source pro+ect will e stretched to !it the XSheet layer.
In order to !ill in the cells o! an XSheet layer $in other words" to add images in a XSheet layer%" you can also dragMn drop thum nails and cells !rom the source columns into a XSheet layer. It is also possi le de manage Xsheet layers !rom the Clip : Timeline ta . Plick on the handles and stretch your layer" in order to make it longer or shorter.
7ou can also manage sources easily in the Clip : Timeline ta . &ust dou le click on a tween in order to rename it. 2ere" enter the source name $!or e'ample" Hid:NE% in order to use the NE th image !rom the 2id source $o! course" a source has to e loaded in the Clip : (s)eet%.
Sound and XSheet
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&
#! course" i! you enter a name that does not re!er to a source" you will o tain an empty image.
Select and move several images in a XSheet la er.

I! you want to select several images in a XSheet layer" hold the >shi!t? key down and do a drag0n drop with the LM5 on the cells or thum nails o! the XSheet layer.
7ou can also select your images !rom the Clip : Timeline ta . I! you hold this selection and move it to an anim layer" the e'posures cells will e turn into instances :
--NE
Sound and XSheet
The icons of the XSheet ta$

Lach icon elow has a speci!ic action regarding the XSheet layer or the XSheet ta . 1e will now e'plain each o! them separately in the ne't page.
This utton creates a new XSheet Layer. This utton deletes the current XSheet Layer. This utton toggle the thum nails I cells view. $A right click on it opens a popup menu with several options% For a etter reada ility" the icon opposite allows to display I hide the columns o! the image and animation layers in the XSheet panel. This option is only working with the XSheet ta and does not interact with the timeline or the pro+ect display. This utton allows you to add a source into the XSheet ta . This utton allows you to delete a source !rom the XSheet ta . This utton allows you to add one tween to each selected !rames. This utton allows you to delete one tween !rom each selected !rames. This utton allows you to add multiple tweens to each selected !rames. A popup menu will appear to set the num er o! tweens to add. This utton allows you to delete multiple tweens !rom each selected !rame. A popup menu will appear to set the num er o! tweens to delete. This utton allows you to invert the order o! the selected !rames. This utton allows you to shu!!le the selected images o! a XSheet layer. This utton allows you to cut the selected images I cells !rom a XSheet layer. This utton allows you to copy the selected images I cells. It can e either source images or images I cells !rom a XSheet layer. This utton allows you to paste the cut or copied images I cells !rom a XSheet layer into e'isting images I cells. This action deletes the selected images and insert the new ones.
Sound and XSheet --NG
7ou can also use : the LM5 and drag to J move K $cut and paste% a selected range o! !rame. Ptrl A LM5 to J move K $copy and paste% a selected range o! !rame 2ere is a small summary diagram :
The options that allows to cut" copy" or paste the cells can e applied !rom an XSheet layer into itsel! or into another one. $however" it is not possi le to cut source images%
Select a default source

1hen you click on the name o! your XSheet layer" a popup menu called de!ault source appears at the ottom o! the XSheet ta . It is then possi le to assign a source column y de!ault to your XSheet layer : all the re!erences o! the cells will only need a num er o! picture in order to e taken into account. This is very convenient to create new XSheet layers synchronised with the current one. 7ou only have to duplicate the current XSheet layer and change the de!ault source o! the duplicated XSheet layers.
A$out the projects

1hen a pro+ect needs some images to e repeated several times" itMs advised to use XSheet layers. It allows to decrease the si3e o! the pro+ect when you save it on your hard drive" ecause each repeated image is saved only one time. 1hen you save a pro+ect in TBC Animation Cro!essional Ldition" the related XSheet ta and layers are saved too. $7our pro+ect will still e availa le I usa le with previous so!twares !rom TBCaint. 5ut" the XSheet and sound Duotes layers will not e viewa le nor usa le.%
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Sound and XSheet
The steps to create a lip-sync
The steps to create a lip)s nc
In this section" we will learn how to synchroni3e the !acial movements o! a character $especially his mouth% with a preloaded audio track. The main idea is o! course to give the impression that the words come !rom our animated character and not !rom a recording that has een added over an animated seDuence.
The pro+ect Lipsync.tvp and the audio track voice.mp6 will e taken as a asis to study the lipsync steps. 7ou can !ind them on the so!tware P; @#M. Those who downloaded the evaluation version o! TBCaint Animation Cro can !ind those !iles in the (content sharing) section o! our online !orum. $http:IIwww.tvpaint.comI!orum% 2ere is the timeline o! the pro+ect Lipsync.tvp
Layer (eyes) Layer (pupils) Layer ( rows) Layer (!ace hair) Layer (hair color) Layer (mouth 9) Layer (mouth 4) Layer (mouth .) Layer (mouth N) Layer (+aw) Layer (!ace-color)
Sound and XSheet
--N*
1e have chosen the !ollowing colors to have a etter reada ility through the timeline: -the layers relative to the mouth movements are in red. -the layers relative to the +aw and !ace are in lue. -the layers relative to the eyes movements are in purple. I! you play now this pro+ect" the result will not e really interesting. 5ut we will Duickly remedy this situation.
+ali$rate the options relative to the audio track

/ow that the pro+ect is loaded in TBCaint Animation Cro" letMs import the audio track named voice.mp4. #nce your audio track is loaded: , 5egin y setting the o!!set parameter with accuracy , Lock your audio track in order to prevent unwanted changes , Select (scru ) or (always) as parameter !or the audio +og" with a duration o! . or 4 seconds. $see !irst chapter !or more details%
The option called: )Lnter audio scru duration) allows you to speci!y the duration o! the sound that you will hear a!ter each movement throughout the timeline. $This option is !unctional only i! the (+og audio) parameter is not in (none) mode.%
At this point in the process" your movements throughout the timeline should e !ollowed y one or several sounds.
!ositioning s lla$les and phonemes

It is now advised to display the XSheet panel in order to continue our work. $Although all the coming steps can e done directly in the timeline.% 1hen you move your cursor $ie: change the current image% through the timeline" try to !ind sylla les and phonemes. Then" add an annotation on the corresponding place. To do so" use the option Notes which appears in the audio track conte'tual menu or in the .ma&es main menu.
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Sound and XSheet
7ou should o tain a XSheet panel like the one elow : I! the te't that you want to synchroni3e with your character is long" try to add ookmarks to the images !rom which a sylla le or phoneme starts. It will e easier to !ind again those images later. 7ou can already hide the animation layers. Those layers will not e visi le when the pro+ect will e !inished. They are only here in order to e selected as source !or the XSheet layers. 2owever" you can set )old as postehavior !or the Image layers. $they will stay visi le until the end o! the lip sync process% 7ou should o tain the image elow :
+reate some source columns

As e'plained on page -" you have now to set your sources images and columns in the right part o! the XSheet ta . 2ere elow" the source columns are created !rom the e'isting animation layers o! our pro+ect. $the column !color is linked to the layer !ace color%
Sound and XSheet
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+reate some XSheet la ers

/ow" let0s create some XSheet layers. For each sound o! the audio track" the +aw and the !ace skin should move accordingly" as our character is talking. $see elow% The movement character0s +aw & & & The movement !ace0s skin & & & o! the o! the
Two synchronised XSheet layers will e needed here to do the +o . #nly their de!ault source column will e di!!erent. $!color and +aw% Lach sound o! the audio track can e roken down into separated seDuences : #pposite" the J # K sound & & &
2ere the J A K sound & & & The J I K sound & & &
The J L K sound & & & Lach time that the J # K J A K J I K or J L K sound will e encountered on the timeline" you will then have to reproduce the corresponding con!iguration. A XSheet layer derived !rom the two last descri ed XSheet layers will e used here. 2owever" it will not have a de!ault source" ecause it will use the !our source columns $mouthN mouth. mouth4 mouth9% Finally" you will have to make the character link periodically in another XSheet Layer.
&
&
&
&
The movement o! the rows will depend on the conte't o! the scene. It can e'press astonishment" neutrality" !atigue" etc ... It will also need an XSheet layer.
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Sound and XSheet
2ere is the result with the XSheet ta :
LetMs assume that our character comes !rom an animated TB series. It will e possi le to re-use the same images !or the !ace" XSheet layers constructed with the method"QetcQ
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7ou can always trans!orm an XSheet layer into an Animation layer with Instances y using the Trans!orm into #nimation Layer option $use the layer conte'tual menu in the Timeline%.
Sound and XSheet
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Lesson 9 Create and manage a storyboard
In this lesson, you will learn to :
Create a storyboard and how to manage the different functions (draw, write a text, etc... ) Turn your storyboard into an animatic and then how to add sounds and camera movements. Ex ort your storyboard ! animatic in order to share your wor".
#hat is a storyboard $
What is a storyboard ?
% storyboard is a vital narrative art in animation because it allows a transition between the scri t (from a text) to the animation. % storyboard indicates to animators what they have to do : rhythms, how to animate, etc... % storyboard contains many details such as dialogs, s ecial effects, camera moves. % storyboard is made of a succesion of sera ated ictures which re resent shots. If storyboards for live&action movies can be very sim le (one icture er shot), storyboards for animation have to be more recised : most of time, a shot or a scene will be com osed of many ictures to describe it ro erly.
'ou would understand, a storyboard is an essential ste in animation. That is why T()aint %nimation includes a storyboard module and that is also why it is im ortant to learn how to use it.
Create a storyboard
Define the project
*irst of all, go to Files > New Project to create the ro+ect which will contain your storyboard. The anel +ust below will a ear (you have already seen lesson , ). This time, we will care about the tab Project with Camera.
%s you can see, there are three columns : - Camera View (Final Output) re resents the oint of view of the camera that will be used at the final ex ort - Drawing Area re resents the si.e of the wor"ing s ace, which can be used to ma"e big
/&0 Create and manage a storyboard
bac"ground (for exam le) - Ratio re resents the enlargement ercentage between Camera View and Drawing Area #hen an animation movie is made, camera moves are usually used (.oom, travellings, etc ... ). Those camera moves needs a larger wor"ing s ace to add them later. *or this exam le, we ro ose you to select the format D V !"# x 0112.Then, clic" on New project to create your new ro+ect. To "now more about the meaning of the other terms, ( Frame rate, Aspect Ratio ...) lease read the first lesson.
First clip and first drawing.

The function storyboard of T()aint %nimation is visible in the tab Project, in the timeline. Clic" on the tab in order to have this :
This white rectangle is called a cli . % cli is com osed of layers and ictures and is always included in a scene (in this case, we have a scene with only one cli : the both elements cannot be differentiated). If you double clic" on your cli , you will access to Clip mo$e % la&er, where you will be able to manage layers and ictures.
Come bac" to tab Project and select a drawing tool. 3raw in the wor"ing s ace : you will see then the same drawing in miniature, in the cli .
If you double clic" again on the cli , you will see the cli 4s layer contains a drawing.
icture with your
'ou have +ust drawn the first image of your storyboard 5

Create and manage a storyboard /&6
Manage your storyboard

Create scenes and clips
Come again to the tab )ro+ect and create a new scene. To create a new scene, double clic" on the em ty .one next to the current scene.
'ou have +ust created a new scene which contains one cli 5 'ou can also use these icons the current scene. to create a new scene before (left icon) or after (right icon)
'ou can also add one or several cli s into a scene, in order to arse the scene into several ste s (cli s). To create a new cli into the current scene, you can use these both buttons : - The first button add a cli before the current cli : .
- The second button add a cli after the current cli :
Change scenes and clips

8ther buttons are resent in the tab )ro+ect and are used for : This button allows you to join the current scene with the ne t one, in order to obtain only one scene, com osed of several cli s.
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Create and manage a storyboard
This button cuts a scene after the current clip. The resting cli s form a new scene.
This button allows you to duplicate a clip and all its contents (layers, drawing, etc... )
This button allows you to duplicate a scene and all its contents (cli s and their contains).
This function allows you to split a clip into two clips (reunited into the same scene), after the current picture (cli has to contain several images).
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Contrary to other functions, this button the Animator panel.
is not situated in the Project tab, but in
This function allows you to merge the current clip with the ne t one into the same cli .
In order to manage more easily your storyboard, T()aint; %nimation includes a numbering system of your scenes and; cli s, in the left corner, at the to of each cli s (see o osite). In the resent case, the number , indicates the scene number : it means this scene is the first one of the storyboard. The numbers 0!6 indicates that we are on the the second cli of the current scene, and that this scene is com osed of 6 cli s.
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!toryboard"s aspect #
8ther functions are available in T()aint %nimation to hel you in managing your storyboard. This button allows you to loc$ the order of your scenes and clips . =owever, you are still able to change the contents of your cli s (texts, drawings, etc...) This button allow you to change the si%e of your thumbnails . Its use is really sim le : you only have to maintain a left clic" on > and move to right or left with your mouse to enlarge or reduce the thumbnails.
- &ename a clip 3ouble clic" in the 'ntitle$ .one of your cli thumbnail and select Rename Clip.
or right clic" on the visuali.ation area of a the
- 'ssign a group to a clip Cli s can be brought together into the same grou , as layers too. To assign a grou to your cli , right clic" on the visuali.ation area of the thumbnail and select ?@rou ?
*eatures of cli s4 grou s are the same as grou s available in Clip % (a&ers or in the sound management. )lease read lesson 6 to "now more about how to manage grou s.
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- (ide a clip Bometimes, a scene can be deleted from a movie, or can have several versions. In such cases, it could be bad to delete all your wor". It is better to hide this scene and "ee it safe, ?+ust in case?. To hide a cli , right clic" in the visuali.ation area of your cli and select )i$e clip, or left clic" on the right corner, at the to of your cli .
- Mo)e a clip 7aintain a left clic" on the cli 4s name and move it where you want. If you select and move a cli contained in a scene, the cli will turn into a new scene containing one cli . If you move it from a scene to another scene, it will ada t conseCuently.
- Change your storyboard"s )iew Dasically, the first storyboard4s view mode is the thum*nail mode available to o timi.e the ma"ing of a storyboard. The Column view or the Row view . Three other view modes are
are the most used views, traditionally.
These both modes allows you to add informations such as action, dialogs and notes. 'ou can even co y aste a text from a text file.
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The fourth view, the Timeline view
, is used to visuali.e your storyboard as an animatic.
*urn a storyboard into an animatic

What is an animatic ?
The animatic is the next ste after a storyboard. %n animatic is +ust an animated and rhythmic storyboard that will be used as a reference for animators. Traditionally, it4s very long to turn a a er storyboard into a video (you have to scan, cut, edit...), but with T()aint %nimation, this ste is instantaneous. %s each cli is com osed of one layer and one image at least, you +uste have to give a duration to each image to create your animatic.
+i)e a duration to your clips

There are two ways to give a duration to your cli s. The first method consists in editing each image4s cli in the tab Clip % (a&ers and re eat it as many time as you need.
The second method, more sim le, consists to stretch each cli by using the timeline view in the tab Project.
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Turn a storyboard into an animatic
This method allows you to give rhythm to your animatic without s oiling the number of images that com ose your cli s. *or exam le, if your cli contains 9 images, stretching your cli will not create new images. De careful 5 De sure that the ost behavior of the layers which com ose your cli s are in mode )ol$, Repeat or Ping+Pong. In None mode, you will have a blan" review :
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The duration given to each cli a ears in the right corner at the to (in thum*nails, columns or rows views) or at the bottom (in the timeline view). 'ou can choose to dis lay the time code or the number of images (see below) in your references.
8nce your animatic is done, clic" on the lay button to see the result.
De careful, you can see the wholeness of your animatic only if you are in the tab Project. If you are in the tab Clip % imeline, you will see only the animation of the cli .
'dd sound
There are two ways to manage sound with T()aint %nimation : either in a global way (concerns the whole ro+ect) or in a local way ( eculiar to each cli ). #ith this lesson, you will learn how to manage global sound. )lease read the revious lesson to learn how to manage local sound. @lobal sound is used for a whole ro+ect : for exam le, we advise you to load musics, bac"ground sounds, etc... It4s interesting to note that local sounds (loaded in cli s) are audible when you are laying the whole ro+ect and vice versa, if you enable Pla& project soun$ in the clip in the ,oun$ tab, from the Pre-erences anel. To load a global sound, use the timeline view in order to have the menu which allows you to load an audio trac". Clic" on A$$ a soun$trac. to o en your documents and choose your sound.
8nce loaded, your sound will a settings and o tions.
ear in a thin belt. Clic" on the arrow on the left to have more
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The functions of the global sound are the same as the local sound. #e recommend you to study the lesson E to "now more about this sub+ect. 8nly one additional o tion is available for the global sound : the function ,plit trac. to clips
This function s lits global sounds and sends each art in corres onding cli s, in order to manage sounds inde endently (for a li &sync, for exam le) Bo, this soundtrac" will be s lit in each cli :
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Ma$ing a camera mo)ement

The camera tool is a useful function to ma"e easy and instantaneous camera moves, which could be modified very Cuic"ly. The camera tool is laced in the main anel : #hen clic"ing on that icon, the camera will be automatically laced at the center of your image. The % osition of your camera is then symboli.ed by a red rectangle.
Fow clic" again somewhere else in your drawing s ace. % new (blue) rectangle will a ear and the first red rectangle will become green) : you have +ust made a camera move from osition % to osition D :
Fow you can set intermediate ositions between % and D by hauling the blue line, lin"ing % and D together :
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Fow you can lay your camera movement through the camera4s view than"s to these both icons :
8f course, if your cli has only one image, you will lay an e ile tic animation. #e advise you to stretch that image, in order to set a duration, before laying your camera movement. Fow your animatic contains a camera move, you can see it in the; cli 4s thumbnail, as a drawn schema. If you ut your cursor on,; you will even lay the animation in the thumbnail.
T()aint %nimation )rofessional Edition includes a features named G PassepartoutH. This feature hel s you to imagine better the final out ut, with the camera view :
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Configure your camera

8f course, you can now configure your camera in order to change its as ect or its movement. Concerning the movement, the sim le way consists in selecting a camera osition (clic" in its center)...
I then, use handles to move, reduce, enlarge or rotate the chosen camera osition.
8ther arameters are resent in the camera4s anel tool : In addition to modify a camera can : osition4s .oom, lace and rotation, you
- Configure a motion /lur with a ercentage (the higher that ercentage is, the more visible your blur will be). % motion blur increases the illusion ;of a fast movement. - Change the mode as ,pline0 (inear or ,mart s line in order to have a smooth or hard movement.
Create and manage a storyboard /&,:
- 7odify the ime pro-ile in order to slow down or accelerate your ;movement : +ust double clic" to obtain that window (see below) and ;modify your camera4s s eed :
Regular
/egins 1uic.l& an$ en$s slowl&
/egins slowl& an$ en$s 1uic.l&
To configure your movement recisely, don4t hesitate to scrub your cursor on the timeline : in order to see a blue line on the ime pro-ile 2$itor. That blue line symboli.es the current image on your timeline and can hel you to configure how and when your camera shall move.
The tool anel will also allows you to : - Joc" your movement and avoid any modification - Kse commands to 3n4ert, (oa$, ,a4e or Reset your camera movement - Change your camera4s definition than"s to Parameters... button If you are following this lesson from the beginning, you created a ro+ect with a Camera view 3T( A01 (smaller than your drawing s ace). If not, your camera4s si.e is eCuivalent to your drawing s ace4s si.e =ere, you are free to chose any re&configured format or create your own format. If you need more information about other arameters ( ixel ratio, fields...), lease read the first lesson.
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Chosen arameters have an influence on the camera ositions. %ttention 5 Changing a camera4s definition could change the erce tion of the camera movement you have reviously made. Bo be careful and chose the camera4s format before moving it.
567 /or$ers dis lays on 9!6 borders on your camera4s ositions. 8f course, if your camera is already defined as a 9!6 camera, you will not see those borders 5
%nother function, ,a-e area0 allows you to dis lay the safe area
In s ecial cases, you will robably need to render definitively your camera movement. If so, go to )ro+ect menu and choose Ren$er Camera to a New Project ("ee layers) or Ren$er Camera to a new merge$ Project (merge layers).
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Ex ort your storyboard ! animatic
, port your storyboard - animatic

*hree $inds for e porting
Three ex ort modes are available in File > Pu*lish : )3*, =T7J and E3J. 8f course you can also ex ort your storyboard as a video or an image seCuence. To "now more about this, lease read lesson :.
.DF e port
Ex orting in )3* is really useful for rinting, in articular if you have to submit your wor" Cuic"ly (meeting, roducer, boo"...). =ere is the )3* ex ort anel :
8 /rowse allows to choose where your )3* file will be saved. 8 Cop&right allows to include the owner4s name (artist, studio, school...) - ,mall logo allows to include the logo of your film, series or even the owner4s logo (studio, roducer...). Clic" on the button with three oints to load an image. - Page -ormat allows to choose the ex ort format (%9, %6...) - (a&out orientation en page allows you to choose the storyboard4s as ect : rows or columns - (a&out scale allows to define the images4 si.e - hum*nail 4iew allows to choose the camera movement4s dis lay, following your needs :
Full project si9e

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Camera 4aria*le si9e
Camera constant si9e

Frame allows you to select which image will be used as a thumbnail when rinting your storyboard : the first image from each cli (Clip Frame in), the last image from each cli (Clip current -rame), or boo"mar"ed images from each cli (/oo.mar.s). 'ou can also can also choose the )3* file4s orientation (Portrait or (an$scape) and the informations4 dis lay (Action, Dialog, Notes, Colors and hidden cli s). 8nce your arameters are chosen, clic" on 2:port.
(*ML e port
Ex ort in =T7J is really useful : contrary to )3* files, =T7J ex ort allows you to review each thumbnail4s animation and camera moves, when utting your cursor above. %nd nothing else sim le but read a =T7J file : you +ust need a web browser 5 Com osed of a =T7J file and a ictures folder, it4s really easy to insert them in a web age (via a *T) server) or com ress them and send them by email. 'ou will find the needed arameters in the tab =T7J in the Pu*lish anel.
- /rowse allows to choose the folder where the =T7J file will be saved. 8 Cop&right allows to include the owner4s name (artist, studio, school...) 8 'R( allows you to include a lin" to your website in your =T7J file 8 op+le-t logo and ,mall logo allow you to include logos of your film, series, studio, school etc..., Clic" on the button with three oints to load an image. 8 2:port Animation allows to ex ort the thumbnails4 animation. 3isable it if you don4t want to ex ort the thumbnails4 animation. 8 Clip /ac.groun$ allows to choose the bac"ground colors needed to differentiate scenes Dasically, three configurations are ossibles to ex ort in =T7J : La anese view (rows), 8ccidental
Create and manage a storyboard /&,/
view (columns), Thumbnail view (only the thumbnails). 'ou can change these views or even create your own style. If you add a new style, this window will a ear :
=ere you can : - give a name to your new style - choose how to organi.e your thumbnails (hori.ontally or vertically) - choose the se aration : no se aration (as a traditional storyboard), with , cli scene er line
er line or with ,
Then, you will define : - which informations will a ear (scene&cli &duration) - the review si.e (thumbnail si.e of each cli ) - the review view (when the cursor is not on a thumbnail) and animation view ( when the cursor is on a thumbnail) - which comments will a ear (action M dialog M notes ) %t last, before ex orting your storyboard in =T7J, you can choose to ex ort it with several views at the same time : you +ust have to chec" views you are interested in. Then clic" on : 82:port to obtain a =T7J file N an images folder - 2:port (email) if you want to obtain only one com ressed file, ready to be sent by email. =ere is an exam le of a storyboard, ex orted in =T7J :
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,DL , port
E3J ex ort allows to ex ort each cli in a Ouic"time or %(I video and generate an Edit Jist file too. This E3J file, when executed in a com ositing software, allows to load all videos from your animatic you have +ust ex orted, in the good order. 'ou will find all needed arameters in the tab E3J in the Pu*lish anel.
Format and ;o$e allow to choose the ex ort cli s4 format. 'ou can also configure codecs than"s to the Con-ig button. /rowse (Original parameters) allows to define the folder where the E3J file and videos will be ex orted, conserving the original ro+ect4s configuration. /rowse (Custom parameters) allows to define the folder where the E3J file and videos will be sex orted, but changing your ro+ect4s configuration. (width, length and image er second) 'ou can also choose to ex ort an audio file4s co y. Then clic" on 2:port (Original parameters) or 2:port (custom parameters), following arameters you need to ex ort your animatic as a video seCuence N the E3J file. =ere is an exam le of a video seCuence N the E3J file :
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, port to...
In the lesson :, you have learned how to manage your ro+ects and how to ex ort them. 8f course, once you have finished your storyboard ! animatic, you are free to ex ort it as a video or an image seCuence. Fow o en the 2:port to... anel (from the File menu). 'ou have robably noticed the tabs Project % Displa& and Clip % Displa&. The only difference between these both tabs is sim le : the first one ex orts the full ro+ect (scenes and cli s), the second one only ta"es in consideration the current cli .
In the Project % Displa& tab, you will see the o tion ,plit ,cenes0 that allows you to ex ort your ro+ect in once, but it will s lit cli s (a little li"e the E3J ex ort). 'ou will obtain a files seCuel, named : G-ile<=scene<=clip<=image>.
*or exam le, with that ro+ect :
*ollowing the ex ort modes, you should obtain : .%(I ex ort in animation mode : (no image number in animation mode) - Btoryboard;11,;11,.avi - Btoryboard;110;11,.avi - Btoryboard;110;110.avi - Btoryboard;116;11,.avi .)F@ ex ort in images seCuence : - Btoryboard;11,;11,;11,. - Btoryboard;110;11,;11,. - Btoryboard;110;11,;110. - Btoryboard;110;11,;116. - Btoryboard;110;110;11,. - Btoryboard;116;11,;11,. - Btoryboard;116;11,;110. ng ng ng ng ng ng ng
Then, if you want to im ort that seCuenceagain in T()aint %nimation, you will +ust have to drag and dro the first file of the video or image seCuence. The im ort anel will o en. Clic" on the Project tab and, at the bottom of the anel, loo" at the o tions of the ,plit ,cenes menu : - 3mage im orts only the image seCuence (from a same cli ), into one single cli .
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- Clip im orts only the image seCuence (from a same cli ) as a cli seCuence (one image er cli ), brought together into one single scene.
- Clip+3mage im orts only a cli scene.
seCuel (from a same scene) and their images into one single
- ,cene+Clip im orts only a cli seCuel (from a same scene) and their images. Each image will be lace in a new cli .
- ,cene+Clip im orts the ro+ect as it was originally.
In these cases, do not forget to unchec" ,ingle image when im orting 5
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Lesson 10 Working with the FX stack

Use the FX-Stack. Discover the concept of the animation keys. Create our first 'real worl ' animation.
!orkin" with the FX stack
In lessons # to $ we have% amon"st other thin"s% stu ie the &'(aint )nimation rawin" tools an iscovere the timeline an its functions. *ou are now a+le to pro uce , frame +y frame rawin"s. &'(aint )nimation also offers you a wi e ran"e of effects. &his has +een specially esi"ne for workin" on animate foota"e. &hese effects or composition tools are availa+le in the Effects main menu .see opposite/. &hey are arran"e accor in" to cate"ories. !e will stu y them pro"ressively in the su+se0uent lessons. &he effects cate"ories comprise: 5 6lur : to alter the e1istin" pi1els of the animation. 5 Colors : to rework the colors of an animate foota"e. 5 Distortion : to istort the ima"es of a foota"e. 5 7eyin" : to cut out a part of the current animation. 5 8otion : to mana"e camera movement. 5 (aint : to repeat a line on the screen. 5 9en erin" : to create li"htin" an particles effects. 5 Styli:e : to rework the pi1els of an animate foota"e.
The effect stack or FX stack

It is possi+le to set the parameters for your effects in a special win ow .for e1ample : the power of a +lur% the luminosity of the animate foota"e% the spee of a fa e 2/% this is the FX stack. *ou call up the FX stack +y clickin" on the FX icon in the tool bar or +y selectin" FX stack panel in the Windows main menu.
&he Add FX popup menu contains all the effects in icate a+ove: the menu is i entical to the Effects main menu.
34-#
&he effect stack or FX stack
Initial study of the FX stack

;oa the pro<ect name , house - which you have create in lesson =. 8er"e it an sprea the layer over thirty ima"es. &he resultin" layer will +e name , house -. !e o+tain the followin" timeline an screen:
>ur effect stack is presently empty. Select the effect Stylize > Mosaic from the menu. &he effect stack must look like the one shown opposite. ?ow mo ify the parameters Width an Height +y settin" the values to #4 an @4. &he result is imme iately visi+le on the current ima"e: the ima"e is cut in +locks of #4 pi1els in wi th an @4 pi1els in hei"ht .the color of a +lock is e0ual to the avera"e of the pi1els makin" up the +lock in the ori"inal ima"e/. &he Smooth +utton ena+les +len in" +etween a <acent +locks% the ima"e o+taine is therefore closer to the ori"inal ima"e.
Original image
Image with preview of the effect
&hat sai % the ri"ht ima"e a+ove is% in fact% for the moment only the preview of our mosaic effect . isa+lin" the re!iew +utton allows you to return to the ori"inal ima"e/. &o vali ate your settin"s an apply them into the current layer% all you have to o is apply your effect : click on the Apply FX stack +utton at the +ottom of the FX stack win ow. *our current layer will +e mo ifie accor in" to your settin"s .if re0uire % use the "ndo option to un o the mo ification2/. Don't for"et that all ima"es of the layer must +e selecte if re0uire .
Working in real time

)lmost all software packa"es on the market impose a preparation sta"e an then an effect calculation sta"e. 'iewin" the final result on the screen is only possi+le after completin" these two sta"es. In the +est case% you have a win ow for a low-res preview of your effect at your isposal. &'(aint )nimation oes not a here to this mo el an employs a much more interactive metho . *ou have the possi+ility to view the results of these effects in real timeA >nce the re!iew +o1 is checke % it is possi+le to play your complete animation usin" the lay +utton on the control panel. It will then +e shown with all the mo ifications you have chosen in your stack. In other wor s% any mo ification of the parameters within the effect stack is imme iately visi+le on the screen% in full si:e an full resolution whether your pro<ect is a simple ima"e or an animation. Sli in" alon" the timeline usin" the keys BCD an BED also allows you to view pro"ress frame +y frame.
!orkin" with the FX stack 34-@
The various viewing modes

For the moment we will stay with our Mosaic effect. &here are several types of viewin": they are availa+le in the popup menu at the +ottom left of the FX stack win ow .see opposite/.
*ou may view the effect on the entire ima"e% its left half% its ri"ht half% the top or +ottom2 you may even mo ify the viewin" area to your convenience +y sli in" the +or er line on the screen .to o this% left click on the line an sli e it/.
Fere a"ain% the lay re"ion of the screen.
+utton is presse to preview your effect in real time +ut only on a "iven
ome operations
5 If you have applie the Stylize > Mosaic effect% click "ndo to cancel the effect an return to the unmo ifie animation. 5 Go into the #ptions popup menu of the FX stack an choose $elete all. *our stack is empty a"ain. 5 Select the %ransition > Fade effect from the availa+le menu. 5 ) a secon layer +ehin the current layer an name it , Flowers -. 5 Import the pro<ect , Flowers -% mer"e it an sprea it over @4 ima"es. 5 Copy all the ima"es of the layer o+taine into the layer name , Flowers - in your pro<ect. 5 Finally% "o to the first ima"e on the timeline% on the layer name , house - .see timeline +elow/. 5 8o ify the value of the position parameter to H4I then apply the FX stack&
The ! Flowers " #ro$ect
34-=
*ou o+tain the followin" ima"e:
% *ou have certainly un erstoo that this effect creates a fa e +etween the ima"e of the current layer an the ima"e on the lower layers. In ee % +ut this effect is applie to the current ima"e .the first/ an not to all the ima"es of the layer% 2 so let's reme y this. Click on "ndo to fin the layer name , house - intact. ?ow select all the ima"es of the layer an apply the FX stack. &he effect now applies to the entire layer. &his is not yet perfect: the fa e effect is locke at H4I of its pro"ress for all ima"es of the layer2 it oes not evolve in time.
&o o+tain a true fa e effect on the screen% one has to apply the FX stack with a position value : 4I for the first ima"e% 3I for the secon % #I for the thir 2 an so on all the way to the last ima"e2 .assumin" that our animate foota"e has a total len"th of 344 ima"es2 If not% complicate a <ustment calculations must +e ma eA/. )t first si"ht this seems like a lon" an complicate process. Fortunately% &'(aint )nimation offers tools which re uce this fasti ious process to a few secon s: the Animation keys.
&pply FX
?ow% the remainin" step is the application of the FX. 6ut +efore pressin" on J Apply FX stackK% we will iscuss a+out the Apply on line. In this part of the FX panel you can choose on which layer.s/ the FX will +e applie : L '(rrent layer to apply the FX only on the current layer L '(rrent gro(p to apply the FX on all layers from the same "roup as the current layer L All layers% as you "uess% apply the FX on all layers from the current clip. &hen% you can choose if the FX will +e applie : L on a selection only .so% o no for"et to select the ima"es you want/ L or on all instances containe in the layer.s/ )t last% choose to apply your FX on all frames or on instance's heads only. Followin" the chosen parameters% you will o+tain ifferent results.
34-H
!orkin" with animation keys
Working with animation keys

It is possi+le to set the parameters for our fa e effect to 4I for the first ima"e in our layer% then to 344 I for the last. In this way &'(aint )nimation takes char"e of calculatin" the pro"ress of the effect on the interme iate frames. &his is what we refer to as workin" with Animation keys. >nce this concept is un erstoo % you will no lon"er work frame +y frame. (rocee in this way for our current pro<ect : 5 Go onto the first ima"e of the , house - animation layer. Set the effect to 4I then click on the +utton shown opposite. 5 ) sym+ol appears in the timeline .see opposite/ un er the first ima"e.
&he name of the Fade effect is written to the left of the timeline. 5 &he Fade effect is now set to a value of 4I for the first frame of the timeline. )t this sta"e% application of the FX stack has no animation effect. In ee % the value of this key will +e repeate for all frames after this one. It is necessary to create a secon key +efore applyin" the FX stack in or er to o+tain an animation effect. 5 Go on the last ima"e of the , house - animation layer% create a key usin" the +utton of the FX stack. *ou may now imme iately set the effect to 344I. In this case it is not necessary to click on the +utton ! C as +efore an the key represente +y the sym+ol will +e create automatically.
&he timeline is mo ifie as +elow:
5 ?ote that +y sli in" alon" the timeline usin" the BCD an BED keys of the key+oar or pressin" the lay +utton allows you to view the pro"ress of the chosen effect from the first to the last frame. &o sum up% an animation key is a sort of a <usta+le time parameter lock which sets the value chosen +y the user to a precise point in the timeline. Fowever% the rawin" tool parameters vary ynamically accor in" to the user's irect action on the pro<ect an may therefore not +e assimilate to animation keys. >n ne1t pa"e% you will see the result that you coul o+tain on the screen.
34-M
'anage the effect(s progress

*ou have pro+a+ly notice the rogress +utton un er the name of each effect. &his +utton is use to mana"e the spee at which the chosen effect will +e carrie out. Click on the rogress +utton an then on the small +lack section appearin" on the screen .see opposite/ &he (ro"ress profile e itor will then appear. &he interface of this win ow is i entical to the one presente for +rush profile settin" in lesson #. &he )in an Spline menus% the Flip X% Flip * an $elete +uttons are the same as the ones you have stu ie +efore.
&his +ein" the case% the pro"ress profile e itor has a very specific function within the effect stack: 5 &he a+scissa in the "raph represents time% 5 &he or inate in the "raph represents the pro"ress of the chosen effect. ;et's "o +ack to the fa e effect in the , house - layer: 5 Use the "ndo option to recover the layers intact. 5 Choose the same keys as those in icate in the chapter a+ove. 5 Draw the spline a+ove +efore applyin" the FX stack. )fter playin" the pro<ect you will note that the effect is first carrie out slowly an then at top spee .see timeline +elow/. &his correspon s to our spline : it rises slowly first an then very fast.
In the same way% if we choose the spline shown +elow +efore applyin" the FX stack% the Fade effect will +e fast at the +e"innin" an slower at the en .
34-N
Choosin" a hori:ontal strai"ht in the profile will stop pro"ress in time of the effect.
If the spline rises an then falls off a"ain% pro"ress of the effect will chan"e accor in"ly:
'anaging effects with several parameters

?ow close the , house - pro<ect an loa the , prehistoric - pro<ect. 5 8er"e the layers of this pro<ect. 5 Stretch them over thirty frames. 5 Delete the content of the FX stack& 5 Choose the )l(r > 'enter bl(r effect. &he followin" timeline appears :
&o make it easier we have eli+erately chosen to work with an animation layer always containin" the same ima"e. Overythin" that follows also applies to an animation layer. *ou will see that there are three parameters which may +e locke with an animation key: 5 the position of the center% 5 the power of the +lur%
34-P !orkin" with the FX stack
5 the radi(s of the circle in which the +lur is not applie . &he position of the circle in which the +lur is not applie as well as its center are shown in the preview .see ima"e a+ove/ Some parameters may +e a <uste irectly on the screen +y clickin" an sli in" the mouse on the color handles .shown opposite/. !hen the effect is applie % circle an han les will% of course% have isappeare . &he parameters irectly a <usta+le on the screen .han les% circles% spline/ are referre to as H"$ .H"$ stan s for Head "p $isplay/. &he Hide H"$ of the FX stack is use to hi e the latter. ?ow let's take a look at the timeline: 5 )s soon as an animation key is create % a left click on the 'enter )l(r trian"le in the &imeline +elow isplays the name of the parameter which have +een set with the animation key. 5 &o the ri"ht of the parameter names% correspon in" key lines will +e isplaye as you create your keys. It is possible to create animation keys for each parameter, for the image of your choice along the timeline.
A separate set of keys may be created for each parameter (Center of circle, Power, Radius). his means that the parameters may progress in time independently of each other. !or e"ample# the power of the centered blur may decrease slowly while its radius may increase rapidly, all at different times $ &hanks to several keys% the parameters can +e a <uste in time. &his is the case for the 'enter parameter in the timeline a+ove : three animation keys are place on the key line associate with the 'enter parameter. 6elow% the effect pro uce usin" these three keys.
&he first key line in the timeline has the name of the effect in the stack an isplays all its keys.
34-$
&he path
The path
!hen position parameters pro"ress in time% there must +e a path taken +y the parameter in 0uestion. For e1ample% three animation keys were create at ima"es 3% M an @4 for the 'enter parameter a+ove. &he center of the 'enter bl(r effect conse0uently follows a path as time pro"resses. In our e1ample% the path is visi+le via the H"$ an looks a +it like a re , ' -. It is possi+le to choose an interpolation mo e +etween the key points which efine your paths. *ou may choose to connect the points in a linear% spline or smooth manner usin" the first menu of the effect .the %ools menu will +e stu ie later in lesson 3=/.
Linear
pline
mooth
!hen usin" Spline% it is possi+le to use han les. &he BCtrlD key Q mouse click on a han le are use to move only this han le.
'oving from key to key

It is not always easy to place yourself on a key within the timeline% especially when the pro<ect contains many ima"es. &he , trian"le - +uttons in the effect stack or in the current pro<ect win ow .see opposite/ are use to move rapi ly from one key to another without havin" to use the B D an B D keys or the mouse. If they are in +lack% they in icates that there is an animation key on the left or the ri"ht of the current position. >therwise% there is no more animation key.
The conte)tual menu for the keys
) ri"ht click in the timeline on a , keyline - .see opposite/% calls up a conte1tual menu. *ou may : 5 create or elete keys .which re0uires confirmation/% 5 select one or all keys .they will then +e isplaye in yellow.../% 5 cut% copy% paste keys .a process alrea y use for ima"es an layers: see lesson M/. !hen usin" animation keys: 5 &he layer conte1tual menu offers the possi+ility to select the frames correspon in" to the keyline. 5 &he A(to Fit menu is use to a <ust the :oom of the timeline in or er to view all the keys.
34-34
&he path
*ontract+ stretch a key line

In the previous lessons we learne possi+le for key lines .see +elow/. how to contract or stretch an animation layer. &his is also
tretch *ontract
If re0uire % it is possi+le to move a key from one place to another in the timeline .click an sli e with the left mouse +utton/.
,se the selections

!hen you make a selection on the screen an then apply an FX stack% the latter is only applie to the selecte area .whether you apply the stack to one or several ima"es makes no ifference/. &his is very useful when you apply your effect to a precise area in your ima"e or animation.
'ore details a-out the FX stack

& more comple) effect. the Rendering > Lighting effect
%% &his effect is use to li"ht up the ima"e or se0uence of your choice as if usin" an e1terior li"ht source .li"ht% pro<ector2/. 6y efault% nothin" is present in the list. &he +ights menu may +e use to create one or several li"htin" effects amon" the followin" cate"ories: Spot, #mni an Ambient. )s soon as a li"htin" effect is create % you may uplicate% elete or rename it. &he +ights menu isplays the name of the li"ht whose parameters are shown in the stack. If you work with several li"hts you may "o from one to the other +y selectin" their names in the +ights menu.
!orkin" with the FX stack 34-33
8ore etails a+out the FX stack
Fere an overview of the ifferent li"htin" types: 5 Ambient li"htin" li"hts up the scene "lo+ally in the color of your choice. 'alues un er 344I will arken the ima"e% values hi"her than 344I will +ri"hten it. 5 #mni li"htin" li"hts up a circular area of your choice similar to a pro<ector locate on an a1is perpen icular to the ima"e. &he parameters to +e set are color% li"htin" intensity% center an ra ius of the circular area% as well as altitu e of the virtual pro<ector.
Omni pro$ector diagram
Omni /,0
Omni lighting
5 Spot li"htin" li"hts up the ima"e similar to a tilte pro<ector. &wo position parameters are availa+le for this mo e% which allow you to a <ust the position of the li"ht source as well as its irection.
Spot pro$ector diagram
Spot /,0
Spot lighting
For many of the parameters escri+e a+ove% the settin"s may +e ma e irectly on the screen . on't for"et to isplay the H"$/. Spot an #mni li"htin" have a profile e itor which works similarly to that of the rawin" tools .see lesson # for more etails/.
Omni
Spot
#rofile
34-3#
!ith the +ight popup menu it is possi+le to use several li"ht sources .re"ar less of type/% as well as to rename% d(plicate or delete them. &his is how our cave may +e lit up in various ways A
&his +ighting effect only applies to the opa0ue pi1els of the current layer. &o o+tain the e1amples a+ove it is therefore necessary to first mer"e the layers of our pro<ect.
ingle effect+ multiple effects

Up to now we have only use a sin"le effect in our stack. &'(aint )nimation also offers the possi+ility to use a succession of effects. For a +etter un erstan in" of this notion% we will use the mer"e , prehistoric - pro<ect that we have use +efore.
Usin" the parameters +elow% place a 'enter bl(r effect in your FX stack. *ou now have the followin" preview:
8ay +e you notice the options M(ltiple FX an Simple FX in the Effects main menu or in the Add FX popup menu of your stack.
If you select a new effect in the popup menu: 5 !hen M(ltiple FX is checke % the chosen effect is a e to the present effect. 5 !hen Simple FX is checke % the chosen effect will replace the present effect. Check M(ltiple FX in the menu an choose the -endering > +ighting effect e1plaine a+ove: this effect will automatically position itself over the current effect.
34-3@
Set the parameters for the two effects as shown opposite. &o simplify our e1ample% there is only one type of li"htin" use an our effect applies only to one frame .so no key is re0uire 2/. &his sai % everythin" that follows still applies if you use keys an animation layers. >nce the preview is ena+le % you see the followin" result: li"htin" is applie , after - the center +lur of the previous pa"eA &he a vanta"e of our stack with two effects is that it is possi+le to mo ify any of the two effects at any time urin" the preview. 8o ifications of this kin woul in ee +e very fasti ious if you use a sin"le effect at a time: application of the FX stack twice in a row for two ifferent effects followe +y the "ndo option twice in a row% chan"e the first effect% reapply the two effects one +y one% (ndo option a"ain% etc. It is also possi+le to accumulate the num+er of effects of your choice or even several times the same effect if you nee itA 9emem+er the lay +utton to view the effect on the animation layers 2
1esult of the FX stack a-ove
*urrent effect+ preview and collapsing of effects

5 >ne of the effects in your multiple FX stack is always selecte . &his effect is referre to as , current effect - .the one which seems to appear , +ri"hter - while the other effects are , "ray -/. &he keys visi+le in the timeline are always those of the current effect. 5 !hen several effects are use % it is possi+le to collapse them usin" the +uttons top left. 5 &he check +o1es close to the arrows in icate a+ove are use to ena+le or isa+le the effect they +elon" to. >pposite% &he +ighting effect is ena+le an re uce . &he 'enter bl(r effect is isa+le an visi+le. &he current effect is the +ighting effect. If the FX stack a+ove is applie to our initial frame% we o+tain the ima"e shown opposite: >nly the +ighting effect is taken into account. &here is no 'enter )l(r applie +efore it.
34-3=
wap two effects

&he effects containe in the stack are e1ecute from +ottom to top urin" preview or application. &here is a kin of chronolo"ical or er for the effects 2 &he results may therefore vary if two effects are swappe : 5 In the left ima"e +elow% the FX stack applie is the one illustrate opposite. &he center +lur is applie after li"htin". 5 In the ri"ht ima"e +elow% the FX stack applie is the one illustrate on the previous pa"e. &he center +lur is applie +efore li"htin".
#review of the FX stack a-ove
#review of the FX stack of the previous page
It is also possi+le to swap the effects +y clickin" on an sli in" its name. &he process is i entical to the one use to swap the layers in lesson @.
1eset and rename effects
) left click on the ri"ht trian"le a+ove calls up a conte1tual menu which may +e use to: -ename the current effect in the FX stack% 'reate or $elete an animation key% -eset the effect parameters to their initial values% $(plicate or $elete the effect from your FX stack.
&he #ptions menu of the effect stack may +e use to elete or reset the values of all your effects.
34-3H
,ndo21edo of the FX stack

It is possi+le to Un oR9e o all what is one in the FX stack. &wo +uttons are availa+le at the top of the FX stack% near the )in +utton. &he Un o .BuD/ an 9e o .BShiftQuD/ shortcuts are applie on the FX Stack if the re!iew option in the FX Stack is ena+le . >therwise% they have their normal +ehavior.
ave the settings of the FX stack

!e have learne how to create an save our own "raphic palettes% our settin"s of custom tools% our pre- efine "ra ients% etc. It is therefore only natural to procee in the same way for our effects: &he FX )in menu for each effect offers several options: 5 &he Add option allows you to store your effect for later use .you will first +e aske to name this effect/. 5 &he E.port option saves the current effect to a stora"e support. 5 &he /mport option recovers an effect from a stora"e support. 5 &he $elete option eletes an effect. &he FX )in menu for the entire stack works in the same way% +ut may +e use to a e1port or elete an entire stack. % import%
!hen you a an effect to a pre- efine effect stack% all keys an profiles relative to the pro"ression of each effect you have create are also save .
FX stack and T3#aint &nimation pro$ects

!e may +e repeatin" ourselves% +ut it is important to remem+er that it is in ispensa+le to Apply the FX stack so your effect is taken into consi eration an affects the current layer .if not% all you o is preview it2/. )lso note that% when you save a pro<ect% as well as savin" the layers% their position an the associate parameters . osition, $(ration, re0 ost0 )eha!ior% etc./ you also save the current effects stack. &his makes it possi+le to keep a complete an intact animation an the effect stack necessary for your finishin" touches. Useful% isn't itS !hen you work with several pro<ects at the same time% note that each pro<ect has its own effect stack.
Introduction to the video effects

) lot of notions here nee a "oo un erstan in" of the multiple FX an FX-stack concepts. So it is a vise to rea the last chapters +efore +e"innin" with this one. (lease note that we will only mention here the function of the effects an their place in the FXstack. &he parameters an options of the effects will +e escri+e eeply from lesson 33 to lesson 3P. In this section% we will create a small openin" se0uence for a weather report.
34-3M !orkin" with the FX stack
Intro uction to the vi eo effects
Do to so% we have several vi eo se0uences at our isposal : &he first one with a forest% another one with a sunset an the last one with some clou s
%%
%%
5 6e"in +y importin" those se0uences in your pro<ect. 9esi:e them if it is necessary. .note that the se0uences can +e irectly importe from your camera into the software +y usin" the 1ideo 2rabber panel/. DonTt for"et to use a pro<ect with fiel s if your vi eo se0uences are fiel e . 5 8ove them insi e your timeline as shown +elow an import the music. ) color has +een a the layers to make them more reco"ni:a+le. e to
*ou shoul have three overlappe layers .look at re areas in the timeline a+ove/. &his will help us to use the transition effects. )+ove% a transition effect has +een applie on the first animation layer of the timeline. &he :oom factor of the timeline has +een increase to make it more visi+le.
Fere is the resultin" transition :
5 &o a a personal touch to our weather report% it is possi+le to use several effects : 6elow% the )l(r > -adial )l(r effect was use . &herefore% the animate se0uence appear pro"ressively on screen.
34-3N
5 *ou can easily make +utterflies fly in front of the trees an make them follow the paths of your choice% as e1plaine in the lesson 3= : !e use the +utterfly animate +rush .supplie on the &'(aint )nimation CD-9om/ with the Motion > 6eyframer effect an a pre-recor e path for each +utterfly. >f course% our two +utterflies can +e a e on a new layer : it will allow you to keep the ,trees5 animate layer unchan"e . 6y usin" a new layer% you will also +e a+le to chan"e the moment when the +utterflies have to appear : you only have to move the whole layer throu"h the time a1is of the timeline.
5 !e will now work on the J S(nset3 animation layer : It is possi+le to istort the pictures to stay close to the weather report theme. &his can +e one +y usin" the -endered > Wa!es stu ie in lesson 3@. 6elow we imitate two water waves% as if two rocks were thrown into water.
5 !e have afterwar s to mana"e the transition +etween the 4S(nset5 an the 4'lo(ds5 animation layers. 6elow% the %ransition > 'lassic effect with the circle option has +een use . Fere is the timeline an the ren erin" :
34-3P
It is possi+le to mo ify the timeline scale thanks to the 4 +utton of the timeline. .see lesson =/ *ou can also use +ookmarks to navi"ate easily throu"h the timeline. .see lesson =/ 5 ;et's now a a rain+ow in the clou y sky : &o o so : 5 Create a new layer .the clo(ds animation layer will remain intact/ 5 Draw a rectan"le fille with the spectrum "ra ient% as shown opposite.
)fter this% you have to use a multiple FX-stack with these effects : .in or er% from the first to the last/ 5 'olor > 'olor Ad7(st 8 the re area shoul +e on the outsi e of the arc an the violet area on the insi e. 5 )l(r > -adial )l(r : this effect will allow you to create the arc itself. &he center of the ra ial +lur must +e locate far from the colore rectan"le .out of the viewa+le area% to +e e1act/. 5 )l(r > 2a(ssian )l(r will mer"e the colors a little. 5 %ransition > Fade will make the rain+ow fa e in as time pro"resses.
Fere is the result :
34-3$
% 5 ?ow% you only have to a
a title to this se0uence% thanks to the -endered > Simple0te.t effect. !e use here the effect -endered > Simple0%e.t .you can fill in the te1t% a <ust the font% the +or er% the sha ow% their colors or "ra ients .../ &his effect is very convenient +ecause it allows to keep all the colors% +or er% font an sha ow settin"s an to re-use them with another te1t line ... .for e1ample if you nee to o a translation /
5 For the final touch% we nee the -endered > +ens0flare effect :
Lens5Flare effect on the check -ackground
/ere on a new animation layer
Fere is the resultin" timeline with the te1t% the rain+ow an the ;ens-Flare on separate animation layers.
)n the animation itself :
34-#4
Lesson 11 The effects of the Blur and Transition group

Discover the various Blur effects at your disposal. Discover the various Transition effects at your disposal. Learn how to increase the transition possibilities by using the FX-stac
The Blur group effects

The blurs are often used to hide faces in recorded ani!ations. "o!eti!es# they are also used to create artistic effects. In order to study the effects of the Blur group# we will use the two pictures below : a photo and a drawing.
Independent of which blur effect you will choose# don&t forget it will be controlled by the ani!ation ey syste!. ' recorded video se(uence can also beco!e gradually blurred in ti!e.
$$-%
The effects of the Blur and Transition groups
"o!e details regarding the Blur effects of T)* 'ni!ation :
The Blur > Cubic Blur effect

This is the !ost standard blur: the !ore you increase its si+e# the less the sharp and angular areas of the source i!age will be visible. It !ay also be applied only to the transparency channel of the i!age ,alpha channel-.
The Blur > Gaussian Blur effect

'n i!age with a .aussian Blur !ay be co!pared to an i!age seen through a ca!era that is not set correctly. The .aussian Blur is !ore precise than the Cubic Blur.
The effects of the Blur and Transition group
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The Blur > Chroma Blur effect

The 0hro!a Blur ta es only the tint and saturation pi1el infor!ations into account. The dar and light areas of the picture are not affected by the Chroma Blur. 2nly the chro!atic co!ponent of the picture is affected by the blur.
The Blur > Center Blur effect

3e studied the Center Blur in detail in lesson 4 about the FX-stac concept. The para!eters are the position of the center# the power of the blur and the radius of the circle.
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The Blur > Radial Blur effect

This blur is applied in a circular !anner around a point the position of which you have chosen on the screen. The second para!eter to be set is the power of the blur.
The Blur > Directional Blur effect

This blur is applied only in the direction ,angle- of your choice and the spread of your choice. 6ou !ay set the vector para!eter directly on the screen.
The Blur > Median Blur effect

3hen using the Median Blur# the color of the pi1els obtained after application of the blur depends on the colors of the ad7acent pi1els in the initial i!age. The 8edian Blur co!prises all inds of !odes# the effects of which you !ay ad!ire below :
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Median Blur effect in Smooth mode
Median Blur effect in Light halo mode
Median Blur effect in Dark halo mode
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Median Blur effect in Light mark mode
Median Blur effect in Dark mark mode
Median Blur effect in Double edge mode
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Median Blur effect in Impressionist mode
The Blur > Deinterlace effect

This effect allows you to !anage the fields of a pro7ect. It has only one para!eter to choose the way the fields will be !odified.
Five !odes are available in this popup:
Original Image
< 0opy Lower Field: the Lower Field will be copied to the =pper Field.
< 0opy =pper Field: the =pper Field will be copied to the Lower Field.
< Interpolate Lower Field: the Lower Field will be interpolated fro! the two ad7oining =pper Fields.
< Interpolate =pper Field: the =pper Field will be interpolated fro! the two ad7oining Lower Fields.
< 8i1 Fields: The new =pper field are co!puted fro! the current =pper Field and the two ad7oining Lower Fields# and the new Lower Field are co!puted fro! the current Lower Field and the two ad7oining =pper Fields.
$$->
The Blur > Motion Blur effect

The purpose of this effect is to apply a blur involved by so!e fast !ove!ents in an i!age or an ani!ation. The ani!ator can define a flow# based on a vector field# that the pi1els of the i!age will follow. This effect co!prises four tabs : The Edit tab
Source Image
< The first button allows you to set the si+e of the vector field. 8ore e1actly it allows you to set the nu!ber of vectors that you will use on both the hori+ontal and vertical a1is. 2nce you have chosen the si+e# you can edit the current vector field itself. To do so# display the ?.=.D and draw directly on the screen ,to be e1act : on the ?.=.D- with the purple circle# as shown below. If you have a picture behind the vector field# you should see the render of the distortion.
Vector field
Modified image
The left !ouse button allows to increase the tension of the vectors in a chosen direction. The right !ouse button allows to decrease the tension of the vectors in a chosen direction. The red points are the source points of your vectors# ,they can&t be !ovedThe green points are the destination points of your vectors# The blue seg!ents are the vectors the!selves.
For a given picture in your ti!eline# !odifying the vector field creates an ani!ation ey. If !ore than one ani!ation ey is created in the ti!eline# it !eans that your vector field and thus the distortion will evolve in ti!e.
The effects of the Blur and Transition group $$-4
< The Reset Current Key button resets the vector field of the current picture in the ti!eline. If this picture does not have an ani!ation ey# a new one will be auto!atically created. < The button : allows you to !odify all the vectors of the field in only one operation. This tool is perfect if you need to distort# !ove or pivot an i!age entirely.
The !ore vectors you will use# the !ore ti!e you will need to render the effect.
< The button : allows to change the para!eters of your ?.=.D brush ,i.e : the purple circleLi e the co!!on tools ,airbrush# etc ...- that you use to draw# you can set its profile# si+e and also power. Let&s ad!it that we will always choose the direction opposite when editing our vector field ,i.e : the red arrow- : The pictures below shows the i!pact of the different settings at your disposal.
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The Selection tab
< In this tab# you can select the vectors of the field that you want to edit via the previously discussed tools. By default# all the vectors are selected. The two buttons Select All and Clear Selection allows you to reset the selections. 's in the !ain panel# you can use one of the three selections icons : or Circle selection. Square, Freehand
3hen doing a selection# if a vector is selected# it appears in yellow instead of blue. ,if you want to select a vector# 7ust select its sourceIf a vector source is not selected# its ?.=.D color beco!es lighter. The tools available in the Edit !enu will only apply on the selected vectors. The circle selection use the sa!e para!eters as the ?.=.D brush ,the purple circle- so you can select your vectors by Adrawing on the ?.=.DB It allows you to have source points only selected in part and thus to have nice effects when editing the vectors. Cote that if you reset the si+e of the vector field# all the settings that you have done ,vectors# ani!ation eys# selections# ...- will be lost. The Render tab The Render tab allows you to choose : < The distortion !ode of the i!age borders ,The e1a!ple below illustrates the three !odes at your disposal.-
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Source Image
Vector Field
None Border Mode
Mirror Border Mode
Loop Border Mode
The Displa tab
The three buttons: Show Source# Show Destination and Show ectors allow you to select e1actly what you want to see on the ?.=.D : the red source points andDor the green destination points andDor the blue vectors. The button Show !nly Selection allows to see only the vectors located inside the current selection.

'll transition effects in T)* 'ni!ation have a position para!eter which re(uires the use of the ani!ation ey syste! ,as described in lesson 4-. 's well# we chose to !a e this para!eter vary between @E and $@@E for each transition effect in order to show you their specifications. ' setting of @E will leave the picture intact and a setting of $@@E clears the picture ,$@@E transparent-. In order to study the effects of the Transition group# we will use the picture below. Be careful that the transitions are !ade between the fra!es and a full transparent i!age. Transitions are not transfor!ations between two pictures.
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original image
The Transition > Block effect

In this effect# you can ad7ust the nu!ber of rows and colu!ns which will create bloc s. To set the nu!ber of bloc s# you 7ust have to increase these two values. 6ou can also select the way these bloc s will appear or disappear on screen : rando! or in a direction you want.
The Transition > Blind effect

This transition hides progressively a part of the current i!age. The nu!eric field value represent the nu!ber of division on the screen. There are three types giving different results : cro", slide and stretch#
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The Transition > Classic effect

0lassic transitions !a es the current i!age appear or disappear by !oving a frontier. This one can have different shapes ,circle# line# rectangle-# as well as the color you want or even be faded. In case of circles and rectangles# you can ad7ust the position of the center of the shape. The linear and tools !enu will be e1plained in the lesson introducing the Motion group effects.
The Transition > !ade effect

The Fade transition is the !ost co!!on transition ever used and does not need any other settings than *osition. It was also introduced in lesson 4.
The Transition > Slide effect

The "lide transition !oves your video in a predefined direction you have to select. 6ou 7ust have to select the direction in the Direction !enu.
The Transition > Rotar effect

This transition clears the i!age following the !ove!ent of a cloc &s hands. The chec bo1 allows you to select the direction of !ove!ent and the !enu is used to select the center on which the effect will be applied.
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The Transition > "age Turn effect

This transition effect acts as if a paper sheet was re!oved fro! the screen. 6ou can choose to turn the page fro! the window border you want than s to the Direction !enu.
There are three !odes : ima$e, color and $radient as shown below :
Increasing the transition possibilities b! using the F"#stac$

6ou can easily create new transitions possibilities by using !ultiple effects in a sa!e FX-stac . For e1a!ple# using the Classic Transition effect with the Rotary Transition effect in the sa!e stac can give this result :
Below# the Classic Transition# the Blind Transition and the %aussian Blur effects were used in the sa!e stac :
2f course# we can&t show you here all the possible co!binations because they are so !any ... But we guess you will certainly try so!e of the!.
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Lesson 12 The effects of the Color and Keying groups
In this lesson you will learn to:

Touch up the colors of a video sequence or an animation. Handle the effects of the Keying group.
Unless indicated otherwise, all images in this lesson have only one layer.
Color channels
Color channels
Based on the additive color principle, all colors are a mi ture of red, green and !lue "more or less dar#$ in e act proportions. The color of a pi el therefore has a dar#er or lighter Red component, a dar#er or lighter Green component, a dar#er or lighter Blue component and a last component which indicates the pi el transparency level. This last component is referred to as Alpha component.
The effects in the Color menu

*et+s ta#e a loo# at the image opposite: the various colors were spread and mi ed on a wooden palette. ,ll colors of the chromatic circle are present on this palette "red, orange, yellow, green, !lue, purple$. This image will allow us to study all the color modifications availa!le in T-.aint ,nimation. To do this, load the pro/ect 0 palette 1.
The Color > Black & White converter effect

The Black & White Converter effect has three parameters that may !e loc#ed using an animation #ey. By default, it transforms the images !y deleting the color data. %e therefore o!tain the same effect as photos ta#en with a !lac# and white film. Increasing the value of the Red parameter will ma#e the red pi els of the original image lighter when changing over to gray. &educing the value will ma#e them dar#er "see ne t page$. The same principle applies to the Green and Blue parameters.
Default settings
Parameter Red at value 0
Parameter Red at value 255
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The effects of the Color and Keying groups
Below, a 2oom on the red area of the image :
Default settings
Parameter Red (value 0)
riginal image
Parameter Red (value 255)
The Color > Color Adjust effect

%e+ll #eep the image from the !eginning of this chapter and study the Color Adjust effect shown opposite in detail. This effect uses the traditional notions of color modification for drawing and photo touch)up software pac#ages:
3 The Brightness parameter is used to increase or decrease the glo!al !rightness of the current image or video "use negative values to decrease !rightness$. In other words, all the pi els present are either changed over to the !lac# color or the white color.
!rightness " #5$
riginal image
!rightness % #5$
3 The Contrast parameter, if increased, will accentuate the luminosity differences !etween the light and dar# areas. %hen decreased, it will reduce them. , setting close to '445 will only ma#e the primary colors appear, as well as !lac# and white. , setting close to '445 will ma#e the image or footage almost entirely gray.
Contrast " #5$
riginal image
Contrast & #5$
3 The Saturation parameter accentuates or reduces color vivacity. , setting close to '445 will reduce the num!er of pi els close to the gray colors while reviving the colors, a setting close to '445 will produce a gray drawing.
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'aturation " #5$
riginal image
'aturation & #5$
3 The Gamma setting is often used for photo touch)up !ut also ena!les lightening or dar#ening an image without leaving the impression that a dar# or light sheen was placed over it. Its value may vary !etween 4.4' and 7.
(amma ) 2
riginal image ((amma )1)
(amma ) 0*5
,t first sight, the Gamma parameter seems to have the same effects as the Brightness parameter. This is true, with the difference that the Brightness parameter affects all pi els on the screen whereas the Gamma parameter affects the light and dar# pi els only marginally. Below you will find an e ample of the difference !etween a gamma reduction and a reduction of the !rightness : &educing the Gamma !y half only slightly affects the pi els ma#ing up the paint and the !ac#ground: the latter remain !right and clear. 8odifying the Luminosity to 745 gives the same pi els a dar#er hue.
riginal image ((amma )1)
(amma ) 0*5
Luminosit+ % 50$
3 The Angle parameter ena!les rotation of colors at the angle of your choice around the color wheel "see !elow$. 9or e ample: going from angle 4: to the angle ;4: will transform the orange colors in the image to green, !lue to purple,<etc.
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riginal image
Rotation of colors of ,0-
The color .heel
3 The Rotation parameter reflects the num!er of turns around the color wheel !efore arriving at the chosen angle. This allows you to ma#e the colors vary in a time cycle, which is sometimes useful for colored logos. In the e ample !elow, we start with a !lue T-.aint logo "&>4, ?>4, B>(77$, placed on each image of an animation layer comprising forty)eight images.
,n animation #ey is placed at the first image of the layer, loc#ing the value 0 4 1 for the Rotation parameter. , second #ey is placed at the last image of the layer, loc#ing the value 0 ( 1 for the Rotation parameter. %hen the 9@ stac# is applied, you see the following result:
The logo changes color in cycles, going twice in a row through the colors of the color wheel.
The Color > Color Eraser effect

*et+s assume that we want to delete the green and !lue colors in our image. This is easily done using the Color raser effect. By erasing the color we understand erasing the data relative to the color composing the pi els and not modifying the opacity of the pi els. In other words, we unsaturate the pi els with a precise hue.
riginal image
/mage .ith green and 0lue hues erased
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Atart !y selecting a color in the green area of the image in the Color !o of the panel a!ove. .art of the green pi els will then !e unsaturated and turn to gray. To o!tain a !etter finish, you may increase or decrease the tolerance or softness thresholds. To select the pi els according to their hues, the color !ar of the panel as well as the = mini)sliders will help you.
non)unsaturated hues,
progressively unsaturated hues,
completely unsaturated hues,
The !nvert !utton is used to invert the final result: saturated pi els !ecome unsaturated and vice)versa. If necessary, the popup menu "isplay ena!les recovery of source image viewing.
The Color > Tint Replacer effect

The #int Replacer effect is !ased on the same principle as the Color Braser effect, with the difference that you do not unsaturate the colors . Indeed, using Ahifting values ena!les progressive modification of the hue, saturation and luminosity of the chosen tint range. Cou may thus easily toggle one color range to another. The Ahifting values are calculated as !eing 0 gap 1 in the H.A.* system !etween the two colors of the panel "!lue and yellow in this e ample$.
riginal image
range tint changed to red tint
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The Color > Color replacer effect

This effect allows you to modify a color in an easy way, /ust !y choosing the Source color "the color you want to change$ and the "estination color "the one you want to o!tain$. If the change does not fit e actly your needs, you may use the parameters #olerance and So$tness. This effect is really useful to change a drawing with simple colors.
riginal image
1odified image
The Color > Curves effect

Bach pi el on the screen is defined !y its components: 3 The so)called R%G%B%A generates the color of a pi el with four components: red, green, !lue and alpha. In this system, the values of the four components vary !etween 4 and (77. 3 The &%S%L%' system generates the color of a pi el using four other components: hue, saturation, luminosity, opacity. In this system, the values of saturation and luminosity may vary !etween 4 and (77, the hue may have a value !etween 4 and 67; "thus the previously used concepts of angle and color wheel$. Inversely, any pi el on the screen may !e !ro#en down in each of the two coordinate systems. 8odifying the color of a pi el therefore means you modify the values of its components. The Curves effect ena!les precise management of these modifications: the (ode popup menu offers a choice !etween the two systems descri!ed a!ove. *et+s go, for e ample, into the &%S%L%' system and ta#e a loo# at our image. Ee t to the name of each component we find a miniature profile, compara!le to those we encountered when studying the drawing tools and acceleration of an effect. Clic# on the luminosity miniature profile to call up the edit profile window.
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The options proposed are traditional: flip the curve along the 0 @ 1 or 0 C 1 a es, use pre)defined curves, save the settings, modify interpolation of the points<
Eow we /ust have to study the meaning of the curve: 3 The hori2ontal a is represents all luminosity values that may !e contained in a pi el on the screen "values !etween 4 and (77$ 3 The vertical a is "also #nown as L)#: *oo# Up Ta!le$ represents all luminosity values of the pi els once the Curve effect has !een applied. *et+s ta#e the curves !elow as e amples: 3 In this e ample: the luminosity of every pi el is divided !y two after application of the effect "for e ample, a luminosity value of 74 changes to (7 after application of the effect$. 3 In this e ample, the luminosity of every pi el remains unchanged. 3 In this last e ample, any pi el with a luminosity value !etween appro imately D= and ';( will turn !lac#, the others remain unchanged. %e have /ust studied the luminosity curve in detail. Eow it+s up to you to wor# with the other curves and use them to the advantage of your pro/ects.
The Color > Histogra
effect
%e have /ust seen that it is possi!le to wor# on pi els using curves. T-.aint ,nimation also offers the possi!ility to wor# on the colors on a more 0statistic level1 than#s to the &istogram effect. The first function of the histogram is to provide information a!out the distri!ution of colors on the screen. *et+s ta#e for e ample the images !elow and select the (aster ta* in the first row of ta!s and Luminosity in the second. %e will o!tain the following graphs :
The Log !o ena!les use of a logarithmic scale instead of a proportional scale. 9or the moment, pay attention that this !o is not chec#ed < 3 The more dar# pi els the image on the screen contains, the more dense the graph is to the left "this is the case for our red planet$.
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3 The more light pi els the image on the screen contains, the more the graph is concentrated on the right "this is the case for the image of the tree$. 9or a luminosity value given in the a!scissa, the graph proportionally represents the quantity of pi els of the image having this luminosity value on the ordinates a is. The !lue curve represents the percentage of pi els having at least attained the luminosity value in the a!scissa, the vertical red line represents the pi els the luminosity of which is the most represented on the screen. The ta!s Red, Green, Blue and Alpha wor# according to the same principle and image analysis is reduced to the channels of the corresponding colors. The second function of the histogram, as you may have guessed already, is to modify the color properties of the image or video of the current layer "here again, the animation #eys loc# the parameters for a given position in the timeline$. To do this, we have to use the slider system of the histogram. Cou may use two, three or four of them. The latter ena!le re)cali!ration of the histogram !y stretching or contracting it. *et+s again ta#e a loo# at the pi el luminosity component. Below, you see the e ample of luminosity modification using the three sliders:
!efore application of the 34 stac5
'ettings
6fter application of the 34 stac5
The section of the histogram !etween the a!scissas (7 and '(G will !e contracted to fit !etween the a!scissas 4 and 7'. The section of the histogram !etween '(; and (77 will !e stretched to fit !etween a!scissas 7( and (77. This means that the dar# components of the pi els in the image will !e reinforced and contracted whereas the light components of the pi els in the image will !e redistri!uted, spread and therefore reduced. The ta!s Red7 Green7 Blue and Alpha ma#e the other graphs relative to the current image appear. Bach of them may !e modified independently of the others. The principle of contracting and stretching is the same, regardless of how many sliders are used. Hnly the num!er of contracted or stretched intervals changes.. The first row of ta!s contains four ta!s: 8aster, Ahadows, 8idTones and High*ights. 3 Clic#ing the Shado+s ta! limits the impact of the slider modifications to the dar# colors, gradually. 3 Clic#ing the (id#ones ta! limits the impact of the modifications to the medium tones and will reduce them progressively and finally cancel them out for the dar# and light colors.
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3 Clic#ing the &ighLights ta! limits the effects of the histogram modifications to light tones, the latter waning progressively then canceling out for the medium and dar# tones. 3 The (aster ta! affects all color ranges in the same way. *oo# at the following graphs for a !etter understanding:
>
Three curves are represented: 3 The !lac# curve represents the impact of the modifications in the histogram on the dar# tones "Shado+s ta!$ 3 The gray curve represents the impact of the modifications on the medium tones "(id#ones ta!$ 3 The white curve represents the impact of the modifications on the light tones "&ighLights ta!$ The tones concerned are located on the a!scissa. The impact power is represented on the ordinates a is "the higher the curve for a given range, the higher the influence of the histogram modification on this range$. The circled sliders in the graph opposite are used to move, contract or stretch the three curves and, consequently, modify the effect of the ta!s.
The Color > !liders effect

In addition to the effects affecting the color on a 0 geometric 1 and 0 statistic 1 level, there is a last color correction effect which is more complete and is applied using sliders "as the name implies <$. 3 It also has four ta!s: (aster, Shado+s, (id#ones and &ighLights which have the same tas# as those in the Histogram tool: used to choose whether you wish to wor# on lighter or dar#er color ranges. 3 The following four ta!s: Gamma, Contrast, Gain, Brightness control how the *UT curves will !e modified when a slider is moved. 3 The seven lines correspond to seven L)# curves "see a!ove$ which may !e modified: #emperature, (agenta, Luminosity, Red, Green, Blue and Alpha. %hen the Gamma ta! is selected, moving the slider to the right increases the height of the *.U.T curve "and therefore increases the values of #emperature, (agenta, Red, Green, ...$ for the range selected "Shado+s, (id#ones, &ighLights$. The ends of the curve are less affected !y the slider modifications "the modifications ta#e place progressively$.
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%hen the Contrast ta! is selected, moving the slider to the right increases the height of the *.U.T curve in its high sections and decreases the curve in its low sections for the chosen range. This means that the strong values of "#emperature, (agenta, Red,<$ will !e reinforced and the wea# values reduced for the range of your choice "moving the slider to the left produces the opposite effect$. The Gain ta! functions in roughly the same way as the Contrast ta!, !ut the ends of the curve are gradually less affected !y the slider modifications "the modifications of the values of #emperature, (agenta, Red,< are the same as with the ta! Contrast !ut wor# in a more su!tle and progressive manner$. The effects of the Brightness ta! are similar to the Gamma ta! !ut the modifications are not applied in a progressive fashion due to the identical attri!ution from one end of the curve to the other.
The Color > !can Cleaner effect

This effect is used to clean up a scanned image drawn !y hand. *et+s ta#e a loo# at the s#etches !elow "the original ones is on the left$.
22
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22
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This effect will not only ma#e the light pi els of the image transparent and color the remaining pi els !lac# "'$ !ut will also remove unwanted pencil mar#s "($
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The diagram !elow illustrates the role of the profile curve present in this effect :
The Colors > "ine colori#e effect

This effect allows you to colori2e the lines of your drawings, following the colors filled on the other layers. Three parameters can !e managed : J Radius "which allow you to choose the spread of uour colori2e effect, following the line+s thic#ness$.
3rom left to right 8 Radius to 07 57 10 and 15*
- Couleur Source "that will define the color reference to colori2e your line$. *et+s ta#e this image, composed of several layers "!elow and a!ove the layer lines$.
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The Color source mode K.oregroundL : as a part of the her! layer is a!ove the line layer, the lines of the feet !ecame green.
The Color Source mode KBac#groundL : colors from the layer !elow is used as a reference to colori2e the drawing lines.
The Color Source mode K"isplayL : all colors visi!le have an influence on the drawing lines.
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J Render mode: this paramater will allow you to choose the spread of the effect, following the (anhattan mode "rectangular spread$ or uclidian mode "circular spread$.
riginal image
$anhattan 1ode
Euclidian 1ode
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The Color 2 9:pand mode

This effect is used to e pand a span of colors, !ut it will respect the notions of color gradient and smooth on your image.
The options Radius and Render mode are identical to the options met with the Line colori/e effect.
T.o s;uares .ith a color gradient and a smal smooth on the 0orders
The E%pand effect applied .ith a radius of 107 in Euclidian
ode
The Colors > & age !ource effect

It is necessary to #now a few effects of the Styli/e group "li#e "rop Shado+, Add Border or Lumi0, ...$ in order to master the !mage Source effect perfectly. Ao it will !e studied at the end of lesson '7.
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The effects of the Meying menu
The effects of the Keying menu

The Keying menu contains all effects which are used to ma#e a color on the screen transparent. These effects are sometimes called cut)out and incrustation effects.
The Keying > "u a Keyer effect

The Luma Keyer effect is used to render pi els transparent according to their luminosity. %hen you have scanned an image on a white !ac#ground you o!tain a completely opaque layer. %ith the Luma Keyer effect is is therefore possi!le to ma#e the white pi els of this image transparent:
2 *et+s ta#e a loo# at the drawing on real paper a!ove. ,pplication of the Luma Keyer effect set with correct parameters will render the light pi els transparent "independent of their hue and saturation$, progressively increase the opacity of the medium tone pi els and leave the dar# pi els intact. This gives us the image shown to the right. ,t this point, it is possi!le to re)color the image, if desired : simply place a layer under the image o!tained and spread the colors of your choice on it "see e ample opposite$. Cou may also use the shape floodfill tools studied in lesson D.
These are the functions of the Keying 1 Luma Keyer effect: 3 The "isplay popup menu is used to choose !etween viewing the source image and viewing the result. 3 The color !o is used to choose the color the luminosity of which you wish to render transparent directly on the screen. 3 The !uttons 2 and N are used to ad/ust the tolerance and softness of pi el cut)out. 3 The mini)sliders allow ad/ustment of the following, depending on the luminosity and with the help of the diagram !elow: The type of pi els which remain opaque Those which are progressively made transparent Those which will !e completely transparent
It is recommended to com!ine the Luma Keyer effect in a multiple 9@ stac# with the Colors 1 &istogram or the Colors 1 Slider effects to !e a!le to precisely ad/ust pi el transparency "use the parameters relative to the alpha component$ and remove the gray aspect "light$ of semi)transparent pi els.
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The effects Keying 1 Luma Keyer and Colors 1 Scan Cleaner change the opacity of the pi els differently : the Luma Keyer doesn+t remove the unwanted pencil mar#s. The Scan Cleaner change the color of the pi els, and the Luma Keyer doesn+t.
The Keying > Color Keyer effect

The Color Keyer effect uses the same principle as the Luma Keyer effect. It deletes the selected color on the image or video footage of your choice. It is no longer required to concentrate on pi el luminosity !ut on the entire color. Two types of parameters may !e loc#ed with a #ey: #olerance and Smooth. In the 9@ stac# a!ove we see: the higher the value of the #olerance parameter, the more colors close to 0 !lue 1 will !e deleted. The higher the value of the Smooth parameter, the less a!rupt the transition !etween opaque and transparent pi els will !e.
Hpposite, most of the !luish colors of the s#y and cloud !ecome transparent. The green and dar# colors of the tree are further away from !lue and therefore opaque.
%ith the !nvert parameter, the effect can #eep the color chosen in the Color parameter whereas to remove it.
The opposite image shows the result when the !nvert parameter is chec#ed.
These two #eying effects may, of course, !y applied to a complete footage, which ma#es wor# easier when using a scanner with loader or a recorded video sequence.
*et+s ta#e another concrete situation :
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The character near!y was shot in front of a !lue screen. %e are going to e plain how to remove this !lue !ac#ground and to replace it !y another !ac#ground. It+s a technique often used for animation : weather reports are shot with a single)colored !ac#ground which is removed and replaced !y a weather chart. *et+s go !ac# to our character : the purpose is to ma#e transparent all the !lue pi els and to display a new !ac#ground on another layer. To do so, let+s load a landscape !ac#ground near!y and put it as an ,nimation layer, under the layer containing the character. The !lue color is called key color "that+s why the effect is called #eying$. Cou should have a timeline loo#ing li#e this :
Eow select the Color Keyer effect in the .3 stack. Choose a !lue pi el from the !ac#ground and ad/ust the tolerance and so$tness parameters. ,pply the effect to the whole image sequence, and here it goes, the !lue !ac#ground has disappeared and is replaced !y the landscape. The same method is also used to create a weather report "see !elow$
There are other #eying effects, more comple , which have to !e used in some specific situations.
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The Keying > Chro a Keyer effect

The Keying 1 Chroma Keyer effect is used to ma#e pi els transparent depending on their tint and saturation.
The panel and the !uttons of this effect loo# very similar to the ones of the effect Color O Color raser% That+s why we will not e plain each parameters in details... *et+s ta#e for e ample the video sequence a!ove with orange and red flowers. The !ac#ground of this sequence is a !lue)gray shutter "more or less dar# !lue)gray tints$. If you use the Keying 1 Color Keyer effect !y selecting one of the dar# shutter colors, it will not remove all the shutter pi els !ut it will remove some pi els of the flower+s stal# too. "see !elow "'$$ If you use the Keying 1 Color Keyer effect !y selecting one of the light shutter colors, it will remove all the pi els of the shutter !ut it will remove the light pi els of the flower+s too. "see !elow "($$
"'$ The Keying 1 Chroma Keyer effect will help us to o!tain !etter results.
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The results a!ove, o!tained after the use of the Keying 1 Color Keyer effect, are imperfect.
3 The #int parameter !ar will ma#e transparent the !lue pi els in a wide range : light !lue or dar# !lue will not change the result. The orange)red pi els of the flowers and the green pi els of the stal# will stay unchanged.
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3 The Saturation parameter !ar permits to ma#e green pi els more or less transparent depending on their saturation. ,s a consequence, we will !e a!le to ma#e transparent all the !lue)gray pi els. Here is the result : we finally succeed to #eep the pi els of the flowers visi!le and ma#e the pi els of the shutter transparent.
22 To finish our wor#, we can easily add a landscape on a layer and put it !ehind the flowers layer. "see the timeline !elow$
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*et+s go !ac# to our !lue)screened character : ,lthough we used the Keying 1 Color Keyer effect with the our !lue)screened character in the last chapter, you certainly guess that it is also possi!le to use the Keying 1 Chroma Keyer effect% %hen characters are shot with !lue screen, there are sometimes some undesired light effects, especially little !lue reflections colori2ing some part of the image "see image !elow on the left$. It is of course possi!le to remove the !lue tint to these pi els !y ma#ing them grey. That+s the function of sliders and !uttons from the Spill Removal section of the panel.
OO
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The Keying > Alpha Control effect

*et+s ta#e !ac# the e ample of our flowers. The Keying 1 Chroma Keyer has !een already applied and the landscape !ac#ground is visi!le !ehind the flowers. If you loo# at it in detail, you will see that some imperfections remain : a !lac# !orderline, more or less visi!le, is still remaining, small lines or points are not fully transparent and stand out from white clouds. The Alpha Control effect can fi these errors.
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Here is how the effect appears in the 9@ Atac# : 3 Cou can first notice the presence of a histogram, a tool you are now familiar with. This one represents the quantity of pi els displayed on screen depending on their luma "in percentage$. 3 In the !ottom of the panel, there are some numeric fields and mini)sliders at your disposal :
The Shrink parameter can trim the opaque pi els of the image. That is the !est to remove the !lac# !orders around the flowers. The rode parameter erase progressively the opaque pi els of the image !y starting from its !orders. It permits to soften the transition !etween transparent pi els and opaque ones, and even to improve the superimposition effect. Both Blur parameters can reduce and soften the shapes !orders !etween opaque pi els and transparent ones. The Gain parameter permits to turn opaque and to dar#en pi els which are almost transparent. This is very useful to stand out the little imperfections, especially the ones that have not !een fully removed when using some Keying effects. Hn the opposite, the Li$t parameter can turn opaque the pi els which are almost transparent.
<se of the Erode parameter
<se of the !hrink parameter
<se of the 'ain parameter set to 1000$
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The Keying > Advanced Keyer effect

The Advanced Keyer is the most comple and the most powerful Keying tool in T-.aint ,nimation .rofessional Bdition. B perienced users often use it for very accurate #eyings. %e have already seen that each color can !e !ro#en up in various ways depending on the color system "&?B,, HA*H, CU-$ while each system defines color channels. "the CU- system is used !y the ETAC and .,* video formats$ The Advanced Keyer effect permits to cut)out on each color channel which allows you to do very accurate #eyings. "see !elow$
3 The Key ta! lets you ad/ust the #eyer in the different color systems. 3 The 8atte ta! has the same function as the previously descri!ed Keying 1 Alpha Control effect so you can /ust ad/ust the cutout process !etter. 3 9inally, the Spill Removal ta! is also availa!le and wor#s the same as the Keying 1 Chroma Keyer one.
%or#ing with the &ue and Saturation component of the HA*H system is the same than wor#ing with the Keying 1 Chroma Keyer effect. %or#ing with the Luma component of the HA*H system is the same as wor#ing with the Keying 1 Luma Keyer effect.
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The Keying > Cross Keyer effect
The Keying 1 Cross Keyer effect wor#s in a different way than the other #eying effects : It doesn+t require to select a range of colors in a color system li#e &?B, TA*, CU-, etc ... In this effect, you only need to define a first region whose colors will !e #ept, and another region whose colors will !ecome transparent. Aelecting those two regions can !e easily done than#s to the two dedicated Region !uttons : 3 To select the colors you want to #eep after applying the 9@, /ust use the left mouse !utton on the Keep !utton. ,fter this you will !e a!le to select an area directly on the HUP. "your cursor will !e changed into a lasso$ 3 To select the colors which will !ecome transparent, you can use the same method with the "rop !utton. %hen selecting a new area on the HUP : 3 Use the left mouse !utton to add it to the previously selected area. 3 Use the right mouse !utton to su!tract it from the previously selected area. To visuali2e the render of this effect, use the right mouse !utton on the current activated !utton "Keep or "rop$. Hf course, the result depends on the two areas you have /ust selected. In the e ample !elow : Hn the left image : there are two areas located on the s#y and on the pathway. They indicate the colors "red and cyan$ that will !e #ept on the whole picture. Hn the right image : there is one area located on the grass and on the trees. It indicates the colors "orange and green$ that will !e dropped. The picture in the right shows the result after applying the effect :
2
=eep region Drop region 3inal result
3 The s+ap keep and drop regions !utton allows to swap the Keep and "rop regions. It is then possi!le to o!tain the opposite result.
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3 The (i0 parameter allows to e tend or restrict the num!er of colors located in the transparent area of the resulting image.
1i: ) 0$
1i: ) 50$
1i: ) 100$
3 The dge parameter allows to ad/ust the mi ing level !etween the transparent and opaque pi els. The lower the value will !e, the less the two regions will differentiate. The higher the value will !e, the sharper the edges will appear.
9dge ) 0$
9dge ) 50$
9dge ) 100$
3 The Spill Removal parameter has the same function as the Spill Removal parameters encountered in the effect Keying 1 Chroma Keyer : it unsaturates the undesired light reflections. In the e ample !elow, we 2oomed on the frontier !etween the grass and the pathway.
'ource /mage
'pill Removal ) 0$
'pill Removal ) 100$
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Lesson 13 The effects of the Stylize group
In this lesson, you will :

Discover some effects of the Stylize group dedicated to animation. Discover some effects of the Stylize group dedicated to video-editing.
Introduction
Introduction
The effects of the Stylize menu are often used to work on logos, drawings or video footages. We will take the images below as reference images for our e amples:
The running kid and the T,-aint logo are located over different background layers.
The Stylize > Glow effect

It is possible to create an aura around a te t or any other image containing transparent pi els ! The Width, Height, Color and Opacity of this aura may change in time thanks to the key system.
The Stylize > Grain effect

This effect adds a noise "polychromatic or monochromatic# to the image or video footage of your choice. The Size parameter is used to set the si$e of the grains, the Range parameter controls their distance. It is also possible to ad%ust their color using the parameters Red Variation, Green Variation and Blue Variation as well as modify their transparency. If a logo is placed in front of a filmed se&uence, application of a light noise on the logo helps integrate it into the se&uence and minimi$e the ' computer ( look of the latter. The noise effect may also be used to smudge an image or drawing in a different way than a blur effect.
Original image
Monochromatic noise
Polychromatic noise
Original image
Blue polychromatic noise
Noise with larger grain size
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The effects of the Stylize group
The .tyli$e / 0evel effect
The Stylize > Bevel effect

This effect is used to give volume to your logos or drawings. The Mode popup menu is used to choose between creation of an inner or outer relief. 1ou may also use both effects at the same time, which gives a relief effect to the contours of your image. To give an image relief you must set the Size of the bevel as well as its Lighting using the following parameters: Force, Altitude, irection, Color and !o"er. The S#ooth parameter enables attenuation of rough contours by applying a slight blur.
Inner e!el
Outer e!el
Inner and Outer e!el
Inner e!el
Outer e!el
Inner and Outer e!el
The Stylize > Drop shadow effect

This effect is useful to add a shadow to a logo or any other image that is not entirely opa&ue. Color, irection, i$tance and Opacity are parameters that may be set using keys at your disposal. In this way you can make the shadow of your logo move as if a light source were moving above it.
"arious shadow distances and directions
Traditional shadow and lurred shadow #the ac$ground and the running $id are located on different layers%
The Shado" only option of the %oon$hading and rop Shado" effects will be studied later in the chapter called ' the Color & '#age Source effect (
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The .tyli$e / Toon .hading effect
The Stylize > Toon Shading effect

This effect differs from the drop shadow as it enables creation of a shadow inside an image. The transparent pi els are not affected by the creation of your shadow "see below#.
Toon &hading
'rop shadow
2et3s take the shape filled with white below as an e ample to study this effect:
The panel of the toon(shading effect
Our reference image
The )*' of the effect
- The Color bo is used to choose the color of the shadow you will create.
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- The 'nten$ity option is used to vary the power of the shadow in time:
- The !ro(ile option is used to vary the nature of the shadow:
- The Size in pi els sets the range of the shadow:
- The Angle parameter is used to choose the direction of you lighting5shadow. When using animation keys, the Rotation parameter reflects the number of complete rotations to be carried out before arriving at the chosen angle.
- The Spread parameter "in degrees# defines the angle over which the shadow will be spread.
The effects of the Stylize group )*-6
7sing the H) shadow.
is very practical to ad%ust the angle, si$e and spread of your
- The Ray Count parameter refines the result when applying the effect. The higher this value, the higher the &uality of your image, the lower the value, the more noise your shadow will contain.
- The Border bo , if checked, is used to create a shadow from the borders of your pro%ect "see below#.
8riginal image
0order option not enabled
0order option enabled
8nce you know how to use the Toon-shading effect, it is possible to create all kinds of shadows for your characters:
The Shado" only option of the %oon$hading and rop Shado" effects will be studied later in the chapter called ' the Color & '#age Source effect (
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The .tyli$e / :rode effect
The Stylize > Erode effect

This effect enables eroding the contours of an image or video footage. This may create an interesting effect for the appearance or disappearance of images as well as for the attenuation of contours "see below!#. There are two parameters that may be ad%usted using keys : Width and Height.
The Stylize > Add Border effect

This effect is in a way the opposite of the *rode effect. It enables creation of a border of the thickness of your choice around an image. ;s T,- ;nimation works with sub-pi el precision, it is possible to increment this thickness in steps of <.6 pi el using the associated mini-slider. It is also possible to choose the color of the border.
=ere again, the option Border only will be studied later in the chapter called ' the Color & '#age Source effect (
The Stylize > Bloom effect
This effect produces a light blurred aura on the current image and may give an unreal aspect to an animated footage. >ontrary to the Glo" effect this bloom is applied to the opa&ue areas of the image. The parameters Width and Height are the same as those for the Glo" effect. If you wish, you may apply the bloom effect to the channel of your choice " Red, Green or Blue# and control Blur, Saturation and Lu#ino$ity of this aura.
The effects of the Stylize group )*-?
The .tyli$e / 0lender effect
The Stylize > Blender effect
This effect blends the original image in a certain way and then transforms it into a large pu$$le, the pieces of which have distorted contours. The ad%ustable parameter enables random modification of the result.
The Stylize > Mosaic effect
This effect was already studied in lesson @. It enlarges the pi els on the screen to the Width and Height of your choice.
The Stylize > Posterize effect
This effect is used to reduce the number of colors on the screen and simplifies the original image or video footage. The +u#,er o( color$ parameter may be set using the mini-slider and locked with a key. This +u#,er o( color$ parameter does not represent the e act number of colors on the screen but the number of colors blended to obtain the effect re&uired.
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The .tyli$e / Boise effect
The Stylize > Noise effect
This effect moves the pi els of the original image at a distance corresponding to your parameter setting. 1ou may also choose the percentage of pi els of the original image to be moved. Well applied, this effect gives the impression that one sees the image or video footage through frosted glass.
The Stylize > Print effect
=ave you ever looked at a comic or cartoon strip through a magnifying glassC The color areas are made up of superposed round points of different si$es and colors. The !rint effect reproduces e actly this aspect. 1ou may choose to work in Color, in Blac- . White or work only on the non-opa&ue areas of the image!
The Size parameter is used to set the si$e "and therefore the number# of dots on the screen. ;bove you see the !rint effect applied with the Color channel and with the Blac- . White channel.
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The .tyli$e / Begative effect
The Stylize > Negative effect
This effect replaces the color of each pi el with its negative.
The Stylize > Solarize effect
This effect reproduces the photographic effect named solari$ation which consists of mi ing the colors of an image with the colors of its negative. These two effects have no parameters.
The Stylize >
olor !ange effect
This effect substitutes the colors of one of the channels Red, Green, Blue, Alpha or Lu#ino$ity with those of the gradient of your choice "see lesson * for gradients#. In the e ample above: the gradient blue / orange / yellow was applied on the image3s luminosity channel: the yellow pi els replace the light pi els of the image, the red pi els replace the mid tone pi els, the blue pi els replace the dark pi els.
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The .tyli$e / =alfTone effect
The Stylize > "al#Tone effect
The Hal(tone effect reproduces the aspect of a ' grid ( on the current image and gives the current image the appearance of an 'artist3s canvas(. D 1ou may set the parameters for the hori$ontal and vertical cells "H cell$ and V cell$#, Opacity of the grid as well as their type "Line, ot, Cro$$, Chec-$, Bloc-$, etc.#. D There are also several application modes: Color on ,lac-, Color on "hite, Saturation, etc. D Einally, you may use the /itter parameters which will slightly modify the shape of the grid. irection,
The Stylize > $%mi& effect

This effect e changes the luminosity values of the pi els in an image or source video footage with those of another image or footage, which gives the impression of seeing an image through the contours of another image "see below#.
++
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The .tyli$e / 2umi effect
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The So%rce 'mage notion

; source image or footage is used in the Rendering bo of the Lu#i0 effect and some other effects "in particular the Motion / 1ey(ra#er effect which will be studied later#. 2et3s discuss this further: T,- ;nimation offers some effects which re&uire the use of an image or footage other than the current image. These are referred to as source images or footages. .everal choices are available for the so-called source images or video footage: the pro%ect of your choice, the layer of your choice, the current brush or animated brush, the spare image, the paper, the current display, the F2 $tac-.
D The choice F2 $tac- will use the current image with the effects of the F2 $tac- applied as Source '#age before applying the parameters set for the Source '#age. D The choice Current layer allows you to apply the effect from the current layer. D The choice i$play allows you to apply on the current layer the effect from the footage viewed when playing your pro%ect "the effect will be that all layers appear to be merged, while the hidden layers are not taken into account#. D 1ou may also choose to use the Spare '#age or !aper if they are available. D When choosing another pro%ect, layer or brush, you may ad%ust the -re- and -ost-0ehavior, the position and the animation mode: the number ' n ( of the !o$ition parameter corresponds to the image ' n ( of your pro%ect, animation layer or animated brush. The Ani#ation mode controls the ' behavior ( of your brush, layer or pro%ect: random animation, ping-pong, animation reduced to the image indicated in the position parameter, etc. If the number of source images is lower than the number of images to which your effects are applied, you may ad%ust the -re- and -ost-0ehavior for your source "random, pingpong, loop, etc.#. ;s re&uired, you may choose to flip your source vertically, hori$ontally or both, before using this source.
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The >olors / Image .ource effect
The
olors > 'mage So%rce effect
The Color$ & '#age Source effect allows you to display the image or the se&uence of your choice on the current layer. D The Source menu use all notions encountered in the last paragraph. ;s a conse&uence, you can choose to display the current layer, another layer, a paper, the spare image, another pro%ect, the current custom brush, etc. D The Blend popup menu is used to choose the mode to be used when drawing the .ource '#age or Se3uence on your current 2ayer ">olor, 0ehind, :rase, ...# D The Opacity parameter allow you to ad%ust ... the opacity of the displayed image or se&uence. This effect could seem simple, even obvious, but it has a lot of useful applications : )st e ample :
8n the uni&ue layer of our timeline, a 'T,-aint( logo has been drawn. We are going to replace it by its own glow.
2et3s take a look at the EF-stack opposite : )# The first effect that will be applied is the Stylize & Glo" effect. +# The Color$ & '#age Source effect is the second effect that will be applied. The Source selected is Current layer and the Blending Mode is the *ra$e Mode. In this way, the 'T,-aint( logo will be removed %ust after the rendering of the glow on the screen. This process works with other effects of the Stylize group like Add Border or Be4el "with Outer option selected#. "Eor the rop Shado" and %oon$hading effects, please study the ne t e ample#
++
Original image ,fter applying the effect Stylize > Glow only
++
,fter applying all the -.(stac$
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+nd e ample : In this e ample, we will create a shadow for the running kid thanks to the Stylize & %oon$hading effect. This shadow will be rendered on an empty animation layer. In the EF-stack opposite, the Stylize & %oon$hading effect will be applied on the animated layer called GToon .hadingH. "see the timeline below# The effect Color$ & '#age Source allows you to specify the reference layer used to render the shadow. =ere, the Source is the animation layer called GcolorH. If we use the *ra$e blending mode as we did in the first e ample, the shadow will disappear. "the toonshadow is inside the running kid# That3s the reason why we will keep the Color blending mode and use the Shado" Only option of the Stylize & %oon$hading effect5 It allows us to create the shadow of the running kid without re-drawing it. It is then possible to generate a shadow for our running kid on a separate animated layer. ;s a conse&uence, the character is not altered by the rendering of the shadow.
In this e ample, the Color$ & '#age Source effect allows you to define an image or an animation se&uence as reference for the GfollowingH toonshading effect in your EF-stack.
In this e ample, it is also possible to replace the effect Stylize & %oonShading by the effect Stylize & rop Shado". "the Shado" Only option is also present in this effect# In that case, you will obtain a classical shadow. 8f course, the character layers "color$ and Running 1id# will stay unchanged.
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=ere is the *D view of the layers you can obtain after using the effects Color$ & '#age $ource, Stylize & rop Shado" and Stylize & %oon$hading5
Toonshading Layer
Borders Layer
/olors Layer
'rop &hadow Layer
Bac$ground Layer
The resulting image
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The .tyli$e / >onvolve :ffect
The Stylize > onvolve 0ffect

The effect Stylize & Con4ol4e allows you to modify the pi els of an image or an animated se&uence by using a matri "here below on the right#. Eor the neophyte, a matri is an ordered set of numbers listed in a rectangular form. Eor the mathematicians, it is a powerful and convenient calculation tool used in algebra. To open the matri relative to this effect, %ust click on the *dit button of the panel.
The matri of our effect contains )* rows and )* columns, and as a conse&uence )9@ numerical fields. :ach numerical value is usually called coe((icient. The grey bo es are located on the two diagonals of the matri . It usually gives a better readability when you fill in the matri . We have already seen that each color can be broken up in various ways depending on the color system. Eor e ample, the Slider tab of the Color !ic-er panel gives the numerical values of the ; color in the I,J,0 and T,.,2 color systems. The Stylize & Con4ol4e effect calculates a new value "and so gives a new a color# for each pi el in an image or an image se&uence by using the values "and so the colors# of its neighboring pi els. In the mathematical point of view, each new value in the I,J,0 color system will be calculated by taking the average of itself and the pi els surrounding it. It is a weighted average using the matri coefficients. Well, you are an animator, not a mathematician, it doesn3t help you a lot to get an idea of the internal working of this effect... =ow to obtain convincing results by changing the numerical values of the matri C The e amples below should help you in this task. )st e ample : =ow to create a 0lur 2et3s take a look at the matri opposite : each coefficient is e&ual to *, e cept the central coefficient which is e&ual to ). ;ll the other coefficients are e&ual to $ero "and not visible here# 7sing this * * matri neighboring pi els. "* rows, * columns# will make each pi el modify itself according to its
The surrounding pi els will have more weight "or will be more represented# than the central pi el : this is e actly the common process to render a blur effect.
=ere is an e ample. In the T,-aint logo opposite : D The white and opa&ue pi els outside the T,-aint logo are most often surrounded by opa&ue white pi els. ; weighted average of white pi els gives ... a white pi el.
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D The blue pi els inside the T,-aint logo are most often surrounded by blue pi els. ; weighted average of blue pi els gives ... a blue pi el. D Eor the pi els located at the frontier between the blue and white areas, the situation is a bit more complicated : a weighted average of blue and white pi els gives a more or less light blue, as shown below :
0elow, two $ooms on the ' T ( letter of the T,-aint logo : Erom the result above, it is possible to deduce the result of the Stylize & Con4ol4e effect on some pi els +
Before applying the effect ,fter applying the effect
=ere is the result on a wider area of pi els. The T,-aint logo begin to get blurred ... + ;nd here is the final result :
+
+nd e ample : What happens with a bigger matri C 2et3s take a look at the matri opposite : each coefficient is e&ual to *, e cept the central coefficient which is e&ual to ). ;ll the other coefficients are e&ual to $ero "and not visible here# 7sing this 6 6 matri "6 rows, 6 columns# will make each pi el modify itself according to its neighboring pi els. We use here a larger radius than in the * * matri of the first e ample. In this case, the principle is the same as the one enunciated above, but more pi els are taken into account to calculate the average It gives a larger blur than the one obtained with the * * matri . "see ne t page#
)*-)?
0elow, two $ooms on the ' T ( letter of the T,-aint logo :
+
+
+
It is easy to understand that the bigger your matri will be "the more coefficients e&ual to * in our e ample#, the more pi els will be used to calculate the resulting colors. "the larger will be the blur in our e ample# =ere is what you can e pect by using bigger matri , constructed in the same model than the one above.
;bove the source image. 0elow the blurs that you can obtain by using a :
313 matri1
212 matri1
313 matri1
414 matri1
11111 matri1
13113 matri1
The e ecution speed of the Stylize & Con4ol4e effect depends on the number of coefficients which are different from $ero inside the matri . In other words, the more $ero coefficients you will have in the matri , the faster the effect will be applied.
*rd e ample : =ow to have a sharper image : 8btaining a sharper image is the opposite as obtaining a blurred image. The surrounding pi els will have less weight than the central pi el : in other words, they will be less represented than the central pi el. 2et3s take a look at the matri opposite : each coefficient is e&ual to -+, e cept the central coefficient which is e&ual to ++. The central coefficient is really higher than the coefficients surrounding it. Bow we can apply this effect to our logo :
+
Before applying the effect )*-)A ,fter applying the effect The effects of the Stylize group
;s seen above, the weighted average of the blue "or opa&ue white# pi els gives ... a blue "or white# pi el. That3s not always the case, as we will see later. Eor the pi els located at the frontier between the blue and white areas, the situation is a bit more complicated : they will become more visible than the blue and white pi els surrounding them. In other words they will become a little darker. It results a sharper image ... 4th e ample : how to draw the edge of a picture : In order to obtain the edges of a picture, you need to have a sharper image and you need also to make the pi els surrounded by same color pi els become black. To do so, we will use a matri which coefficients are close from those we used in the last e ample. -lease note that the sum of the surrounding coefficients is e&ual to the opposite of the central coefficient.
In this case, the pi els surrounded by pi els with the same color will become black. The weighted average of the values "or colors# is e&ual to <. The pi els at the frontier between the blue logo and the white background will be strengthened. =ere is the result :
+
6th e ample : =ow to emboss an image. ;dding relief to an image can be done by strengthening the pi els colors in a given direction and by reducing the impact of the pi els colors in the opposite direction. The matri opposite allows to emboss the image as if a light source was added at its right. "all the layers have been merged before applying the effect#
+
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Bow, let3s study a few notions : D We saw that our effect was modifying the color of the pi els on the screen. It is also possible to modify the pi els transparency by using the )$e alpha button5 In this case, the calculation of the weighted averages is applied to the alpha component of the pi els too. D The Border popup menu allows to choose how the pi els at the border of the image will be calculated. "The pi els located at the border of your image don3t have neighboring pi els ...# 1ou can choose to use as neighboring pi els : - 0lack pi els "none option# - -i els resulting from a symmetry of your image "#irror option# - -i els resulting from reproduction of the image "tile option# - -i els resulting from reproduction of the last "first# line "or column# of pi els "repeat option# D The #ultiplying coe((icient allows to multiply all the coefficients of the matri by the same value. It does not change anything to your picture if all non-$ero coefficients of your matri are the same. 8therwise your convolution effect will be more or less pronounced. .ome preset e amples : Bow that you have some basis about the convolution matri , you can try to modify the numerous matrices at your disposal in the ,in menu of your effect. 0elow, you will find the results obtained with the matri :
Blurred Image
&plit Image
Only the edges
0m ossed Image
&pecial lightning
Other 5esults
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Lesson 14 The effects of the Distortion group

Manage the symmetry effects . Manage the Wrapping effects . Create a shadow in perspective. Animate with the Wrapping Grid effect.
The Distortion
!lip effect
The Distortion > Flip effect

This effect permit to flip hori"ontally and#or vertically images in the current layer $see the e%amples &elow'. This effect does not use or re(uire animation )eys.
Source Image
Vertical flip
Horizontal flip
Horizontal and vertical flip
The Distortion > Mirror effect

This effect allows you to do a symmetry in relation to an a%is in the current layer. * The Pivot X, Pivot Y and Angle numeric fields allows you to define the a%is the symmetry will &e applied to. * When using animation )eys, the Rotation parameter reflects the num&er of complete rotations to &e carried out &efore arriving at the chosen angle. * The Opacity parameter allows you to ad+ust the transparency of the reflected image.
>>
Source Image Mirror effect, opacit !"#
If needed, you can move the a%is through the ,-D interactively in the current pro+ect window.
./01 The effects of the Distortion group
The Distortion
2aleidoscope effect
The Distortion > Kaleidoscope effect

As the name implies, the effect imitates the view through a )aleidoscope. In the following paragraphs, the pro+ects will &e considered as having the layers merged.
>> $riginal image %se of the Kaleidoscope effect
The num&er of segments is the num&er of symmetric a%es used to o&tain the final image $see &elow'.
$riginal image
$ne horizontal s mmetric a'is
T&o s mmetric a'es (horizontal and vertical)
Three s mmetric a'es
The effects of the Distortion group
./03
The Distortion
2aleidoscope effect
*our s mmetric a'es
*ive s mmetric a'es
Si' s mmetric a'es
+ight s mmetric a'es
,nd so on ---
The value of the first angular parameter varies the a%is formed &etween the symmetric and the hori"ontal a%is. The grayish diagrams indicate the area in the original image which will &e duplicated &y the symmetry. In &lac), the rotation angle applied &efore symmetry in relation to the red a%es. ,ere for one symmetric a%is :
,ere for two symmetric a%es :
./0/
The Distortion
2aleidoscope effect
The Source coordinates define the position on the screen of a point at which the symmetry a%es cross each other $see the various e%amples hereafter'.
The value of the second angular parameter is used to vary the glo&al angle of the image o&tained:
The Destination coordinates define the position on the screen of an image centre o&tained after application of the effect $see the various e%amples hereafter'.
The effects of the Distortion group ./04
The Distortion
2aleidoscope effect
When the Fill option is disa&led, the )aleidoscope effect is calculated according to the current image. When it is ena&led, the calculation is also carried out on all reproductions of the current image. 5elow, the area inside the white rectangle represents the current pro+ect window. All areas inside and outside the white rectangle represent the space used to calculate the effect. In the .st case, the option is disa&led, the effect is calculated from the current image. In the 1nd case, the option is ena&led, the effect is calculated from the current image and its reproductions.
In &oth cases the original pro+ect is represented with the result after the effect is calculated and the other showing the result o&tained when the destination parameter is set to another point.
./06
The Distortion
7erspective : / points effect
The Distortion > Perspective : 4 points effect

This effect is constructed in the same way as the Perspective tool from the main panel, e%cept that the position of each point can &e moved along a stored path.
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Source Image .urrent Image /esult after appl ing the stac0
* The Position tab allows you to manage the coordinates of the four points used for this effect $the four corners of the ,.-.D' * The Render tab permit to select the type of image, called 8ource Image, which will &e put in perspective $current layer, !908tac), other pro+ect, &rush, etc.'. Associated with the Pi el !rac"er $this option will &e e%plained in details in the ne%t lesson', this effect can wrap a video se(uence or a picture onto a moving shape. This could &e the case if the cameraman was moving his recorder while filming the computer screen a&ove. ,ere &elow, a shadow was created for our character. The two effects #olor $ Source %&age and Styli'e $ Drop S(ado) were used in order to have the shadow drawn on an empty layer $go &ac) to the last chapters of the last lesson for more details'. This shadow was put into perspective than)s to our effect. We succeed to imitate the pro+ection of a shadow on the floor.
./0:
The Distortion
Wave effect
The Distortion > Wave effect

This effect imitates water waves, as if a roc) was thrown into water. $loo) at the images &elow'. * The #enter parameter defines the center of the effect, the position where the roc) hits the water. * The Radius parameter defines the ma%imal distance the waves will go. * The Wave parameter defines the num&er of visi&le waves. * The A&plitude parameter defines the ma%imum height of the waves. * The Angle and Rotation permit to animate the waves in time.
;nce again, these parameters can &e partly ad+usted in the pro+ect window through the ,.-.D.
The Distortion > Tornado effect

We will ta)e advantage of this image which show clouds to study the Distortion $ !ornado effect. ,ave you ever noticed how a whirlpool &ehaves in a wash&asin for e%ample < The Distortion $ !ornado effect produces the same )ind of effect, distorting the image or the image se(uence $loo) at the images &elow'. * =i)e the Wave effect, you will need to define a #enter and a Radius $which can &e loc)ed with animation )eys if needed>'.
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The Distortion
Tornado effect
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* The Angle parameter allows you to define the power of the applied distortion. * When using animation )eys, the Rotation parameter reflects the num&er of complete rotations to &e carried out &efore arriving at the chosen angle.
The Distortion > Bump effect

The *u&p effect allows the creation of a relief, which will &e provided &y a source image, over the current layer. The more luminous the source image is, the more important the relief of the pi%els in the current image is. The dar)er the source image is, the less visi&le the relief is. ;n the right &elow, the source image and the current image are the same. It gives a feeling of relief on the whole screen.
.urrent image
Source image 1 .urrent image
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The Distortion
5ump effect
Source image 1 TV2aint logo
Source image 1 paper
* Aou can ad+ust the depth of the relief and soften the &orders using the numeric fields Dept( and S&oot(. * A relief re(uires a lighting to &e visi&le : than)s to the Apply )it( menu, you can define a centered lighting than)s to the #enter option, or a directional lighting $ Direction option' whose angle will have to &e ad+usted.
The Distortion > Displacement Mapping +ffect

The Displace&ent +apping effect wor)s the same way as the Distortion $ *u&p effect : the panel and settings are the same. Begarding the Displace&ent +apping : the pi%els from the current image which correspond to the pi%els from the source image will &e replaced &y different pi%els from the current image. That means : the software ma)es a translation of the current image pi%els along a direction or a center, only in the opa(ue areas of the 8ource image.
.urrent image
Source image 1 TV2aint logo
The more luminous the 8ource image is, the more important the displacement of the pi%els in the current image is. The dar)er the 8ource image is, the less visi&le the Displace&ent +apping is.
./0.C
The Distortion
Displacement Mapping Dffect
Source image 1 paper
The Distortion > Wrapping Grid effect
The wrapping grid is an e%tremely useful animation tool and is capa&le of distorting the images in time according to the criteria of your choice. The Wrapping grid effect, when correctly used, can produce (uite spectacular results: wave movement, 3D rotation of faces, movement of hair &lowing in the wind, etc... $&elow, you will find a summary overview of the possi&ilities proposed'.
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1st image Movement
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Last image
$pro+ect s)ull.tvp'
;nce the effect has &een placed in the !9 stac), a grid is displayed on the current image. 8ome hints for &eginners: * The use of two grids will &e necessary for your effects to wor) correctly: these grids are referred to as Source and Destination grids. The Display popup menu is used to select on which of the two grids you intend to wor). Depending on your choice, the ,-D will &e modified accordingly: the letter S appears when the source grid is displayed and the letter D appears if the destination grid is displayed.
The effects of the Distortion group ./0..
The Distortion
Wrapping Erid effect
Intersections in the Source grid
Intersections in the Destination grid
In the ,-D, when the source grid is displayed, the destination grid is always visi&le &ehind in a less &right color. When the destination is displayed, the opposite case applies.
3ispla of Source and Destination grids (the current grid is green, the other is 4lue)
* Modification of an intersection in the Source and#or Destination grid distorts the current image accordingly. The image is distorted, stretched or contracted over a narrower or wider area on the screen so that the points on the source grid of your initial image are moved to the same location as the points on the destination grid. 5elow, source and destination points on a grid with the resulting distortion.
>> * The Point menu is used to edit each grid point present on the screen. The latter may &e identified &y their position on the grid $see &elow'.
* The first two numeric fields are used to select the num&er of intersection points on your grids $Source and Destination grids have the same num&er of intersections'. Aou may increase or decrease the height and#or width of these grids. The limit of the grids is 4C%4C intersections.
./0.1 The effects of the Distortion group
The Distortion
4 ' 4 grid
5 ' 4 grid
5 ' 16 grid
* The five &uttons present in this panel are used respectively to: 0 Ddit grid points. 0 Distort the grid as a whole. 0 Copy the source grid to the destination grid. 0 Copy the destination grid to the source grid. 0 8wap source and destination grids. Ddit grid points * When this option is ena&led, each intersection point of your grid $source or destination grid' may &e moved in space along three a%es $ )idt(, (eig(t and dept(' the effect of which will result in immediate distortion of the current image. Aou may also use the predefined paths to manage intersection movement.
A&ove, from left to right, the initial image, movement of the destination intersection along the 9 and A a%es, movement of the destination intersection along the F a%is. * It is possi&le to select several intersection points when the ,-D is visi&le &y drawing a rectangle inside the ,-D. ;nce this has &een done, it is easy to carry out all movements with a single clic) and slide on an intersection.
./0.3
The Distortion
* It is possi&le to choose an intersection interpolation mode $linear, spline or smooth' in the first effect popup menu $see &elow'.
Spline interpolation
Smooth interpolation
Linear interpolation
If the interpolation mode chosen is Spline, use of the G8hiftH )ey when moving the handles ena&les movement of one handle at a time. Ddit grid &ounding &o% When the second icon is selected, it is possi&le to distort the current grid as a whole &y rotating it or &y modifying its dimensions $see &elow'.
$riginal grid
7rid &ith 8"9 rotation
7rid &ith height divided 4 t&o
8wap the source and destination grids This option is practical when creating a distortion opposite to that of the current distortion. 5elow, the rear end of the arrow represents the Source point of the grid and the arrow tip corresponds to the Destination point.
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The Distortion
3istortion:
Source 1> destination
3istortion:
3estination 1> Source
The AntiAliasing parameter in the last section allows to smooth the &order of the image when this one is applied on the pro+ect. The options are Ione, Medium and 5est. Distortion of the current image in time. We +ust saw how to distort an image in space using the source and destination grids. To distort the current image in time as was done for the Js)ull.tvpK pro+ect, you must: * Duplicate the latter along the entire layer. * -nactivate the previsualisation of the effect $use the menu at the &ottom left of the !908tac)' * 8et the display option on Source. * 7ay attention to place intersections of the Source Grid at all strategic points on the image : eyes, teeth, etc > and ensure the grid covers the lines of your drawing. * Copy the Source Grid to the Destination Grid. * Beactivate the previsualisation of the effect. * 8et the display option on Destination. * Ma)e the Destination Grid slightly different from the Source Grid for at least the first and last frames of the animation layer and then create the corresponding )eys. The result is a distortion, and conse(uently, a movement which ta)es place over a period of time.
The method descri&ed a&ove is not the only way of using this effect. Many others e%ist. Aou should try them out and share your impressions in the on0line forum.
The Distortion > Optical Flo
effect
The purpose of this effect is also to distort the current image or animation, &ut in a different way than the Distortion $ Wrapping Grid effect. It uses a vector field instead of a grid. This vector field defines a flow that will &e followed &y the pi%els of the current image.
The effects of the Distortion group ./0.4
The Distortion
;ptical !low effect
The parameters of this effect are really close to the *lur $ +otion *lur effect in =esson .C. They have the same functionality as the +otion *lur effect, the only difference &etween the two effects, is that the rendered image is different. ThatLs why the +otion *lur is in the *lur section and the Optical Flo) is in the Distortion section. This effect comprises four ta&s :
; The !dit ta4
L<image source
* The first &utton allows you to set the si"e of the vector field. More e%actly it allows you to set the num&er of vector that you will use on &oth the hori"ontal and vertical a%is. ;nce you have chosen the si"e, you can edit the current vector field itself. To do so, display the ,.-.D and draw directly on the screen $to &e e%act : on the ,.-.D' with the purple circle, as shown &elow. If you have a picture &ehind the vector field, you should see the render of the distortion.
Vector field
Modified image
The left mouse &utton allows you to increase the tension of the vectors in a chosen direction. The right mouse &utton allows you to decrease the tension of the vectors in a chosen direction. The red points are the source points of your vectors, $they canLt &e moved' The green points are the destination points your vectors, The &lue segments are the vectors themselves.
!or a given picture in your timeline, modifying the vector field creates an animation )ey. If more than one animation )ey is created in the timeline, it means that your vector field and thus the distortion will evolve in time.
./0.6 The effects of the Distortion group
The Distortion
;ptical !low effect
* The Reset #urrent .ey &utton reset the vector field of the current picture in the timeline. If this picture does not have an animation )ey, a new one will &e automatically created. * The &utton : allows you to modify all the vectors of the field in only one operation. This tool is perfect if you need to distort, move or pivot an image entirely.
The more vectors you will use, the more time you will need to render the effect.
* The &utton : allows to change the parameters of your ,.-.D &rush $i.e : the purple circle' =i)e the common tools $air&rush, etc ...' that you use to draw, you can set its profile, si"e and also power. =etLs admit that we will always choose the direction opposite when editing our vector field $i.e : the red arrow' : The pictures &elow shows the impact of the different settings at your disposal.
./0.:
The Distortion
;ptical !low effect
The last &utton that loo)s li)e 1 corssing arrows allow you to manage a random distortion of the image. This option has the a&ility to move pi%els from your image dimly or strongly. Com&ined with antoher effect, li)e Styli'e $ /oise, you will have the opportunity to create a convincing fau%0fi%e.
M The parameter Seed is a value proposed &y default and does not need to &e changed. M The parameter 0engt( defines the distance &etween the destination points $green' and the source points $red'. The &igger this value is, the more the image will &e sha)ed $and conevrsely'. M The parameter 1ariance allows to increase the strenght of the move, following the 0engt( value. The &igger this value, the stronger and the more powerful the tremor will &e $and conversely'.
; The Selection ta4
* In this ta&, you can select the vectors of the field that you want to edit via the previously discussed tools. 5y default, all the vectors are selected. The two &uttons Select All and #lear Selection allow you to reset the selections. As in the main panel, you can use one of the three selections icons : or #ircle selection. S2uare, Free(and
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The Distortion
;ptical !low effect
When doing a selection, if a vector is selected, it appears in yellow instead of &lue. $if you want to select a vector, +ust select its source' If a vector source is not selected, its ,.-.D color &ecomes lighter. The tools availa&le in the 3dit menu will only apply on the selected vectors. The circle selection use the same parameters as the ,.-.D &rush $the purple circle' so you can select your vectors &y Ndrawing on the ,.-.DO It allows you to have source points only selected in part and thus to have nice effects when editing the vectors. Iote that if you reset the si"e of the vector field, all the settings that you have done $vectors, animation )eys, selections, ...' will &e lost.
; The "ender ta4
The Render ta& allows you to choose : * The calculation algorithm of the distortions $*lac"&an or by de4ault' * The distortion mode of the image &orders $The e%ample &elow illustrates the three modes at your disposal.'
Source Image
Vector *ield
=one Image Mode
Mirror Image Mode
Loop Image Mode
./0.@
The Distortion
;ptical !low effect
; The Displa# ta4
The three &uttons: S(o) Source, S(o) Destination and S(o) 1ector allow you to select e%actly what you want to see on the ,.-.D : the red source points and#or the green destination points and#or the &lue vectors. The &utton S(o) Only Selection allows to see only the vectors located inside the current selection.
./01C
Lesson 15 The effects of the Motion and Paint groups, management of the paths

Study the AutoPaint effect Learn how to use paths Study the Motion > Keyframer effect Study the Motion > Shaker effect Study the Stabilization effects
The Paint > AutoPaint effect

Have you ever watched a weather report? When the pro ra! is over, you often see the si nature of the spea"er#s$ displayed on the screen% It is possi&le to reproduce this effect in T'Paint Ani!ation, usin the Paint > AutoPaint effect% This is the perfect way to dyna!ically si n your future ani!ated wor"s of art(
) *irst, you have to record the stro"e which corresponds to the si nature: o onto an e!pty ani!ation layer, clic" on the Record a stroke &utton in the AutoPaint effect and then draw your si nature on the screen% ) When this is done, clic" on the Stop &utton or press the +,scape- "ey% .ou have now recorded the si nature in the pro ra! !e!ory% A lon series of "eys is visi&le in the ti!eline #see &elow$%
) /elete the current i!a e on the screen #i%e% the si nature$% ) Select the tool of your choice and ad0ust its para!eters for the future stro"e of the si nature% ) Stretch your ani!ation layer so that it covers all "eys of the ti!eline% ) Select all its i!a es and then apply the *1 stac"% When you play the pro0ect you will note that the si nature is 2drawn3 pro ressively on the screen%
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To ensure that your stro"e is carried out on the nu!&er of i!a es of your choice, two !ethods are availa&le: ) .ou !ay stretch or contract the set of "eys ri ht after recordin the stro"e as indicated a&ove% ) .ou !ay create an ani!ation layer with the nu!&er of i!a es desired and select all i!a es &efore recordin the stro"e%
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The effects of the Motion and Paint roups, !ana e!ent of the paths
Let8s now study the AutoPaint effect in detail: ) 9ecordin the stro"e enerates a lar e nu!&er of "ey points on the ti!eline each of which stores the position of your stylus at a iven !o!ent% When the stro"e is recorded, you !ay !odify the position of the stylus on the screen for the "ey of your choice than"s to the nu!eric fields 1 and .% ) *or a iven "ey, the Draw &utton indicates if the stylus was in contact with the ta&let or not% If it is not ena&led for a iven "ey, there will &e no stro"e for this "ey #e% % this is the case if you lifted the stylus durin recordin $% ) 9ecordin a stro"e with the AutoPaint effect allows for other recordin s, too : in particular the data relative to Pressure, Altitude, Azimuth and in!er wheel availa&le on the ta&let% It is also possi&le to choose whether this data will &e restored or not when applyin the *1 stac" &y chec"in or unchec"in the correspondin &o:es% ) The section Stroke mode offers several choices : "ormal, Size, ull and #ast% These are results o&tained usin these !odes: 6 The "ormal !ode pro ressively reproduces your stro"e on the screen% This is the one we have &een usin since the &e innin of this lesson% 6 The Size !odes re;uires ad0ust!ent of the para!eter with the sa!e na!e and will erase the stro"e pro ressively in ti!e%
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6 The #ast !ode is a "ind of Size !ode para!eter set to value < 4 =, which only draws one < point = of the stro"e at a ti!e% In $omplete !ode the co!plete stro"e is drawn on the screen, independent of the circu!stances% ) The last is the "oise para!eter: it defines a possi&le deviation fro! the ori inal path and is used to o&tain less re ular curves #see opposite, the T'Paint lo o is sli htly distorted, as if written with a tre!&lin hand$%
The AutoPaint effect is in a way si!ilar to the Re%apply option as the result depends on the drawin tool selected 0ust &efore application of the *1 stac"% Here, two interestin e:a!ples : >pposite, after recordin a si!ple stro"e in the shape of a se!i6 circular arch, the AutoPaint effect was applied usin the &e't(rush tool in #etter !ode with the rotation para!eter connected to the stylus direction%
The te:t see!s to follow the defined path in ti!e, each letter havin its own rotation dependin on its position on the path%
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@ana e!ent of Paths
Management of Paths
In lesson , when studyin the $enter (lur effect, we already discussed the idea that an effect !ay !a"e use of the Position para!eters which will then define a path on the screen% We will now discuss this Path notion in !ore detail%
When an effect authoriAes use of a path#s$ for one or several of its para!eters, you have access to the &ools !enu in the panel of the correspondin effect as shown opposite%
This is what it contains: ) .ou !ay use the Pi'el tracker to create a path% ) .ou !ay also record a stro"e on the screen, to create a path% ) The third option of the &ools !enu allows you to re6use a path you have already created previously in your effects stac" and use it with the current para!eters% ) As is the case for the palettes, the tool settin s, the effects, etc, a path !ay &e rena!ed, saved, etc% The option Path Mana!er is used for all these tas"s% ) The option Add to bin allows you to save the current path under a na!e of your choice for later use #we have already done the sa!e for custo!iAed palettes, !i:ers, tools %%%%% $% ) The $opy from path bin allows you to re6use a path saved in the (in for your position para!eter% ) The $enter option replaces the position values for the current "ey with those of the center of the i!a e% ) The $onstant Speed option allows you to replace all the position values of the "eys alon the path, to have always the sa!e distance &etween 7 ad0oinin fra!es% ) The Reset option deletes all the "eys of your effect%
The Path recorder

Path recordin !ay also &e carried out in any other effect to create a path% The option Path Recorder in the &ools !enu relative to the position para!eter#s$ of your effect will help you to do this% The steps descri&ed a&ove for the AutoPaint effect are still applica&le in this case%
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Bsin the standard Path Recorder allows you to enerate a lar e nu!&er of "eys containin position para!eters, however, contrary to the AutoPaint effect it does not allow to restore pressure, aAi!uth and altitude%
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The Path !ana er
The Path manager

The Path Mana!er !entioned a&ove, has four ta&s: ) The Mana!e ta& allows you to choose a path a!on st those already saved in the (in, and then to rena!e, copy, delete or even invert it, #the path will in this case &e ta"en in the reverse direction when used$%
) When you use an effect of the Paint or Motion roup, the $onstant Speed option !ove the "eys of the path to "eep the sa!e speed alon your path for your stro"es or ani!ations% This is nota&ly useful when you wor" with the Motion > Keyframer or Motion > Multiplane $amera effect% The speed of the !oved i!a es or the speed of the ca!era !ove!ent will &e directly lin"ed to the Pro!ress Profile of those effects% The speed control will then &e opti!ised%
) The A)era!e ta& has four popup !enus for you to choose the (in paths% It allows you to set the values for each ani!ation "ey of the current path as an avera e derived fro! the "eys of every chosen path%
1st path
2 nd path
Path average
) The Smooth ta& allows you to s!ooth the values associated with the ani!ation "ey of the path chosen #the hi her the nu!eric value, the !ore the paths will &e s!oothed after application$%
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Basic path Smoothed path
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The Path !ana er
) The Size ta& allows you to !odify the siAe of the co!plete path on each of the three a:es #horiAontal, vertical or depth$% This !ay &e useful if you wish to transfer a path fro! one pro0ect to another with a different siAe%
Basic path
Path reduced by 5 ! on the hori"onta# a$is
Bsin a value of 64DDE on one of the a:es allows you to co!pletely flip your path% To !ove the entire path on the screen, you si!ply select all its "eys in the *+D and then clic"6slide usin the !ouse%
Save paths
We e:plained a&ove that it is possi&le to save paths to &e used later for an effect of your choice #option Add to (in$% However, a path saved in this !anner !ay not &e recovered after closin and re6openin T'Paint Ani!ation% Two !ethods are availa&le to solve this pro&le!: ) The effects of the *1 stac" and their para!eters !ay &e saved in a (in , !enu #see lesson F$% This save !ode offers the advanta e that it also stores the path#s$ associated with your effect so that they !ay &e recovered when re6startin T'Paint Ani!ation%
) .ou !ay also save your paths &efore closin T'Paint Ani!ation, then reload the! after re6start than"s to the ile !enu of the Path Mana!er% .ou can also e:port a path into #i!htwa)e Motion for!at The saved path is that of the Mana!e popup !enu, a loaded path will &e added in the path &in and availa&le in the popup !enu of the Mana!e ta&-
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The Pi:el Trac"er
The Pixel Tracker

There is also another way to create paths: follow the !ove!ent of the pi:els in an ani!ation in ti!e% To do this, you use the Pi'el tracker panel% This panel is accessi&le in the effects re;uirin use of paths, in the &ools popup !enu or directly via the .indows !ain !enu #see the correspondin window &elow$% We will now try to create a path fro! an eye !ove!ent of the 9unnin Hid or the &lue6screened character% #see &elow$ When a path is created, we !ay, for e:a!ple, re6use it with the AutoPaint effect and the pen tool in s!ooth !ode to create a &lur on it% It is also possi&le to use a li htin 9unnin Hid, etc% effect to create a lu!inous spot followin the !ove!ent of
Pi$e# Trac%er &ith the 'unning (id
Pi$e# Trac%er &ith the b#ue)screened character
>> *rigina# animation Path created from pi$e# trac%ing at eye #eve#
>pposite, the path of the eye was re6used with /mni li htin %
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The Pi:el Trac"er
This is how to use the Pi'el &racker panel : ) In the first section, you !ust define the layer on which the character whose !ove!ent you wish to follow #or any other ele!ent$ is located% Two ti!e or fra!e !ar"ers deter!ine the section of the layer that will &e ta"en into account for pi:el trac"in #the entire layer, &y default$% ) In the second section, you !ust define a focus area within the current i!a e% The Pi'el &racker will try to find this in the followin i!a es of your video in order to create a path% To < follow = a hu!an face, i%e% to create a path fro! the face, the eye is often used to define the focus area% The values Ref , and Ref 0 are used to choose the center of this focus area and the values Ref . and Ref * to set its width and hei ht% The para!eters &rack . and &rack * will li!it search in the focus area to the nu!&er of pi:els in len th and hei ht of your choice, around the focus area of the first i!a e #see dia ra! &elow$%
When the pi'el tracker tool passes fro! one i!a e to another, it will !e!oriAe the focus area of the first i!a e and try to find it in the ne:t i!a e in the trac"in area% This ena&les creation of the position "eys necessary for path creation%
If *+D display is ena&led after havin clic"ed on the Set tracker &utton, you !ay !odify these para!eters directly with the followin co!&ination : +JtrlKri ht clic"Kslide the !ouse- or +JtrlKleft clic"Kslide the !ouse-% If, for e:a!ple, you select the ri ht eye of the &lue6screened character as <focus area=, and the values for the para!eters &rack . and &rack * are too s!all, this will !a"e it difficult to find it in the followin i!a es #as our character is !ovin $% Inversely, hi h values for these para!eters !ay define the left eye of the character as < focus area = durin the process and this will falsify the path o&tained% ) The third section contains three popup !enus: The Reference popup !enu is used to choose if the reference < focus area = for the process is always that of the first i!a e selected or will &e updated as trac"in pro resses% The $hannel !enu will, dependin on your choice, restrict the channels to which analysis of !ove!ent trac"in will &e applied% The Accuracy popup !enu allows you to define the co!ple:ity of the concordance test% If you choose 1%1, the test is carried out at pi:el level% The trac"in is then fairly rou h% If you choose 1%23, the pi:els deter!ined &y the 1%1 test will &e !oved GC ti!es &y a GC th of a pi:el in order to fine6tune trac"in % ) The fourth section is a Aoo! on the focus area you have selected% ) The fifth section contains two &uttons: The &rack &utton starts the process of creatin a path with the chosen para!eters whereas the Re)- &rack &utton has the sa!e effect &ut reverses the path%
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The @otion > Heyfra!er effect
The Motion > Keyframer effect

The Keyframer is dou&tlessly one of the !ost used effects in T'Paint Ani!ation% It is found in the 4ffect > Motion !ain !enu% It is used to !ove all "inds of drawin s on the screen% To use the Keyframer, you !ust define the followin : ) The o&0ect to &e !oved on the screen: &rush, layer, spare i!a e, paperM ) The path ta"en &y the o&0ect on the screen usin ani!ation "eys or pre6defined paths% ) The rotations to &e applied to this o&0ect usin "eys% ) The !otion &lurs and, if re;uired, pre6 and post6&ehavior% To start our study of the Keyframer, we have created a <T'Paint= &rush #?7D)4DD pi:els$ as shown opposite% The word T'Paint is written in &lac" on a transparent &ac" round%
In so!e of the i!a es hereafter, the &ac" round chosen is ray so that you can see the white pi:els of the *+D%
+ 1st e$amp#e , movement, "oom and motion b#ur

We will now !ove the < T'Paint = &rush on the screen%
) No to the Render ta& and select the custom brush as source% ) No &ac" to the Position ta&) Place the T'Paint &rush outside the current pro0ect to the left usin the HB/ #see &elow$ and then create an ani!ation "ey for the position varia&le at the &e innin of the layer% ) Oow create an ani!ation "ey for the Position varia&le at the end of the layer and place the T'Paint &rush outside the current pro0ect as &efore &ut this ti!e to the ri ht% ) As needed, you !ay ad0ust the position of the !ove!ent "ey points usin the nu!eric fields and !ini6sliders #use the values shown opposite$% The 1 and . fields represent the position of the &rush center on the screen% Playin your pro0ect in Pre)iew !ode allows you to chec" that your &rush appears on the left of the screen and disappears to the ri ht%
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To create a path you !ay position a &rush outside the pro0ect area: the &rush then appears hidden and only its outline is visi&le as *+D #see opposite$%
/o not i!!ediately apply the , stack% /id you notice the 5 position nu!eric field? This is used to set the depth of the o&0ect !oved on the screen% Let8s now !odify the second "ey we created: enter the para!eters for the followin positions : 1P 5CD, .P 7CD, QP )LDD A fast slide alon the ti!eline allows you to see that our lo o !oves fro! left to ri ht &ut, in addition to that, Aoo!s towards the viewer ( #see &elow$
A positive value in the Q nu!eric field would have resulted in the lo o !ovin away% It is possi&le to enerate even !ore su&tle !ove!ents as our lo o !ay follow the pre6defined path of our choice than"s to the Path Recorder or Pi'el &racker% .ou !ay also curve the paths than"s to the *+D and the "eys of your choice ##inear, Spline or Smooth$% *or e:a!ple, in the tra0ectory &elow, the lo o follows a spline on the screen while Aoo!in li htly towards the fore round%
>>
4564D The effects of the Motion and Paint roups, !ana e!ent of the paths
Oow we will !a"e it a &it !ore co!plicated%%% It is possi&le to leave a trail &ehind our lo o, a trail that depends on its speed and tra0ectory% No to the Render ta& : the (lur step value defines the nu!&er of lo os which will !a"e up the < trail =% The (lur Size is used to set the para!eters of the trail len th #see opposite$%
Oote that a low value enerates a sli ht &lur in the !ove!ent direction which is ideal for creatin &lurs enerated &y fast o&0ect !ove!ent% A Aero value will eli!inate the trail%
The settin s of the pro ress profile #lesson F$ co!e into their own here: the !ove!ent is accelerated or slowed at your discretion ( A few words a&out the AntiAliasin! popup% This option can s!ooth the &order of the i!a e when it is applied on the pro0ect%
+ 2nd e$amp#e, Pitch, Heading, Bank and Pivot
In this second e:a!ple, we will pivot our <T'Paint= lo o usin the pitch, headin and &an" para!eters%
9eset the values of the Keyframer effect to Aero, select the <T'Paint= lo o as source a ain and !odify the (ank an le usin the slider% The lo o then turns alon the &lue a:is represented on the dia ra! #see &elow$%
9eset the values of the Keyframer effect to Aero and proceed in the sa!e way with the Pitch para!eter% The lo o now turns alon the reen a:is represented in the dia ra!%
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With the *eadin! para!eter, the lo o turns alon the red a:is represented in the dia ra!%
The co!&ination of these three para!eters ives a wide variety of results% It is now up to you to use these rotations in your ani!ations and videos% The lo o !ay carry out several rotations around an a:is: you si!ply !odify the value of the Rotation para!eter when creatin the ani!ation "eys to increase the an le to ?GDR% In the e:a!ples a&ove, our lo o always turns in relation to its center: the a:es the lo o turns around cross each other in its center% The Pi)ot para!eters !ay &e used to !odify the position of the rotation a:es in relation to the &rush% @odifyin the pivot 1 coordinate &y increasin it &y 4DD pi:els and decreasin the . coordinate &y 4DD pi:els will enerate other types of rotation when !odifyin Pitch, *eadin! and (ank, as the rotation a:es are outside the lo o% Selow you will see the effects of the *eadin! !odification for our new pivot%
@odifyin the 5 coordinate of the pivot allows even !ore co!plicated ?/ !ove!ents:
,ach of the &uttons (ank Ali!n-, *eadin! Ali!n-, Pitch Ali!n-, when ena&led, allows !odification of the &rush an le dependin on the path it follows% Selow: the an le of the *eadin! para!eter varies accordin to the lo o tra0ectory%
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So!e words re ardin the Renderin! ta&: ) The ill option is used to fill the screen with the current source% In this case, ani!atin the source will also ani!ate all its copies% ) The /pacity para!eter is used to ad0ust lo o transparency as ti!e pro resses%
) The 5 camera para!eter represents the distance &etween the < virtual ca!era = and your i!a e in pi:els% The s!aller this distance, the lar er the openin an le of our < virtual ca!era =% This ena&les you to use the < wide an le = effect well "nown in ca!eras &y usin the para!eters for Pitch andTor (ank%
> A&ove, the pitch para!eter was set to C5 - for our !er ed i!a e of the tree% The i!a e at the top was o&tained with a 5%$amera e;ual to 4DDD, the one &elow with a value of 74D%
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+ .rd e$amp#e
This third e:a!ple will allow us to wor" with different sources #Renderin! ta&$ in the Keyframer effect% Let8s o &ac" to our < planet = i!a e used in previous lessons% We8ll assu!e that your cartoon is finished% Oow you want to scroll the list of participants in the for! of end credits
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We8ll assu!e that this list is contained in another pro0ect !uch <hi her= than the one of your planet #opposite$% Pay attention that the te:t is written on a transparent &ac" round, then select #(ack!round 7 "one$ in the ti!eline of this second pro0ect%
This is how to scroll the list fro! &otto! to top: ) In the Renderin! ta&, select the Pro6ects list as source and then the na!e of the pro0ect containin the list of participants ) Place two "eys at the &e innin and the end of the ani!ation layer with the position para!eters close to the illustration &elow%
>> ) Apply the , stack%
>>
It8s done ( M The list !oves fro! the &otto! to the top as intended% Than"s to the Keyframer anythin !ay &e !oved on the screen: a &rush, another pro0ect, the layer of your choice, the spare i!a e, the current i!a e, etcM .ou si!ply choose what you want in the Source popup !enu of the Renderin! ta&% *or e:a!ple, e:chan e the current &rush with the < &utterfly = ani!ated &rush in the (in ta&% This ani!ated &rush !ay also &e !oved as you wish and, why not, follow one of your pre6recorded paths%
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Selow, our &utterfly lands on the tree &efore flyin off a ain and leavin the screen%
When usin ani!ated &rushes or ani!ation layers as source i!a es, additional settin s will &e re;uired% In this case, you have two popup !enus at your disposal: (efore and After% They !ay &e used to define how the i!a es of your ani!ated &rush or ani!ation layer would &e applied &y the Keyframer effect if their nu!&er were lower than that of the se;uence you are wor"in on #application of the &rush or ani!ation layer i!a es with #oop, Pin!pon!, Random, etc%$% *or our &utterfly we have chosen the #oop !ode% Please note that the H%B%/ displays the splines followed &y the four corners of the source and also the ed es of the first and last fra!es% #see &elow$
+ /th e$amp#e
This e:a!ple will help you understand the (lend !enu in the Renderin! ta&% Load the video foota e of your choice and then create an ani!ation layer containin only &lac" and opa;ue fra!es 0ust in front% .ou should then see the followin ti!eline:
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Jreate any type of !ove!ent for the o&0ect of your choice usin the Keyframer tool% Here, we are ta"in a red < T'Paint = lo o &rush% Its tra0ectory is of no i!portance% >ur red lo o will, after application of the *1 stac", &e placed on each &lac" i!a e% So far, nothin new%
If, &efore applyin the *1 stac", you select the 4rase !ode #descri&ed in lesson 7$ in the (lend popup !enu #Renderin! ta&$ you o&tain the result shown opposite% >ur < &lac" = layer was erased at the lo o passa e areas which !ade it possi&le to see the layer underneath%
It is as if our lo o had &een applied with the 4raser color !ode% The Mi'er !ode refers to that encountered when usin a spare i!a e%
The Motion > Shaker effect

The Shaker effect allows to enerate sha"in % The !ore the 1 and . values are hi h, the !ore the sha"in will &e violent% The (order mode !enu indicates if the i!a e will &e repeated when oin out of the drawin space #&ile$ or if it will &e erased #$lear$%
lear
Tile
The Motion > Sta!ili"ation effects

I!a ine that the video se;uence you 0ust have loaded is sli htly sha"in % It8s a co!!on situation when you8re usin ca!eras fi:ed to a !o&ile support, for e:a!ples hand6held video foota es, video se;uences shot on a &oat, etc%%%
4564G The effects of the Motion and Paint roups, !ana e!ent of the paths
The @otion > Sta&iliAation effects
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Source 0mage S#ight sha%es
It is possi&le to avoid these undesired sha"es &y ad0ustin each i!a es as the se;uence oes alon % If you proceed i!a e after i!a e it can &e ;uic"ly tireso!e% *ortunately, the Motion > Stabilization 1 point and 8 points effects will ta"e it in char e%
The Motion > Sta!ili"ation # $oint effect

This effect wor"s as follows : *or each i!a e fro! the se;uence, you have to define an /ri!in point and a Destination point% The effect will !a"e a pannin of the i!a e in order to &rin the /ri!in point onto the Destination point, which will sta&iliAe the se;uence% Oow let8s ta"e an e:a!ple% Let8s ta"e the &ac" round &elow : the ca!era!an has sha"en a little &it while shootin the se;uence% We can define one of the yellow points &elow as the /ri!in point, and esti!ate that this it should &e at the position of the Destination point #at the e:tre!ity of the yellow arrow$ if the ca!era had not sha"en% As soon as these points are defined, the Sta&iliAation effect will do a pannin that will &rin the /ri!in point onto the Destination point% The foota e will not sha"e any!ore%
*rigin point
1ori"onta# and 2ertica# camera movements
3estination point
.ou can ar ue that each positions of the /ri!in and of the Destination points are different for each i!a e, which !a"e the process tireso!e% That8s why, at this sta e, usin a path for the /ri!in andTor Destination points can speed up the process, especially paths created with the Pi'el &racker%%%
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The @otion > Sta&iliAation 4 point effect
As soon as the effect is applied and that the i!a e is sta&iliAed, you could have to crop it to re!ove the white &orders due to possi&le pannin % .ou can also use the fill &utton to re!ove the &orders &y tilin the i!a e%
The Motion > Sta!ili"ation % $oints effect

This effect is si!ilar to the previous one re ardin its principle and its wor"in % However it re;uires two /ri!in points and two Destination points% The Stabilization 1 point per!itted to ad0ust horiAontal and vertical ca!era sha"es% Bsin the Stabilization 8 points tends to fi: not only the sha"es on 1 and . a:is, &ut also the sli ht rotation or Aoo! !ove!ents there can &e on Q a:is #The effect considers the distance and the an le &etween the /ri!in points which i!prove the process and !a"e it !ore efficientM$%
Selow, the ca!era!an has rotated a little &it the ca!era while shootin the se;uence% If you define two ori in and two destination points in the Motion > Stabilization 8 points effect and chec" the Rotation &o:, the effect will then calculate the :R rotation an le of the i!a e and !a"es the Source and Destination points coincide% #see &elow at the e:tre!ity of the arrows$
2 *rigin points
'otation moves of the camera
2 3estination points
If the ca!era has Aoo!ed a little &it while the se;uence was recorded, you will have to use the sa!e process and chec" the Scale &utton% As we did for the effect Motion > Stabilization 1 point, you can chec" the fill &utton to re!ove the &orders &y tilin the i!a e%
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Lesson 16 The Rendering > Multiplane Camera Effect
Study the concept of a Multiplane Camera. Learn how to use the Multiplane Camera effect (we will discuss various examples).
The concept
The concept
With the multi plane camera effect you may control movement of several planes with ac!"round scenery. #ach plane has a specific depth and conse$uently, its own speed in the eyes of the o server.
In the ima"e a ove, the followin" are placed one over the other in the order of furthest away to closest: the starry s!y, the mountains, the forest, the first row of trees, the runnin" !id and finally the second row of trees much closer. When the animation is complete: % The trees in the front will move from ri"ht to left very $uic!ly as they are closer to the viewer. % The mountains at the ac! will also move from ri"ht to left, ut much slower.
The blur caused by focusing

This effect can also ta!e into account the fact that the human eye cannot focus on all elements of the scenery at the same time. &ust li!e in traditional photo"raphy, if you focus on a o 'ect close to you, the o 'ects further away will e lurred and vice versa focusin" on a distant o 'ect will result in lurrin" of closer o 'ects.
In the photos a ove, the tree is a lon" way from the rose. In the left photo, the camera has focused on the rose and the tree is lurred. In the ri"ht photo, the camera has focused on the tree and the rose is therefore lurred.
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The Rendering > Multiplane Camera #ffect
#ditin" ta le and computer multiplane camera
Editing table and computer multiplane camera

,elow on the left you will see the schematic dia"ram of a traditional multiplane camera setup often referred to as editin" ta le. #ach plane is placed on a sheet of "lass and is moved pro"ressively while filmin". -ur computer multi plane camera effect, seen elow ri"ht, does not function in the same way: In this case, it is the camera which moves pro"ressively while filmin" and the scenery is automatically duplicated hori.ontally (the starry s!y ac!"round does not move and is always placed in front of the virtual camera).
The project used in this chapter

The drawin" shown on the previous pa"e corresponds to the /01.tvp pro'ect which will e ta!en as a asis to study the multi plane camera effect. 2ere, you have the correspondin" timeline:
Layer where the effect is applied Layer 3character4 Layer 3distant trees4 (near) Layer 3distant trees4 (far) Layer 3forest4 Layer 3mountain4 Layers 3s!y4 and 3stars4 which do not move
The layers 3mountain4, 3forest4, 3distant trees (4, 3distant trees +4 and 3character4 will e used to reproduce the desired animation.
The Rendering > Multiplane Camera #ffect ()*5
56 views
3D views
This effect has an Open stage utton which allows you to view the multiplane camera from various an"les. These 56 views will ma!e ad'ustment of settin"s much easier. The default settin"s are as follows: % 7 perspective view (window ottom left) % 7 left side view (window top left) % 7 front view (window top ri"ht) % 7 top view (window ottom ri"ht)
The followin" uttons are availa le in each panel to simplify viewin": % The utton allows you to .oom with a clic! and slide on the left mouse utton. (shortcut : 8alt 9 ri"ht clic!: 9 move your mouse.) % The utton is used for pannin" with a clic! and slide on the left mouse utton. (shortcut : 8alt 9 left clic!: 9 move your mouse.) % The utton when selected, ensures the .oom and pannin" options are only applied to the current view. % The % The utton is used to reset the view to its default values. utton displays the camera and the 3viewin" an"le4
% The utton displays the focusin" plane. In other words, the plane on which the ima"e is focused. This plane is seen as a red dotted line in the left and top views. The focusin" plane is also visi le in the perspective and front views in the form of a "ray rectan"le. This will e studied in "reater detail at the end of this lesson. % The utton displays all the planes in the perspective view. (see pa"e (;)
The popup menus of each window allow you to customi.e your viewin" options: left, ri"ht, top, ottom, front, ac!, camera and perspective. The front and ac! views are not in perspective. If you choose to use them, remem er that you are viewin" the various planes 3ortho"onally pro'ected4 on the -xy plane (see next pa"e).
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0ositionin" in space
Positioning in space
-f course, we will not e wor!in" in the same way as with a 56 software, ut it is still important to !now your position in space when wor!in" with this effect. 1ompliant with the dia"ram elow : % The crosses visi le on the 56 view represent the coordinate point (=>;, ?>;, @>;) which will e used as our reference point when positionin" our camera and o 'ects (mountain, forest, etc.). % The indications =9, ?9 and @9 indicate the direction of the orientation of the camera in space.
The View tab

The multiplane camera effect has two ta s: % The View ta relative to the camera and its settin" parameters % The Planes ta relative to overlaid planes ma!in" up the final animation.
The coordinates =, ? and @ of the Camera are in fact the coordinates of the virtual camera filmin" our scene in accordance with the space dimension descri ed in the chapter a ove.
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The Biew ta
If, for example, you chan"e the @ coordinate from (;;; to (A;; units usin" the mini*slider, the center of the camera will e moved further away and the ima"e you see will e chan"ed accordin"ly.
It is possi le to move the camera directly from the window of your choice in the 56 viewin" mode: simply clic! and slide with the left mouse utton on the "ray line or on the camera icon. % The Angle and Rotation parameters rotate the camera around the Z axis (To simplify matters, these two parameters are not ta!en into account in the 56 view).
% The Field of view parameter represents the camera viewin" an"le. The wider the an"le, the "reater the num er of o 'ects illustrated on the screen.
!ide field of view
"arrow field of view
% The Dept of Field effect and Fo!using Distan!e parameters will e discussed at the end of this lesson. % The AntiAliasing popup allows you to smooth, with different precisions, the order of the ima"e which is applied on the pro'ect.
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The 0lanes ta
The Planes tab

Cow that you have placed your camera in space and chosen a viewin" an"le, we will now place our planes one at a time usin" the Planes ta . If you have not used the Wi.ard, this ta is empty.
The Planes popup menu is used to create, rename, duplicate or delete planes. The header of this menu contains the name of the plane for which the options are displayed in the panel.
#reate an animation with the multiplane camera effect$ part 1

% ,e"in y loadin" the pro'ect 3/01.tvp4 % Do to the 3multi plane camera4 layer % -pen the E= stac! and delete its content % Select the Multi plane !amera effect in the Add F" menu In the View ta : % Set the camera position parameter to (=>;, ?>;, @>(;;;) and leave the an"le at ;F % Select a field of view of 5;F, a Dept of Field effe!t of ; and fo!using distan!e of (;;;. In the Planes ta : % 1reate a new plane and name it 3character4. 7 panel similar to the one elow will appear.
7t this point, you must: % 1hoose a #our!e ima"e to create the plane. 7s was the case for the $e%framer effect, the source may e of various types (pro'ect, layer, paper, spare ima"e, etc...) and you may set the pre*, post* ehavior, animation mode settin"s, etc... We will select the 3runnin" !id4 layer for our pro'ect. % 1hoose a tile mode: 1hoose 3 none 4 in tile mode for our runnin" !id. % Set the Pivot and Position parameters. These parameters have the same functions as those discussed in the $e%framer effect, ut donGt worry, we will e ta!in" another close loo! at them.
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The 0osition, 0ivot and Si.e parameters
The Position$ Pivot and Size parameters

% When the Pivot parameter is .ero, the Position parameter represents the distance etween the coordinate point (=>;, ?>; and @>;) and the center of the source ima"e chosen.
% The Pivot parameter allows you to use a reference point other than the center of the source ima"e to ad'ust the position and si.e of your plane. This is very useful when you decide to modify the #i&e of your source ima"e: #i&e modifications use this pivot point as ori"in point ( elow in oran"e).
%ncrease a plane&s si'e with pivot at bottom
%ncrease a plane&s si'e with pivot centered
-nce you have understood this concept, positionin" planes ecomes much easier. 7ll you have to do is: % 0osition your pivot, % 0lace your plane at the ottom of your pro'ect, % 7d'ust the si.e of your plane. LetGs "o ac! to our 3runnin" !id4 plane and apply the aforementioned procedure usin" the followin" settin"s: % Position parameters : => ;, ?> +<), @> ; % Pivot parameters : => ; ,?> (5; % #i&e parameters: HAI of initial si.e
#reate an animation with the multi plane camera effect$ part (

% Cow that your position, pivot and si.e parameters are correctly set, you may, if you wish, modify the an"le and opacity of your plane as well as ad'ust the lur to e created with the focusin" parameter (we will discuss this a"ain later). It is also possi le to select a color mode to e used for drawin" the plane (color, tint, add, screen, etcJ). Eor our 3runnin" !id4 plane, we have chosen Angle .ero, #i&e HAI, Opa!it% (;;I and 'lur (;;I. The 'lend mode is Color. % The ()D !olor ox allows you to choose the ()D color for the current plane. This will help avoid any confusion when several planes are present on the screen (we have chosen a reddish oran"e color for our 3runnin" !id4 plane).
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1reate an animation with the multiplane camera effect, part 5
#reate an animation with the multiplane camera effect$ part 3

We 'ust created our first plane named 3runnin" !id4. We will now create a second plane 3deeper4 than the first. To do this: % 1reate a new plane and name it 3forest4. % 1hoose the 3forest4 layer of our pro'ect as source. % -ur plane shows the forest located ehind the runnin" !id. We must therefore "ive it a position value @L; (as our 3runnin" !id4 plane also has the position value @>;). In this case we choose @> *(A;;. The 56 view is adapted immediately: ?ou will notice that the 3forest4 plane is "reen (or any other color you may have chosen previously) and 3character4 plane is oran"e.
% ?ou may now ad'ust the 0ivot parameter (=>;, ?>+(;) and the remainin" position parameters (=>;, ?>KA;). The plane must then e 3stuc! to the "round4 % 7ll that is left is to choose the #i&e (5;;I). The 3 forest 4 layer was created with the Panning tool in the main panel (refer to lesson H for further details). ?ou may therefore duplicate it hori.ontally to avoid havin" to create too many planes. To do this J % Mse the *ile mode popup menu.
!ithout tile mode
!ith hori'ontal tile mode
Cow that the second plane has een created, all that remains to e done is create the remainin" planes in the same way: 3close trees4, 3distant trees4, 3mountain4, with the only difference ein" that the 3close trees4 plane will have a Z value "reater than ;. If necessary, the E= stac! correspondin" to the parameters we wish to o tain is attached to the /01.tvp pro'ect. ?ou must therefore close it and load it a"ain in order to "o to the next sta"e $uic!er.
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1reatin" movement: move the camera
#reating movement) move the camera

Cow everythin" is ready to move the camera and o tain the desired result. To do this: % Oeturn to the View ta + % Do to the first frame of the 3multiplane camera4 layer in the timeline, % 1reate an animation !ey for the Camera value with = > *H;;, % Do to the last frame of the 3multi plane camera4 layer in the timeline, % 1reate an animation !ey for the Camera value with = > 9H;;, % Mse the Pla% utton in your pro'ect window to view the result. ThatGs itP
6o not confuse camera movement and possi le chan"es in the position of your planes. The use of animation !eys with plane position parameters is only useful if the latter effectively move (if the camera is fixed: mountain, forest and trees are fixed). In such a case, this method would e 'ustified if we had created an additional plane to illustrate movement of the moon in the s!y (if the camera is fixed: the moon still ma!es an arc across the starry s!y).
#reate and manage focusing blurs
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1reate and mana"e focusin" lurs
6urin" our animation, all the planes seen in the 56 view on the previous pa"e are in focus. 2owever, to create a more realistic effect, you may wish to create a camera focusin" lur effect (refer to pa"e + of this lesson, section Fo!using ,lur). ?ou will therefore have to "o ac! to the View ta and ad'ust the Fo!using distan!e (i.e. indicate at exactly what distance the camera will e focused). If you have followed all the steps of this lesson, your runnin" !id will e at a distance of (;;; units from the camera and your focusin" distance is also (;;; units. The runnin" !id is therefore in focus. In order to lur the other elements (mountain, forest, treesJ), the Dept of Field parameter will need to e increased (when at ;, no lur is applied). This is illustrated y the creation of a red cone in the 56 view (see elow) and a lur on the screen.
The further the o 'ects are away from the apex of the cone, the more lurred they will e. Inversely, the closer they are to the apex of the cone, the sli"hter the lur will e.
If your focusin" distance is now 5;;;, your camera is located at (;;; units from the center point and the mountains are +;;; units on the other side of the center point ((;;;9+;;;>5;;;), the mountains will e focused and the other planes will e lurred. 1onsiderin" the position of the cone in the 56 dia"ram, it is also safe to say that the closer the camera comes, the more the ima"e will e lurred (see next pa"e).
The focusin" plane is also visi le in the perspective view and in the front view in the form of a "ray rectan"le. In the case of the perspective view, you will see a "ray 3viewin" an"le4 at the focusin" distance.
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1reate and mana"e focusin" lurs
In the dia"ram a ove, the lur is applied to your plane either inside or outside the red cone. The width of the cone only indicates the lur amount.
The 'lur parameter present on each plane of the Plane ta is used to ad'ust the lur for each plane individually. It is expressed as a percenta"e of the lur "enerated y the Dept of field effe!t parameter.
*a+e the +id run

Cow that the various elements of our scenery move correctly and the focusin" lur has een ad'usted, we may, for example, decide to move our red runnin" !id usin" another animated source at the 3runnin" !id4 plane level. % ?ou may choose to use the 3Ounnin"QRidQ(.tvp4 se$uence studied in lesson ) y modifyin" the position parameters of the 3runnin" !id4 plane usin" animation !eys (in this case he is not runnin" on the spot). % ?ou may also use the 3Ounnin"QRidQ+.tvp4 pro'ect studied in the same lesson (%). In this case, you will pro a ly not need to modify the position parameters with animation !eys as the runnin" !id moves from left to ri"ht. (%) This pro'ect was created usin" the $e%framer effect with the 3Ounnin"QRidQ(.tvp4 se$uence as source.
The multiplane camera wi'ard

?ou have certainly noticed the utton to the ri"ht of the Open stage utton. This utton will help you $uic!ly place the various planes in order to create a se$uence usin" the Multiplane !amera effect. Caturally, it was important to first study the "lo al functions offered y this effect efore introducin" you to the latter function.
()*(+ The Rendering > Multiplane Camera #ffect
The multiplane camera wi.ard
So now clic! on the -i&ard utton. The window which then opens as!s if -i&ard should create planes usin" external pro'ects or from the layers of the current pro'ect. These are the + most common cases.
1reate planes from clips The first option uses all the clips availa le, from the current pro'ect and the other opened pro'ects too. -nce validated, each clips from each pro'ects will ecome a plane in our Multiplane !amera effect. The next window to appear invites you to sta"e these planes. This sta"in" may e adapted to meet your specific needs. This is how the window loo!s: The animation plane is created as the first plane and the other planes are listed in a column elow it. #ach plane has a chec! ox which allows you to choose whether or not this plane should e used in your animation. The planes order is inverted compared to the order in which you opened your pro'ects (the last pro'ect opened is the first plane, the first pro'ect opened will e the last plane). ?ou will have noticed that each plane has a @ axis position value. With the default settin"s, each plane is "iven a Z value which is a multiple of *(;;: ; for the first plane, *(;; for the second, *+;; for the third, etc... Therefore, all you have to do is define the Z values for each plane as you re$uire and then validate your choice. 7ll your planes will then e incorporated into the effect with the Z values defined a ove and all that remains is for you to animate them. 1reate planes from the layers of your current pro'ect 7ssumin" the pro'ect /01.tvp supplied on the 16 is open, chec! the 3layers from current pro'ect4 ox and then validate your choice. The -i&ard will then ta!e each of the layers of the current pro'ect and incorporate them in each layer as a plane. The planes sta"in" window, correspondin" to sta"e +, appears and displays each layer with the associated Z value:
In this window, you have the possi ility to define whether or not each plane is to e ena led to"ether with the customi.ed @ axis position value (or not) for each plane. ?ou may also modify the 2M6 color. Cow all that remains is to clic! on O$ and the Wi.ard will automatically create all your planes usin" the layers.
()*(5
-ther situations
,ther situations
We have now learned how to use the multi plane camera effect with a simple example. -ur Multiplane !amera effect may also e used in other situations: ,elow you will see the transversal movement of the two planets with a fixed sun and .ens Flare effect (it will e studied in the next lesson).
The multiplane camera can also e used to .oom etween the planes you have created : % 7fter you have created the planes with the wi.ard, "o in the View ta and on the first frame of the 3multi plane camera4 layer in the timeline. % 1reate an animation !ey for the Camera with a ne"ative value for the @ axis. % Do to the last frame of the 3multi plane camera4 layer in the timeline, create another animation !ey for the Camera with a positive value for the @ axis, % 7pply the E=*Stac! to the whole layer. % Mse the Pla% utton in your pro'ect window to view the result : the first planes should disappear smoothly as shown in the example elow.
SS
SS
SS Try it now P
()*(<
Lesson 17 The effects of the Rendering group
Study the rendering effects relative to the light : Lens-Flare, Lightning, Volumetric Light , Healing Tracker , ... Study the rendering effects relative to the text : Time Code Generator, Simple text , Multiline text , ...
Note : The article Generator effect will be the main subject of the next lesson.
The Rendering
!ens "lare effect
The Rendering > Lens Flare effect
The Lens Flare is an over#illumination effect seen through an o$tical lens. %sually encountered in the world of $hotogra$hy, it occurs when the image framed is excessively illuminated and when a non ade&uate lens is used. Several ty$es of lens flare are encountered: ring, strea's, circles, ( They are located along the straight line from the light source to the camera lens used. Sometimes the lens#flare effect obtained ta'es the sha$e of blades used as the lens dia$hragm )see drawing below*.
Diagram of a camera with a 6-blade diaphragm
> Examples of the resulting Photo with a true Lens Flare effect Lens Flare effect hexagonal effects!
The larger the lens, the more the Lens Flares will be visible and the si+e is $ro$ortional to this lens )when using the +oom, for exam$le*. ,e will now ta'e a closer loo' at the various o$tions $ro$osed for this effect in order to allow you to obtain results similar to those illustrated in the image above.
-.#/ The effects of the !endering grou$
The Rendering
!ens "lare effect
,hen you choose the Lens-Flare effect in the !endering effects menu, the first $arameter to be entered is the osition of the light source and the lens. The first four numeric fields are used to adjust these $ositions. The Lens radius is measured in $ixels and is used as a reference for the si+e of future light interference effects you wish to create )ring, strea's, circles...*. The Luminosit" $arameter controls the luminosity of all light interference visible on the screen. The $osition of the light source, lens and lens radius may also be adjusted with the H#$
The Lens Flare $o$u$ menu creates various ty$es of lens flare effects: they may be of the Generic, Streaks or %mage ty$e. It is also $ossible to rename, du$licate or delete these effects at your convenience. 6nce a ty$e of lens flare has been created, its name a$$ears in the Lens Flare $o$u$ menu. In the header of this menu you will find the name of the lens flare the $arameters of which are visible on the screen.
0 Lens Flares of the generic t"pe
7ere are the various Lens Flare $arameters of the generic ty$e.
8ou may:
# 1hange the Si&e of the Lens Flare: this value is a $ercentage of the lens si+e )the si+e that you have im$licitly chosen when setting the lens radius*. # 1hange the '((set of the Lens Flare : in other words, modify the $osition of the lens flare in relation to the center of the lens and light source. 2n offset of 3 $laces your Lens Flare at the same level as the light source. 2n offset of - $laces the effect at the same level as the lens center. 2n offset of 3.4 $laces your Lens Flare in the middle of the two aforementioned $oints. It is also $ossible to use a negative offset or an offset greater than -.
The effects of the !endering grou$
-.#5
The Rendering
!ens "lare effect
# 1hoose single#color or gradient color artifacts )see below*.
# 9odify the $rofile of your artifact using the $rofile curve. This effect is constructed in the same way as we have already seen in lesson /. 1orrectly setting the $rofile $arameters is essential if exce$tional results are to be obtained )see exam$les below*.
The )lade mode indicated above enables adjustment of all Lens Flares of the generic ty$e according to the dia$hragm blades of your virtual camera )see diagrams on $age / of this lesson*. It is very im$ortant to set its $arameters correctly if realistic results are to be obtained. 8ou may choose a )lade mode of the Circle ty$e )images above* or a user defined )lade mode )see next $age*. # 8ou may choose the )lade count for your virtual camera lens )see exam$les below, based on the various $rofiles described above*.
-.#:
The Rendering
!ens "lare effect
"rom left to right: The lens dia$hragm of your camera is circular, with three blades, five blades and seven blades.
# 8ou may modify the Form (actor: ,ith a factor of 3, the $oints are lin'ed to form a circle. ,ith a factor of -, the $oints are lin'ed by straight segments. ,ith a factor of /, the $oints are lin'ed by incoming arcs.
"rom left to right: "orm factors /, -, 3.4 and 3.
# 8ou may modify the *ngle of your lens flares:
"rom left to right: 2ngles 3;, #-4;, #53;, #:4;, #<3;, #.4;.
,hen re&uired, each Lens Flare of the generic ty$e may be given its own )lades mode different from the Glo+al blades mode described above. The latter is located at the bottom of the generic Lens Flare $arameters and offers the same o$tions.
-.#4
The Rendering
!ens "lare effect
0 Streak t"pe Lens Flares
=ven if the Lens Flares of the Streaks ty$e offer a com$letely different effect than the Generic lens Flares )see exam$les below*, the $arameters are nonetheless &uite similar. 8ou may therefore set the Si&e, '((set, Color,sand ro(ile in the same way as described on the $revious $ages. There are, however, several s$ecific o$tions which we will now ta'e a closer loo' at :
# The *ngle and !otation $arameters are used to rotate light interference effects.
# The Spokes $arameter is used to select the number of s$o'es in the strea's )o$$osite from left to right the Spoke $arameter with the values /33, 43, and /3*
# The Minimum $arameter is used to adjust the contrast between the s$o'es. If this $arameter is set to 3, maximum contrast is obtained. If this $arameter is set to -, minimum contrast is obtained .
)o$$osite from left to right contrast values -, 3.4 and 3*
with
# The .oise $arameter is used to adjust the shar$ness of the s$o'es: If this $arameter is set to 3, the s$o'es are less shar$. If this $arameter is set to -, the s$o'es are more shar$.
)o$$osite from left to right with noise values -, 3.4 and 3*
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The Rendering
!ens "lare effect
# The Seed $arameter is used to randomly vary the strea's layout. 1ombined use of several ty$es of lens flares and light interference a$$lied to the same $oint in your $roject may create a very realistic effect. 6$$osite you will see two generic lens flares and one strea'ed lens flare to create a sun surrounded by a light halo.
0 Lens Flares of the Image t"pe
Lens Flares of the %mage ty$e allows you, as the name im$lies, selection of the image of your choice to create a lens flare. > This image, referred to as source image, may be a default image, a $roject dis$layed on the screen or even a file for which the access $ath must be given. > 8ou may set the Si&e, '((set and *ngle $arameters as indicated for the lens flares discussed $reviously. > 8our image will be a$$lied as a lens flare on the current layer. This is $ossible in the various $ra/ing modes )color, behind, erase, etc.* studied in lesson /. 0 The Render order for lens flares The !ender order $o$u$ menu offers the following four o$tions : # Creation0 your light artifacts are calculated and drawn by the $rogram in the order they were created )i.e. as they a$$ear in the lens#flare $o$u$ menu, from to$ to bottom*. # %n1ert. creation0 your light artifacts are calculated and drawn by the $rogram in the inverted order of creation )in the lens#flare $o$u$ menu, from bottom to to$*. # Lens to light0 your light artifacts are calculated and drawn by the $rogram according to their offset in the direction !ens ? !ight. > Light to lens0 your light artifacts are calculated and drawn by the $rogram according to their offset in the direction !ight ? !ens. Ta'e the image ty$e artifacts illustrated below, for exam$le. @ased on their $osition in the Lens Flare $o$u$ menu o$$osite, they were created in the following order: blue, then green, then red.
-.#.
The Rendering
!ens "lare effect
7ere you have the effect obtained )for a$$lication in color mode* in the various cases:
$reation
%n&erted creation
Light to lens
Lens to light
0 The Lens Flare Obscuration layer !etAs assume our drawing is animated as indicated below: ,hen the $lanet moves and the sun becomes visible, the Lens Flare effect becomes visible at the same time.
>>
>>
In general, if an object of any 'ind $asses in front of the light source, the lens flare tends to disa$$ear.
The '+scuration la"er $arameter above allows you to manage this $henomenon. > To do this, you must first define what is going to bloc' the light source. This may be an image or animation in a layer, $roject, brush, etc... ) re, ost )eha1ior, *nimation Mode, osition will also be defined if necessary*. > The T"pe of obscuration to ta'e $lace when the effect is a$$lied must be indicated here: # The *lpha o$tion will bloc' the lens flare when an o$a&ue object $asses in front of the light source. # The %n1ert alpha o$tion will bloc' the lens flare when a trans$arent object $asses in front of the light source. # The !.G.) o$tion will modify the lens flare color so that it becomes identical to that of the object $assing in front of the light source. # The !.G.) 2 * o$tion functions in the same way as the !.G.) o$tion but also ta'es into account the o$acity of the $ixels in the same way as the *lpha o$tion. > ,e generally obtain a Lens Flare effect when the lens of your camera is $ointed towards a very small and very bright light source.
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The Rendering
!ighting effect
The Rendering > Lighting effect
> This effect is used to light u$ the image or se&uence of your choice as if using an exterior light source )light, $rojector(*. @y default, nothing is $resent in the list. The Lights menu may be used to create one or several lighting effects among the following categories: Spot, 'mni and *m+ient. 2s soon as a lighting effect is created, you may du$licate, delete or rename it. The Lights menu dis$lays the name of the light whose $arameters are shown in the stac'. If you wor' with several lights you may go from one to the other by selecting their names in the Lights menu. 7ere an overview of the different lighting ty$es:
> *m+ient lighting lights u$ the scene globally in the color of your choice. Dalues under -33E will dar'en the image, values higher than -33E will brighten it.
> 'mni lighting lights u$ a circular area of your choice similar to a $rojector located on an axis $er$endicular to the image. The $arameters to be set are color, lighting intensity, center and radius of the circular area, as well as altitude of the virtual $rojector.
Omni pro'ector diagram
Omni ()D
Omni lighting
> Spot lighting lights u$ the image similar to a tilted $rojector. Two $osition $arameters are available for this mode, which allow you to adjust the $osition of the light source as well as its direction.
The effects of the !endering grou$ -.#C
The Rendering
!ighting effect
Spot pro'ector diagram
Spot ()D
Spot lighting
"or many of the $arameters described above, the settings may be made directly on the screen )donAt forget to dis$lay the H#$*. Spot and 'mni lighting have a $rofile editor which wor's similarly to that of the drawing tools )see lesson / for more details*.
Omni
Spot
profile
,ith the Light $o$u$ menu it is $ossible to use several light sources )regardless of ty$e*, as well as to rename, duplicate or delete them. This is how our cave may be lit u$ in various ways F
This Lighting effect only a$$lies to the o$a&ue $ixels of the current layer. To obtain the exam$les above it is therefore necessary to first merge the layers of the $roject.
-.#-3
The Rendering
Dolumetric !ight effect
The Rendering > Volumetric Light effect

The Volumetric Light effect is in the same category as the Lighting effect but it wor's in a different way : In this effect, the light source is located under the current layer and it gives the im$ression of volume to the light.
7ere is an exam$le : 1reate a new $roject et fill the current image with an o$a&ue blac' color. Set the bac'ground as Color in the Timeline. The bac'ground has to be white. Now $ut a TV aint logo in 3rase mode on this Image layer with the Text)rush tool, then change this layer to an *nim la"er with about twenty images. 9a'e the Center setting move along a $ath from left to right. 8ou should get an animation similar to the one li'e the image se&uence on the left.
> The Volumetric Light effect re&uires to adjust the $osition setting of the light source and $ossibly its ath, its o/er and its Length. > 8ou can also define the light color, use a color gradient )li'e in the exam$le on the left* or even have a color that de$ends on the source image. 8ou can select one of these o$tions in the Color Source menu.
> 8ou can also define one of the various blend modes for this color through the )lend menu. The su+stitute mode is only available in this menu, erasing the source image $ixels )nearby a white o$a&ue logo on a trans$arent layer with a blac' bac'ground.* > The Channel menu gives several others $ossibilities : %n1ert *lpha : !ighting comes from the image o$a&ue $ixels )see below for exam$le*. *lpha : !ighting comes from image trans$arent $ixels : thatAs whatAs ha$$ening in the exam$le above. Luminosit" 0 The more luminous a $ixel is, the more lightrays it will let go. !ed, Green, )lue 0 The more red )or green, or blue* com$onent a $ixel has, the more lightrays will go through it.
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The Rendering
Dolumetric !ight effect
In the source image on the left below, only the s'y and the green tree will emit lightrays when the +lue channel o$tion is selected. )The green tree color is $artially com$osed of blue.*
*ource %mage
Luma channel
%n&ert +lpha channel
,lue channel
> The Shimmer section $ermits to generate interferences in the Volumetric light : The Si&e setting is used to manage the distribution of these interferences. The *ngle and !otation ma'e these interferences $ivot and can give the feeling that the lightsource is rotating. The Variation setting accents the contrast between rays.
-ithout *himmer
-ith *himmer
The 9as' section allows you to limit the lighting in a circle whose radius has to be defined.
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The Rendering
RotoTrac'ing effect
The Rendering > RotoTracking effect

0 Presentation and concept
The !otoTracking effect is first of all a cut#out effect li'e the Chromake", Colorke" or Lumake" effect. It can also be used to animate drawings in ways com$arable to those you can encounter in vector based animation softwares. 7ere is the $rinci$le of this effect : the !otoTracking use one or several closed s$lines )called @# s$lines* and allows you to change their sha$e in time, than's to the 'ey system of the "G#stac'. 6nce the effect is a$$lied, the area inside or outside the s$line becomes trans$arent.
0 Two examples
This effect is very useful when the other 'eying effects are unable to cut#out a $icture or a movie se&uence $ro$erly. 6n the $icture below, we see a red s&uirrel wal'ing on red and brown leaves. 2s the leaves colors are very close to the s&uirrel color, the common 'eying effects will not allow you to cut#out the s&uirrel correctly. In that case, it is advised to use the rototrac'ing effect
.riginal picture
>
/otoTrac0ing spline +pplied result
The !otoTracking also allows you to draw and animate &uic'ly. The control $oints of the s$line can evolve softly from a $osition to another one. 2s a conse&uence, the sha$e of the whole s$line will evolve in time too. In the exam$le below, a dol$hin has been drawn with the rototrac'ing effect. The control $oints are colored in red and the @#s$line itself is colored in yellow. =very 'ey dot can be animated in time. So it is for the whole s$line and thus the dol$hin. 7e can for exam$le move his tail to swim.
The effects of the !endering grou$ -.#-5
The Rendering
RotoTrac'ing effect
/otoTrac0ing ,-splines created for the first and the last image of the animation la"er1
/esulting pictures once the effect is applied1
/esulting animation once the effect is pla"ed1
7ere is the main difference between the rototrac'ing and a sim$le selection created with the main $anel tools : 6ur @#s$lines can evolve and change their sha$e in time.
2 The control panel
!etAs now study the control $anel in detail : 7ere is the control $anel as it a$$ears when you add the !ototracking effect in the "G#stac'. )see below*
-.#-:
The Rendering
RotoTrac'ing effect
2t the to$ of the $anel, the Spline $o$u$ menu is used to create, rename, du$licate or delete @#s$lines. 6nce a first @#s$line is created, some new buttons and menus a$$ear. )The oint and )lending Mode menus* The effect can use several @#s$lines at the same time. The header of the menu contains the name of the @#s$line for which the o$tions are dis$layed in the $anel. =nable the Head #p $ispla" and chec' the re1ie/ boxes of your "G#stac'. 6nce the first $oint is drawn on the $roject window, new $arameters related to the $oints drawn in the screen a$$ear )position, edge, sharp*
To close the s$line that you just began to draw, you only have to clic' on the first $oint dis$layed on the screen.
Ho you remind @I+ier s$lines J ,e encountered them in lesson / when we studied the drawing tools. @#s$lines and @I+ier s$lines are mathematically lin'ed. Try not to confuse those two 'ind of s$lines : @I+ier s$lines go through their control $oints while @#s$lines donAt.
0 3anaging the opacit"
6nce the @#s$line is closed, the o$acity of the $ixel area outside the s$line becomes trans$arent after a$$lying the effect. The $ixel area inside the s$line stay the same. This being the case, the two o$acity $arameters allows you to modify the o$acity of any of those two areas. The numeric field on the to$ of the control $anel allows you to set the o$acity of the $ixel area inside the @#s$line. The numeric field on the bottom of the $anel allows you to set the o$acity of the $ixel area outside the @#s$line. The in1ert button allows you to invert the effect : the area of $ixels outside the @#s$line will remain unchanged while the area of $ixels inside the @#s$line will become trans$arent.
4ormal
-ith the in&ert button chec0ed
-.#-4
The Rendering
RotoTrac'ing effect
5irst opacit" parameters set to 678
*econd opacit" parameters set to 678
2 Let9s now stud" the icons under the spline popup menu1
"rom left to right : The first icon allows you to $lace the control $oints of your @#s$line at your convenience. This icon is selected by default each time you create a new @#s$line. 8ou only have to use the left mouse button on the $roject window to lay your control $oints. 6nce a control $oint is created, the point menu dis$lays its number and its coordinates. )see below*
If you need to re#o$en a closed @#s$line, you only have to select the K again.
L icon :
This second icon allows you to move a control $oint interactively on the $roject window. )donAt forget to dis$lay the 7%H*. To do this, just clic' and drag the control $oint. This may also be done by using the numeric fields and associated mini#sliders shown above. It is also $ossible to move several $oints at the same time : To do this, sim$ly use your left mouse button to draw a rectangle while $ressing the M1trlN 'ey. 8ou will then be able to move at the same time all the $oints located in the rectangular area.
@y clic'ing on the little $adloc' buttons, it is $ossible to K loc' L your control $oints in s$ace so that they cannot be moved along the axis )or axes* of your choice. This enables, in $articular, avoiding untimely movement. The loc'ed $oints may be subject to animation 'eys and intermediate $oints in time may be created from the loc'ed $oints. The animation 'eys influence the $osition of the $oints in time and not in s$ace.
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The Rendering
RotoTrac'ing effect
The third icon allows you to add new control $oints on the @#s$line. 6nce activated, you will note that if you drag your mouse near the @#s$line, a small cross a$$ears. )see below* It means that you can create a new control $oint.
The fourth icon allows you to delete the control $oints of your @#s$line. 8ou only need to use the left mouse button on the $oint of your choice to do so. The fifth icon allows you to modify the value of the edge of a $oint. To do so, you only have to select this icon and dragAn dro$ a control $oint of your s$line. 8ou can also use the numerical field of the edge $arameter. )see below*
9odifying the edge $arameter for a control $oint allows you to change the frontier that the @#s$line define. 2n o$acity gradient will follow the @#s$line )see below*. This is very convenient to cut a $icture more softly )as the tail of the s&uirrel below* The $ositive values create an o$acity gradient outside the @#s$line and the negatives values create o$acity gradients inside the @#s$line.
Edge parameter e:ual to 7
Edge parameter negati&e
Edge parameter positi&e
6n the o$$osite screenshot, the edge $arameters was used to cut out the tail of the s&uirrel.
6nce the edge $arameter is changed, the 7%H shows a blue s$line. The o$acity gradient is located between the yellow and the blue s$line and follow the sha$e of those two s$lines.
The sixth icon allows you to adjust the shar$ness of each $oint. )the numeric field and the associated mini#slider can re$lace the interactive 7%H* 9odify the shar$ness is li'e changing the distance between the s$line and the selected control $oint. 2 value of -33 for the shar$ness $arameter will turn the s$line into a $ointed one. The @#s$line will follow the angle given by the vertex. )see below* This allows you to adjust the curvature of the @#s$line
-.#-.
The Rendering
RotoTrac'ing effect
6n the left $icture, the shar$ness $arameter of the right#to$ $oint of the s$line is set to 3. 6n the right $icture, the shar$ness $arameter of the right#to$ $oint of the s$line is set to -33.
The seventh and last icon turn on the dis$lay of a control box which allows you to do a lot of modifications directly on the $roject window )see below* 8ou may contract, stretch, rotate or translate the current @#s$line as a whole by using the handles of the box. )donAt forget to activate the 7%H*
%se the MShiftN 'ey with a drag action to translate the whole @#S$line
0 The master controllers
8ou could find annoying to create animation 'eys for every s$line and every $oint of a s$line. )for exam$le, a five $oints s$line need almost 53 animation 'eys to be created if you want to move it from a $lace to another one.* ThatAs the reason why the animation ke" controllers have been added in the $anel. They are blac' encircled in the $icture o$$osite. The animation ke" controller near the spline $o$u$ menu allows you to create an animation 'ey for each $arameter of the s$line : $oints, o$acity, ... by using only one mouse clic'. The animation ke" controller near the points $o$u$ menu allows you to create an animation 'ey for each $arameter of the $oint : $osition, shar$ness, edge, ... by using only one mouse clic'.
0 -or0ing with se&eral ,-splines
It is $ossible to use several @#s$lines. To create a new @#s$line, $roceed in this way :

Select .e/ )-spline in the $o$u$ menu His$lay the 7%H and chec' the $review box 2dd control $oints on the screen and close the @#s$line. Set the $osition, edge and shar$ness $arameters for each $oints.
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The Rendering 0 The blending modes
RotoTrac'ing effect
The last $o$u$ menu of the !otoTracking effect $anel is called +lending mode. It is useful when you manage more than one @#s$line If you use two s$lines )this is also true for more than two s$lines* : The add mode will add the o$acity of the two area of $ixels. The su+ mode will subtract the o$acity of the current sha$e from the second one.
In those two last exam$les, the edge and shar$ness $arameters are ta'en into account.
2 *ome ideas to ma0e "our ,-spline mo&e on the screen
!etAs ta'e a common @#s$line. The coordinates x and y of a control $oint define its $osition on the screen. Three o$tions are available in the inter$olation menu : spline, linear or pol"nomial. This affects the $ath of the control $oint in time. If you use the tool menu, its coordinates may follow the $ath of your choice. 8ou should of course use the pixel recorder, pixel tracker, etc ... which constitute an excellent way to manage the movement of control $oints in time. 6nce the effect is a$$lied, its sha$e and $arameters will go from one location to another one.
-.#-C
The Rendering
7ealing Trac'er effect
The Rendering > Healing Tracker effect

9aybe you recorded a video se&uence which contains some faults : it could be a micro boom, a floor lam$ or the va$or trail of a $lane. 2ny modifications to the video#se&uence re&uire a lot of wor' : each frame has to be corrected se$arately. 9ost often, you need to remove the unwanted areas of the se&uence and finally you have to re$lace them one by one. The !endering 4 Healing Tracker effect allows you to a$$ly this 'ind of correction really &uic'ly : It combines the use of the 7ealing mode )studied in lesson .* and the @#s$line notion encountered in the !endering 4 !ototracking 3((ect cha$ter. The Healing Tracker $anel a$$ears as illustrated o$$osite : In the first section, several choices are available for the source image or footage needed for the healing mode. )"G#stac', current layer, dis$lay, $a$er, current brush, other $roject, ...* ,hen choosing another animated source, you may adjust the Ore# and Oost#@ehavior, the $osition and the animation mode )random animation, $ing#$ong, animation reduced to the image indicated in the $osition $arameter, etc.* 2s re&uired, you may choose to fli$ your source vertically, hori+ontally or both, before using this source. )see lesson -5 for more details*
In the second section, you can manage your @#s$lines. This has been ex$lained in detail in the !endering 4 !ototracking 3((ect cha$ter. 7ere is how it wor's : on the image below, an unwanted floor lam$ is visible. This effect will a$$ly the healing mode inside the @#s$line surrounding the floor lam$. So the floor lam$ will disa$$ear. The healing source area can be recogni+ed by its uni&ue centered handle )the 7%H should be enabled*
> Note that the distance )offset* between the healing source area and the destination area of the effect )inside of the @#s$line* can be modified in time by using the animation 'eys. Those two areas have always the same sha$e for a given image of the footage. Ta'e a loo' now at the video footage below : a $lane is flying slowly in the s'y, over the sea.
-.#/3 The effects of the !endering grou$
The Rendering
>>
5irst image of the footage Last image of the footage
+ttached timeline ,e will now examine in more detail how to su$$ress the va$or trail of the $lane. > "irst, begin by selecting F5-stack as source se&uence of the Healing Tracker effect. > 6n the first frame of the footage, create a @#s$line surrounding the va$or trail. > %se the animation ke" controllers on the right of the s$line menu to create a set of 'eys for each $oint of your @#s$line. > 6n the last image of the footage, change the sha$e of your @#s$line in order to ma'e it surround the extended va$or trail. > %se again the animation ke" controllers on your modified @#s$line. > 9ove carefully the healing source area by using the 7%H : the va$or trail should not be visible anymore. > If you slide along the timeline with the $review mode enabled in your "G#stac', the sha$e of your @#s$line should $rogressively change. > Then, you only have to select all the images of your layer and to a$$ly the effect.
>>
5irst image of the footage 5;-stac0 pre&iew enabled ! Last image of the footage
-.#/-
The Rendering
It is also $ossible to su$$ress the clouds at the bottom of the footage : In order to have a good result, the healing source area needs to be an even section of the screen, without clouds.
> Some other s$ectacular renderings can be obtained if you use another $roject as source in the healing tracker effect. ,ith some training, you should be able to obtain those results :
The healing source pro'ect
The picture on which the effect will be applied
+bo&e< one of the two ,-splines we used1
(ere is the final result = The sea has been replaced b" the clouds
The use of the edge $arameter for the $oints of your @#s$line is sometimes useful to have better results.
-.#//
The Rendering
@ac'ground Penerator effect
The Rendering > Background
enerator effect
The )ackground generator effect is used to create hori+ontal, vertical or four corner color gradients. These gradients are a$$lied to the current image as described in lesson /. 8ou may choose any color you li'e as well as the o$acity and then have them change with time by creating animation 'eys. @elow, you will find four exam$les of gradients used in Color, *dd, Tint or Su+tract mode. It is also $ossible to change the colors of clouds, $lanet, or even $lace the $lanet within a bluish atmos$here(
*ource image
>radient in !olor mode
>radient applied in !olori"e mode
*ource image
>radient applied in #dd mode
*ource image
>radient applied in Tint mode
*ource image
>radient applied in Subtract mode
-.#/5
The Rendering
Olasma effect
The Rendering > $lasma effect

The !endering lasma effect is similar to the 6a1e effect because they $roduce both circles. 7owever, this effect $roduces multicolored waves and can be adjusted with several $arameters : > The Linear 7, Linear 8 or the Smooth o$tion in the Generator menu in the settings $anel modifies the $rofile of the generated waveAs sha$e )loo' at the exam$les below*.
> It is $ossible to wor' with one, two, three or four circles )see below*.
> 8ou can choose the way these waves will mix together. @elow you can find the modes :
*dd
Su+
Multipl"
$i1ide
Maximum
Minimum
*1erage
$i((9rence
$istance
-.#/: The effects of the !endering grou$
The Rendering
Olasma effect
> "inally, some settings related to color channels are also available : Glo+al $hase, !ed $hase, Green $hase, )lue $hase and *lpha $hase.
The Rendering > $erlin %oise effect

This effect generates sha$es than's to mathematical functions and is sometimes used to imitates water waves and other water effects.
8ou can : > adjust 6idth and Height of the generated sha$es, > mix these sha$es to the current image than's to the Colori&e, Tint, Multipl", ... modes, > use a $ic'ed color, a gradient or the color from the current image, > change the com$lexity of the sha$es than's to the 'cta1e setting, > %n1ert the effect colors or change its 'pacit".
.cta&e ? 1
.cta&e ? @
.cta&e ? 6
-.#/4
The Rendering
Text effect
The Rendering > Te&t effect

,e saw in lesson 4 how to create a Text )rush using the Text tool from the tool $anel. The !endering 4 Text effect should not disorientate you. > The Text field is where you have to ty$e the text, > The Font menu allows you to change the font, > 8ou already 'now the various settings li'e Si&e, Si&e 5, Spacing, %talic, Tracking and *ngle. 7owever, these values can be 'eyframed now )which cannot be done with the sim$le Text )rush tool*. So you can ma'e a text going bigger and bigger, ma'e it switch to italic, or ma'e the s$acing change, etc... or all at the same time F !etAs ta'e a loo' to the new settings : > 8ou can ma'e the text follow a $ath than's to the osition settings )with a stored $ath or gra$hically through the 7%H*. > The *ngle setting $ermits to adjust the angle made by the text )in relation to the hori+ontal line*, > The !otation setting can increase the *ngle value with a multi$le of 5<3, > The *lign menu allows you to change the $osition of the 7%H text handle : right, left, centered. There are still 5 tabs left : > The Font tab manage the $ixels of the text itself
> The +orders tab manage the $ixels of the borders of the text : you can adjust de thic'ness of the border.
> The Shado/ tab can create a shadow for the text : the *ngle and $istance settings give the $osition of the shadow.
-.#/<
The Rendering
Text effect
In each tab, blur settings can be adjusted and there are three filling ty$es available : > fill with a $ic'ed color )you will be able to change its o$acity*. See the first exam$le of this $age > fill with a color gradient )you will be able to adjust its angle*.
> fill with a texture you will have to define )current image, s$are image, brush, $a$er, etc...*.
TDOaint 2nimation Orofessional =dition can use non#occidental fonts li'e chinese, ja$anese, arabic fonts, ...
The Rendering > 'ultiline Te&t effect

The effect !endering 4 Multiline-Text is the most im$ortant titling tool of TDOaint 2nimation Orofessional =dition. The first thing to do when using this effect is im$ort text lines. To do this you may : > use text lines stored in an ascii .txt files > use text lines stored in your cli$board. )for exam$le, if you have cut or co$ied some text from another software* 2fter this choice, your text is dis$layed on the screen. Two 'ind of 7.%.H are available for this effect. The $arameters directly adjustable on the screen de$ends on the 7.%.H selected : > angle, si+e and $osition on the screen for the position H.#.$ > the text itself for the text H.#.$
The position ()D
The text ()D
-.#/.
The Rendering
9ultiline Text effect
Several 'inds of 7%H handle alignments are available by using the nine buttons below :
8our text lines may be hori+ontally centered, left justified or right justified.
8our text lines may be vertically centered, to$ or bottom justified. )here below the text was first rotated at C3;*
The three last buttons allow you to set the hori+ontal andQor vertical offset between the text lines. Note that the unit is the $ixel. )It is also $ossible to use negative numbers of $ixels.*
It is $ossible to set or animate each line of the whole text by using the same method than encountered in the !endering 4 Simple Text effect. The framed area of the "G#stac' below shows the font, $osition, border, shadow ... $arameters discussed in the $revious cha$ter. 2t the to$ of the $anel, the line $o$u$ menu is used to create, rename, du$licate or delete lines. The header of the menu contains the name of the line for which the o$tions are dis$layed in the $anel.
-.#/B
The Rendering
9ultiline Text effect
It is $ossible to create animation 'eys for all $arameters of every line by using the control 'ey located next to the line $o$u$ menu. !etAs now study the animation $o$u$ menu : > The roll o$tion allows you to move your text lines from the bottom to the to$ of the $roject window. > The crawl o$tion allows you to move your text lines from the left to the right of the $roject window. The $rogress of those o$tions can be set by using the position $arameter. The extreme values : 3E and -33E ma'es the text lines disa$$ear from the screen. 2 value of 43E corres$onds to the initial $osition of the text lines on the the $roject window.
The Rendering > Time !ode
enerator effect
This effect dis$lays the time code of the current image in the current layer at the $osition of your choice. Three modes are available: > Current $roject mode du$licates the timeline data in number of frames or time code de$ending on the selections made )Frame or Time Code refer to lesson :*. > Free run mode is used to define the $arameters to be ta'en into account for the entire current layer inde$endent of the timeline: 8ou must therefore s$ecify the $osition of the first frame, the number of frames $er second and the dis$lay )frame or time code in hours, minutes, seconds and frame number*. The %n1ert o$tion is used to create a count#down effect. > #ser de(ined mode wor's in the same way as Free run mode with the sim$le difference that all frames of the layer have inde$endently set $arameters than's to the use of the animation 'ey system. Regardless of the mode chosen, the second section of the $anel enables: > selection of the Font of your choice, > Si&e variation, > setting of osition $arameters for the current $roject, > modification of font and bac'ground Color and *lpha.
6$$osite, an exam$le of an a$$lication with the current frame number in blac' with a gray bac'ground.
-.#/C
The Rendering
Oattern Penerator effect
The /endering > Pattern >enerator effect

The !endering 4 attern Generator effect allows you to dis$lay the classical video $atterns on screen :
,ar 177
,ar 76
,ar A pluge
,ar A red
,ar *3TPE
>re" step 17
>re" step 6
>re" ramp
-.#53
Lesson 18 The Rendering > Particles Generator effect
In this lesson, you will learn:

To create a particles system. To modify a particles system. To use a particles system in order to add special effects to your videos or put the finishing touches to your animations.

Let's take the following elements into consideration: fog, smoke, fireworks, snow, fountains, sunshine, a tennis ball bouncing off the ground. These natural phenomena and other ob ects taken from daily life don't seem to have anything in common e!cept maybe that a lot of time is re"uired to make a successful and correct animation of them.
Let's study them more closely: # $og and fountain are made of fine water droplets: they are suspended in the air and more or less opa"ue in the case of the fog% they are pro ected into the air by a source and fall back with the force of gravity in the case of the fountain. # &un and fireworks are respectively composed of helium, hydrogen and various chemical products. The latter are concentrated in a ball for the sun or e!pelled into the atmosphere in the case of fireworks. # &moke is also composed of various chemical products, generating different types of smoke. 's it is very light it is not sub ect to the force of gravity and moves with the wind. The tennis ball, however, bounces several times before coming to a standstill and the wind has little influence on it. In each case, we deal with ( particles ) in the broader sense of the word: water droplets, chemical products, tennis ball, etc. These particles move and are affected by the force of gravity, the power of wind or air resistance, etc. They may bounce or come from several places at once. The place or places where the particles come from are referred to as (emitters ). T*P 'nimation does not only make it possible to draw such particles but also to manage their movement using the parameters described previously. This offers considerable time saving when creating animations and other special effects +drawing and animating the particles one after the other would re"uire months of work,-. .ou have understood already that it is the effect referred to as Rendering > Particles Generator which will help us succeed in this matter.
Learn by example
.ou will very "uickly notice that the particles generator is an effect which offers a wide range of options. /enerally, you need to learn how to set : 0 the parameters of the world +or universe- in which the particles will move: wind, gravity, collision, 0 The parameters of the particle emitter+s-: movement, angle, rotation, 0 The particle parameters: life span, velocity, number, opacity, The multitude of parameters is so vast that it may discourage the beginner. $or this reason and for didactic purposes, numerous pre#defined e!amples have been included in this program to help you master this powerful drawing tool. 1any users use them as a model to introduce the particles into their own creations. These pre# defined e!amples, sometimes referred to as presets, are accessible via the Bin FX menu.
23#4 The Rendering > Particles Generator effect
The Bin FX menu appears as illustrated opposite: .ou are already familiar with the functions Add, &oad and Sa'e: they are present for each effect available in T*P 'nimation. =owever, the functions Browse and Presets are new.
5hoosing Browse opens a window that is specific to the particles generator +see below-.
In the popup menu you may choose a pre#defined e!ample from the following categories: cartoon, isc, nature, o!"ects, party, pyrotechnic, sci#$i, te%t, water. +:sing the ; and < buttons you may scroll from one e!ample to another.7hen you have chosen an e!ample, its name will appear in the header of the popup menu and you may observe the changes made to the particle system directly in the window.
Two bo!es may be checked in order to improve the "uality of the particle animation depending on the power of your computer: Full Quality and AAliasing. If a pre#defined e!ample is close to the result you wish to obtain for your pro ect, you may choose to set the parameters of the particles generator according to this e!ample. To do this, ust click on the Copy to FX button then close the window above. 6ow you study the e!ample in detail and modify it to your needs. 7e will come back to this process to illustrate some situations.
The tabs of the Particles Generator effect

The Particles Generator works with various tabs and sub#tabs which are not necessarily all visible at first use. 8elow you will find a summary before starting a detailed description:
The names in the lower levels are sub#tabs. $or e!ample, the particles tab has two sub tabs : Current and Shape.
The Rendering > Particles Generator effect
23#9
The tabs of the Particles /enerator effect
The World tab

The (orld tab is used to manage the parameters of the ( world ) in which our particles will move +see below-.
Two preview options are offered in the (orld tab: the Bounding !o% check bo! and the Quic) pre'iew button. # The Bounding !o% check bo! is used to display a colored rectangle around the particles present in the current pro ect window when the preview button of the $> stack is enabled. The particles going out of the pro ect which are susceptible to come back under the influence of certain factors +wind, gravity, etc.- are also framed.
'lthough this option may render the preview a bit complicated when many particles are on the screen, it is very useful to distinguish the position of low#opacity particles. # The Quic) Pre'iew button displays a window very similar to the one which allows you to choose a predefined set of particles. =ere, you cannot select a predefined e!ample and any parameter modification within your effect will have a direct impact on the animation shown to you.
This is very useful to interactively view and modify a particle animation before applying the effect to all frames of a layer. This button is present in all other tabs and sub#tabs of the particles generator effect.
23#?
The Seed parameter is used to generate a random particle emission using calculation algorithms. This parameter enables changing the rendering so that two effects which would be identical elsewhere are different. &elect the pre#defined e!ample +water >water "et* and copy it to the particles generator +see left-. In this e!ample, our particles are water droplets pro ected from right to left. Dpen the "uick preview window. 7e will be able to study the influence of the various parameters available in the (orld tab on the movement of the latter.
The Gra'ity parameter is used to take the earth's gravity into consideration during particle movement. # 7hen the gravity is increased to, e.g. a value of 2@ , the water droplets will fall to the ground faster, because the distance between the emitter +water et origin- and the drop point is shorter.
# Aecreasing the value to @.B will increase the distance traveled by the droplets. The distance between the point where the droplets are emitted and the drop point is longer.
# 7hen the gravity is set to Cero, there is no gravity and the water droplets will follow a straight tra ectory.
# T*P 'nimation offers the possibility to work with negative gravity values, which has the effect that the force of gravity may be inverted +the water droplets will then go up-. This is useful in certain cases, for e!ample, to represent metal particles drawn by a magnet.
In order for the force of gravity to have an impact on our particles, it is necessary to attribute a (eight to them. 7e will come back to this when we talk about the specific particle parameters.
The Rendering > Particles Generator effect 23#B
Let's take a look at the pre#defined e!ample +o!"ects > popcorn*: the popcorn kernels are our particles and they move vertically to the top before falling back under their own weight. The parameters Angle, Rotation and (ind strength allow you to simulate the impact the wind has on the particles +see e!amples below-, and to make them more or less move in a direction of your choice +wind with a negative value affects the particles in a direction opposite to the one you have chosen-.
Wind = 0
Wind = 100
Wind = - 200
6ote that using animation keys will allow you, if necessary, to change the direction of the wind in time as well as its strength +to avoid creating a wind that is too uniform-. The Alpha Collision menu is similar to the Source tab studied in lesson 2B when using the ,ey$ra er. 7e will not go back to the concepts Source, Pre#Beha'ior, Ani ation, Post#Beha'ior and -$$set. There is, however, a functional difference: when the Alpha Collision bo! is checked, the particles will take into consideration the shape of the image+s- selected by you as source and, in case of a collision with one of them, bounce off them. Araw a slope with an angle of appro!imately 9@E with the horiContal line on all images of a layer with 24@ images. In the particles generator, choose the pre#defined e!ample: +o!"ects > apples*, check the Alpha Collision bo! and then select FX stac) as source. To finish, apply your effect.
>
>
>
.ou will note that the apples bounce off the surface that you have ust drawnF This may be taken even further as the surface on which the particles bounce may evolve in time +for this, you have to choose an animated source-. It is even possible to modify the height of the particle bounce, as we shall see later.
23#G
8elow, you find two summary illustrations for the tra ectory of any ob ect.
The Emitters tab

The . itters tab +see below-, as its name implies, is used to set the parameters of the sources emitting the particles.
23#H
The following emitters may be chosen : ' point +see pre#defined e!ample sci#$i > gala%ywarp-, a line +see pre#defined e!ample o!"ects > tetris-, a rectangle +see pre#defined e!ample nature > la'a or cartoon > eyes-, an ellipse... These are the various =:A displayed according to the chosen emitter:
Point
Line
Rectan le
!llipse
The center of the emitters is shown in green, its shape is marked by red dots. The purple handles describing the shape of circular arcs indicate the angle at which the particles are pro ected. 7e will study them in detail when discussing the . itter > Current tab. 8elow, the smoke coming from the steam engine was created using a Point type emitter.
"bo#e$ a %oom on the HUD&
These particle emitters are, of course, virtual. If you use the particles generator effect for animating water coming out of a fountain or tap, or smoke coming from a steam engine, you ust have to draw the fountain, tap, steam engine, It is possible to work with several emitters, placed where you want. The . itter popup menu will facilitate your task as it offers you the possibility to Create, Rena e, /elete and /uplicate emitters +note that the name of the emitter you are working on is displayed in the header of the popup menu-. :sing several emitters may be useful when, for e!ample, you wish to animate a building starting to burn: with several emitters, fire and smoke may come from several windows or chimneys with varying intensity +see below-.
23#3
'll these types of emitters have a center that you may place wherever you wish using the >, . and I coordinates +the ( I ) coordinate is used to set the depth parameter as you have already seen when studying the ,ey$ra er-. The 0ools and 1nterpolation +&inear, Spline or Polyno ial- popup menus are used to define the path to be followed by your emitter source in time. 8y clicking on the little padlock buttons, it is possible to ( lock ) your emitters in space so that they cannot be moved along the a!is +or a!es- of your choice. This enables, in particular, avoiding untimely movement. The locked points may be sub ect to animation keys and ( intermediate ) points in time may be created from the locked points. The animation keys influence the position of the points in time and not in space. The Angle option is used to point the emitter in the direction of your choice. It is also possible to turn your emitter using the animation key system. The Rotation parameter is used to manage rotations of more than 9G@E.
&ome settings, not shown above, are specific to the emitter you choose to work with. Aepending on the emitter chosen these are: length of the line, length and width of the rectangle, siCe of the two ellipse a!es. .ou will note that, once the emitter is created, two tabs appear: the Current tab and the Particles tab.
The Emitters > Particles tab

The . itters > Particles tab is used to manage the particles pro ected by the emitter. The Particles popup menu enables creation of one or several sets of particles. &everal types of particles may be emitted: see the pre#defined e!amples + sci#$i > gala%ywarp*, +party > agic candle* or +pyrotechnic > e%plosion#!* to convince yourself. .ou may also duplicate, rename or delete a set of particles via this same menu. The name of the set of particles you are working with appears in the header of the popup menu. 's soon as a set of particles is created, new parameters for setting the particles appear +see ne!t page-.
23#J
'll particles appear, move along the screen and then disappear again. The time the particles move is referred to as the &i$e span of the particles. The &i$e parameter is used to ad ust the particle life span in seconds: # it is short for fireworks : party > agic candle # it may also be long: nature > $og. The 2u !er parameter contains the number of particles emitted per second: # if re"uired, this parameter may be very high: pre#defined e!ample +sci#$i > gala%ywarp# or reduced : pre#defined e!ample +o!"ect > dice* ' decimal number enables emission of a very small number of particles. $or e!ample, a setting of @.9 generates a particle every 9 seconds, a setting of @.@2 generates a particle every 2@@ seconds. 7hen the Single bo! is checked and one particle has been emitted, no other particle will be emitted before the last particle has reached the end of its life, whether it is still on the screen or not. The pre#defined e!ample +o!"ect > gol$ shot- is ideal for testing this option. Let's assume that the &i$e span of our gol$ !all particle corresponds to the time it spends in the air +once the ball has landed, it is no longer possible to see it in the sky and it is too far away from the field of view to see it on the grass from afar-. If you check the Single bo!, a new golf ball will be shot only when the first ball has landed, independent of the fact whether the latter has left the screen on its tra ectory or not +and even re# entered it on the same tra ectory , see below-.
&hooting the second ball when the first has landed +i.e. at the end of its life ,-. The 2u !er o$ Points is only valid with the emitters line, rectangle and ellipse. It is used to distribute the areas from which the particles are emitted along the contours of the emitter you are using. 8elow, the particles of the pre#defined e!ample +party > stage lights* are used with a &ine type emitter then with an .llipse type emitter.
23#2@
&ine type emitter $rom top to bottom : Point parameter L @ or 2 Point parameter L 9 Point parameter L B
.llipse type emitter Point parameter L J
' parameter referred to as &in) to e itter is present in this tab: it is used to define whether the particles will follow an emitter or not when it moves along the path chosen by you. 2st e!ample: a steam engine was drawn on the screen. The ,ey$ra er effect was used to simulate steam engine movement from left to right. ' Pi%el trac)er was used to create a path which follows the engine's chimney. Therefore, when the train moves, an emitter following this path will always be at chimney level. In the images below, the smoke particles are linked with the emitter which is the engine's chimney set at 2@@K. The movement of the smoke is not natural.
>> In this drawing, the parameter &in) to e itter is 4BK. This time, the smoke movement is correct.
>> 4nd e!ample: the beacons below, as they are particles, are necessarily linked to their emitter: the roof of the police car. They move at the same time as the car when it is driving. The &in) to e itter is therefore 2@@ K.
23#22
The Emitters > Particles > Current tab

This tab is used to manage the properties of the particles themselves.
The most simple are 3elocity and Si4e: any pre#defined e!ample may be used to study these two notions. The parameters (eight and Bounce are more subtle : # The (eight of a particle has an influence on its movement if the Gra'ity parameter in the (orld tab is not set to Cero: the heavier a particle, the more the force of gravity will accentuate its movement. The lighter it is, the less effect the force of gravity will have. ' (eight of Cero has the result that the particle is not sub ected to the force of gravity. If you place the pre#defined e!ample +nature > sun* in the stack and then modify the gravity parameter, you will note that this has no influence on particle movement. # The Bounce parameter is used to set the particle bounce strength +the Alpha Collision bo! of the (orld tab must be checked and a collision source chosen,-. 8elow: the Bounce of a tennis ball thrown left to right for different parameter values: 3B, 2@@ and 22B +note that values over 2@@ cause unnatural bounces relative to the laws of physics,-
# The Friction parameter is set to slow the particles down. If the particles move through the air +which is most often the case-, we are dealing with air resistance. The latter is low and a parameter set at a value close to Cero will be sufficient. There are, however, other situations : let's assume that the balls are thrown at floor level. These balls will slow down and stop due to the friction of the floor. If the same balls are thrown on a lawn, they will be stopped even faster.
23#24
The pre#defined e!ample +o!"ects > dice* also provides an interesting case: by increasing the Friction parameter to 23@, and due to the fact that the particles grow smaller in siCe during their life span, one gets the impression that the dice roll on a surface and, after a certain limit, fall into a void. # The -pacity parameter is used to set particle transparency. This is very useful, for e!ample, when you are animating soap bubbles: these wouldn't be perfectly opa"ue, # The 5otion Rando ness parameter controls the movement of imperfect particles and accentuates the realistic aspect of the particle et. It is used, for e!ample, to create an uneven fog, movement of bubbles in the air, smoke, etc. This parameter is used to avoid having to create too many animation keys which would be re"uired to render a tra ectory uneven. This parameter comes into its own with the 3ariation parameter described hereafter. The pre#defined e!ample +party > popcorn* uses this method. # The Spin parameter controls particle movement around its local a!is +the latter is defined in the 6andle popup menu of the Shape tab which will be discussed below,Its use may provide various results. 's re"uired, study the pre#defined e!amples +o!"ects > dice* and +o!"ects > tetris-. # The Align parameter, if enabled, acts on the rotation parameter and directly turns the particles according to their tra ectory. &ee below : two particle ets with and without alignment.
With ali nment
Witho't ali nment
'll parameters studied have the parameters 3ariation and Pro$ile to their left.
The profile preset is used to vary a parameter +Si4e, 3elocity, -pacity, Bounce, etc. - during the life span of a particle. 5lick on one of the profile icons +circled in black in the e!ample opposite- to open a traditional profile window. 7e have already seen these when studying the drawing tools.
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Let's take the pre#defined e!ample +pyrotechnic > s o)etrail* shown opposite. The three circled profiles below are those used in this e!ample. .ou will note that the particle behavior and profile siCe and opacity are well balanced: 0 The smoke particles are small close to the emitter source and become bigger as the smoke dissipates in the air. 0 The smoke particles are opa"ue at the beginning +yellowish# orange areas- and become transparent at the end +red#black areas-. 0 ' parameter with the profile indicated opposite does not vary during the period the particles are displayed and remains at the value you have chosen. The 3ariation represented by the 3 button is used to render the parameter with which it is associated more or less random. M18 click on the 3 icon to enter a numeric value in this field. $or e!ample, if the particles Si4e parameter is set at B@, a 3ariation with a value of 4B means that each particle emitted will have a random siCe ranging from 4B to HB. In the e!ample given above + isc > plu e$ury-, the variation function was used to attribute the particle Si4e, Spin and &i$e random values. 5ombined with the 5otion rando ness parameter and correctly used, the 3ariation function provides e!cellent results. It is almost impossible to tell that a computer was used to create this effectF
The tab Emitters > Particles > Shape

This tab is used to define the type of particles to be used.
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The Source popup menu is used to select either a default particle +circular with an opacity level decreasing towards the edges- or an image of your choice. 7hen re"uired, the image may be a brush, animated brush or current pro ect. In the case of brushes, you may select it using the file re"uester.
(pposite$ 'se of the defa'lt particle&
The Anti#aliasing option allows you to finaliCe the general aspect of the particles. 7e have already discussed this when studying the drawing tools +lesson 4 and lesson H-. The 6andle menu works in the same way as that encountered when studying the brush and animated brush tools. It defines the particle a!is which is the reference a!is when a spin is imposed on the particle. .ou may choose a handle located in the center of the particle +more precisely, in the center of the 67/ rectangle surrounding it- or in one of the four corners of the latter. 's a last resort, you may even place the handle manually. The 6andle is also used as a reference point when calculating collisions. $urthermore, if you need to calculate a collision, it may be wise to place the handle elsewhere than in the center of the particles in order to obtain better results +see diagrams below-.
7hen the Source chosen is an animated brush, the Ani ation popup menu is used to set the order in which the source images appear on the screen: # The 2one option authoriCes display of the 'nim8rush's first frame only. # The -nce option is applied to each frame of the animated brush one after the other and stops at the last. # The &oop option is also applied to each frame of the animated source one after the other, but starts a new cycle each time it reaches the last frame and so on until the particle dies +see predefined e!ample: o!"ects > coin$ountain-. # The Rando and &oop option randomly selects a start frame amongst the frames making up the animated source, then repeats these source frames in order starting from the selected frame. 7hen the source footage has come to an end, it starts again +see predefined e!ample: cartoon > eyes-. # The Ping pong option is used to first repeat the animated source frames in a rising order. Dnce the last frame is attained, it repeats the frames in a descending order and so on until the end of the particle lifespan. # The Rando option is used to display the animated source frames randomly.
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# The Rando at start option is used to display the animated source frames randomly for each particle, and then to keep it until the end of the particle life span +see predefined e!ample: o!"ects > tetris-. # The Particle age option varies the source frame displayed according to the age of its particle. 'll animated source frames are displayed once during the particle lifespan. # 7ith the Particle direction option the animated source frame chosen depends on the direction of the source in space. ' coin thrown into the air, for e!ample, will show one side on the way up and another on the way back down to the ground. # 7ith the Generator8s direction option the animated source frame chosen depends on the angle formed between the particles generator and the horiContal plane +see above in the chapter . itters tab page H with e!amples line, point, rectangle or ellipse-. # 7ith the . itter direction option the animated source frame chosen depends on the angle formed between the particles emitter and the horiContal plane +see below in the chapter . itters9Current tab, page 23-.
The Blend popup menu is used to choose the mode to be used when drawing the particles on the screen +color, !ehind, erase, etc,-. Mefer to the predefined e!ample +nature > sun- for an e!ample of how to use the Add mode. In lesson 4 you were given a detailed description of the drawing modes available in T*P 'nimation +the Su!stitute and 5i% modes refer to the modes encountered when using a spare image-. The Color source popup menu is used to modify the particles' color: # The Color option is used to give a tint of your choice to the particles +use the Color bo! and Alpha parameter-. 'n Alpha value of 2@@K will totally change the natural color of the particles. # The Gradient option is used to modify the color of particles emitted based on a color gradient +refer to the predefined e!amples: party > $irewor)s or isc > wor a-. # The 5ode menu contains some of the options already seen in the Ani ation menu above. =owever, these options do not apply to all consecutive elements of an animated brush, but to the colors of your particles in accordance with the color gradient chosen. The color gradients chosen to be applied to your particles will depend on the choices you make in this menu. In the e!ample +party > $irewor)scold* the particles' color covers the entire color spectrum of your particles for as long as they live. In the e!ample +party > stage lights* the particles' color is chosen randomly and kept as long as the particles live.
23#2G The Rendering > Particles Generator effect
The Emitters > Current tab

Let's take a closer look at the Current tab:
The Acti'e button either displays or hides the emitter named in the . itters popup menu +of course, your particle settings are retained-. This function will render your task easier when working with several emitters at the same time and a large number of particles are displayed on the screen. In order to understand the way the parameters described below work, we recommend you make full use of the Quic) pre'iew window. The Pre#Render parameter displays the particles on the screen after the number of seconds entered here have timed out. Let's go inside the framework of a typical set of particles +pyrotechnic > s o)etrailc-. &etting the pre#render value to 2@ seconds will ensure you do not see the outset of the flames as they will already be well developed right from the beginning of the animation. The Range parameter is used to define the emitter opening angle. The particles bundle will then be emitted within the arc defined. The Angle and Spin parameters are used to define the /irection in which the particles are e ected +see opposite-.
&ome e!amples:
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Ao not confuse /irection o$ e itter and /irection o$ the !undle of particles from the emitter. In the e!ample opposite: the emitter is a straight line at an angle of ?BE +obli"ue- and the direction of particles emitted is #J@E +to bottom right- with an opening angle of 2E.
The 2ew $irst check bo!, when checked, ensures that newly emitted particles are displayed in front of the older particles. The result obtained with the predefined e!ample +te%t > titre:- is similar to this option:
New first box not chec)ed
New first box chec)ed
'll other parameters: 2u !er, &i$e, Si4e, 3elocity, (eight, Bounce, Friction, -pacity, 5otion rando ness and Spin are the same as those encountered in the . itters > Particles > Current tab. =owever, in this case we are dealing with (master) controllers: they are set as a percentage and have a direct influence on all particles of the emitter at the same time. This is e!tremely practical when you wish to increase or decrease the siCe of all particles at the same time without modifying the siCe value for each type of particle emitted. This also eliminates the need for numerous calculations for each operation. The use of animation keys with the master controllers often allows you to save a great deal of time. To finish off, you may have noticed the animation key controllers ne!t to the . itters and Particles popup menus. These are used to create animation keys for all parameters of the emitter or particle named in the popup menu header at the same time.
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Lesson 19 The advanced functions of TVPaint Animation
In this lesson, you will learn to :

Go further about customized panels. Use the plug-ins at your disposal. Use the George scripting language. Use the recorder!.
"ustomized panels
Customized panels
Adding an action
In the lesson #, we ha$e seen how to create a custom panel and how to sa$e bryshes and colors inside. %owe$er, custom panels may also contain actions such as functions, scripts, etc... &heir icons and information may be changed also. 'dding an action is done using the panel at the bottom left of this page : ( Using the first two te)t fields you may define a name and in-line help comment for your future customized function . ( &he buttons and menus List, Tool and A color allow you to choose the icon corresponding to the action you will create.
*pposite you find the list of icons supplied with &+,aint 'nimation. &o create a new icon, you simply ha$e to create a brush with its image and select the Tool button.
( &he numbered lines are the actions to be carried out one after the other when you clic- on the icon corresponding to your function.
'bo$e you find the e)ample of an action which selects all images of the current layer, flips them and copies them all to a new layer.
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&he ad$anced functions of &+,aint 'nimation
"ustomized panels
The actions at your disposal.

1e$eral possibilities are a$ailable if you decide to create an action. 2ou can : ( 1elect a shortcut in the numerous program functions. 3see pre$ious page4 ( 1elect an 56-7in file stored in the 56-stac- to re-use it. ( Open Plug-in allows you to place a button to fast-start plugins. 3they will be introduced and e)plained in the ne)t section of this lesson4 ( Open panel allows you to create dependencies between your panels, i.e. you may display secondary panels from the main panel, for e)ample. &his may be useful for organizing your custom brushes or the contents of your $arious Bins.
( 8emo$e the current command. ( Insert a new command. ( 1elect a script command 3for e)ample : &+9"ircle, etc ...4 ( Grab the A color, B color or the current tool. ( It is possible to Grab the :ight &able. ( 2ou may call up a George automation script. ( Grab the tool only or with the A color or with the B color or with those two colors. ( 1elect a ;ey1tro-e, call a plug-in and open a &ool 7ar.
George Scripts and commands will be discussed further in this lesson.
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to manage the created actions.
*nce your buttons are created in the custom panel, other options become a$ailable: ( <ith a simple selection in your custom panel you may cut or copy the icons=actions that you ha$e >ust created. 2ou simply use the menu described abo$e to paste your icons=actions later. ( <ith a right clic- on an icon=action in the custom panel, you may edit, duplicate or delete it.
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%ow to use the plug-ins
Ho
to use the plug"ins
&o use the plug-ins at your disposal, you ha$e to : ( *pen a custom panel ( "reate a new button in this panel ( 1elect the plug-in you need as action to do for this button &he panel relati$e to the plug-in will then be $isible once you clic- on the corresponding button. &he Canon ,lug-in is a$ailable only if you ha$e selected it during the installation process of the software. It is a$ailable only on ," computers at this time.
The Color Factory plug"in

&he Color Factory plug-in allows you to modify the $alues of the 8,G,7 and 'lpha channels of the selected images, than-s to mathematical formulas. 3ie : 8,G,7 and 'lpha $alues of the pi)els of your images4 7ased on the additi$e color principle, all colors are mi)ture of red, green and blue 3more or less dar-4 in e)act proportions. @ach color can be bro-en up in $arious ways depending on the color system. 5or e)ample, the Slider tab of the Color Picker panel gi$es the numerical $alues of the ' color in the 8,G,7 and %,1,: color systems.
@ach te)t field of the Color Factory panel describes one component 38,G,7 or 'lpha4 and can contain a mathematical formula. &he new $alues of those components will be computed using the formulas you ha$e entered 3the 'lpha component indicates the opacity of the pi)els4. &he $ariables that you can use in your formulas are listed in the table below 3all in lower case4 : The varia#les $ r +alue of the Red component of the pi)el g +alue of the Green component of the pi)el # +alue of the Blue component of the pi)el a +alue of the Alpha component of the pi)el % ) coordinate of the pi)el y y coordinate of the pi)el <idth of the current pro>ect h %eight of the current pro>ect 'nd here are listed the arithmetic operators : Arithmetic &perators ( add ) subtract * multiply + di$ide '%amples $ .A ( ? B 0. .A ) C B .0 .A ( ? B DE .A + ? B C
It is possible to use parentheses , - in order to set priorities in your computations. If you donFt use them, the Color Factory plug-in will e$aluate the operations from the left to the right. 5or instance : .G0(? B / .G30(?4 B #
./-E &he ad$anced functions of &+,aint 'nimation
%ere are a few e)amples using the Color Factory plug-in. ( :etFs begin with a classic image without any modification :
( %ere is a negati$e of the pre$ious landscape :
( 7elow, the red and blue components of the landscape ha$e been in$erted : the s-y turned into orange and the road turned from red to blue. &he green component stay unchanged.
( &he Color Factory plug-in can also be used to create nice color gradients. &herefore, the formulas on the right panel below are more complicated.
( 7elow, simple additions ha$e been done with the red and green color channels in$erted.
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( %ere is the last e)ample : an opacity gradient from the top right to the bottom left of the image.
The Canon plug"in ,PC only&he Canon plug-in allows the user to retrie$e photos from a "anon digital camera and to put them directly into a &+,aint 'nimation layer. &his plug-in is $ery con$enient for the animator who want to wor- in stop-motion directly with the software. %ere are the steps to use the Canon ,lug-in with &+,aint 'nimation : ( <hat is reHuired : - &he "anon dri$er of your camera must be correctly installed in your system. 3Iicrosoft <indows only at this time4 - 2ou should ha$e a compatible "anon camera 3see the list in 'ppendi)4 powered and plugged into an U17 port of your computer. - 2ou ha$e to set your camera in play ack mode. JonFt use the shooting mode as it does not allow you to manage your camera $ia the computer.
Go lesson D to -now more about the !ideo input panel K
It is ad$ised always to close your +ideo Grabber and +ideo "anon panels before Huitting the software.
The Direct Show plug"in ,PC &nlyJirect1how is an application programming interface from Iicrosoft which contains a set of software libraries. It is a component of Jirect6 and allows to manage multimedia files. &he Jirect1how ,lug-in pro$ides support for U17, 1"1I, 5ire<ire, ... compatible hardwares. 3in theory all <indows Jri$er Iode 3<JI4 compatible hardwares4
The WaveForm plug"in

Generally spea-ing, an oscilloscope is an electrical eHuipment which allows you to monitor and measure periodic signal $oltages. If it is calibrated in order to recei$e $ideo signals, it is also called <a$e5orm monitor. In the audio$isual en$ironment, they are often used to chec- if the transmitted $ideo signal has its characteristics in conformity with the applicable broadcasting rules.
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*ur <a$e5orm ,lug-in allows the audio$isual professionals to use their classical tools. &han-s to this ,lug-in, it is now easy to chec- the integrity of a signal, manage calibration and colorimetric ad>ustments, control the $alidity of numerical signals, ... &he popup menu allows you either to select : ( ' "omposite <a$e5orm monitor ( ' +ector1cope ( ' "omponent <a$e5orm monitor &he monitors at you disposal in this <a$e5orm ,lug-in act as if all layers of the current picture where merged.
%ere are some options relati$e to the different displays at your disposal : ( &he "omposite <a$e5orm monitor can use luminance and=or chrominance signal3s4. ( &he +ector1cope can use two calibration sets : #D L and .MM L ( &he "omponent <a$e5orm monitor can use the 8,G,7 or 2,U,+ systems. :etFs now e)plain the other options : ( It is possible to set the lu"inosity of the display than-s to a mini-slider. ( &he reticule button allows to show or hide the different a)is and channels. ( If the transparency button is chec-ed, the blac- bac-ground will not appear when using the apply button. ( &he apply button allows you to copy on the current image the results obtained in the <a$e5orm ,lug-in panel.
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to use the . /eorge 0 scripting language

hat is /eorge 2
1ntroduction$
George is a programming language which allows you to use the numerous tools of &+,aint 'nimation. @$ery program written in this language is called George Script!. *ther softwares use sometimes the word Iacro! instead of 1cript!. ' George Script allows you to e)ecute specific &+,aint 'nimation command such as : "reate a new layer, draw a circle on this area, sa$e the current pro>ect, add a boo-mar-, etcN &hose Scripts are usually created to sa$e some time when e)ecuting a repetiti$e tas- is needed. @)perienced programmers use &+,aint 'nimation commands in order to create .dll ! plug-ins
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%ow to use the George scripting language
1ome George Scripts are a$ailable as e)ample with the software, but you can also create your own scripts and=or e)change them with members of the &+,aint "ommunity. 32ou can access the &+,aint forum here: http:==www.t$paint.com=forum=4
3inding4 'diting and 5sing George Scripts

'fter installing &+,aint 'nimation on your computer, George Scripts are located in the directory: C:/program files/TVPaint Animation/George Applications/TVPaint Animation/Contents/ esso!rce/George/ #indo$s. Apple OS-%.
&hose George Scripts are in fact usual '1"II te)t files and ha$e a .grg! e)tension. It is possible to edit or create them with any te)t editor li-e &otepad from 'icroso(t #indo$s or Te)t *dit from Iac *1-6. &he scripts are in theory wor-ing on the both standards ," and Iacintosh, whate$er the computer used to create them. &o use one of the George Scripts at your disposal, >ust follow the steps below: 9 open a custom panel 9 create a new button on this panel 9 select the action: -Set script- for this button 9 select a file with a .grg! e)tension in the file reHuester *nce finished, if you clic- on the >ust created button, the George Script will then be launched.
't e$ery moment, you can stop the e)ecution of a George Script by using the P@scQ -ey. ' window, indicating on which line the e)ecution of the script was stopped, should popup. *nce a George 1cript has finished its programmed tas-s, the Undo option of the &+,aint 'nimation main panel allows you to cancel all the changes it has generated.
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e%amples of George Scripts
*ften, George Scripts need an action from the user in order to be launched. 5or instance : &he George Script named long.grg! waits for a segment to be drawn on screen and finally returns its length. &he George Script called clock.grg! waits for a circle to be drawn on screen and finally draws a cloc- inside this one. &he George Script called utton +.grg! waits for a rectangle to be drawn on screen and returns a be$elled button inside it ' few George Scripts donOt need any action from the user to be started: itOs the case with the George Script called !+sur(ace.grg!.
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A#ove$ the results of the scripts$ #utton 64 Long4 Cloc74 6surface and Polystar
' few George Script are more complicated and some reHuesters may appear. It is the case with the George Script called Polystar.grg : during its e)ecution, a first reHuester as-s you to specify how many $ertices should be drawn. If you apply your script on an animated layer 3after selecting all its frames4, a second and third reHuesters will as- you more informations 3see below4
Programming in /eorge language

George is a scripting language which can do the basics: - :oops 3do the same thing n times4, - "onditional testing 3if this is true then do that4, - "omputations 3aGb, sin3a4,...4. &he George language is not particularly fast, but it is fle)ible and $ery easy to use. *n many points, George is comparable to the ,ascal language or other well -nown programming language. %owe$er itOs not aimed at de$eloping hea$yweight applications as are for e)ample the " or "GG languages. George is first and foremost a scripting language.
1nstructions and Commands

George needs classical instruction to structure the scripts: tests, loops, computation, conditional e$ents, etcN 5or a better readability, all the instructions will be written in green in this manual. 5or e)ample : 1f4 'lse4 'nd4 3or4 8o4 5ntil4 9hile4 : for conditionals tests Cos4 ;in4 Tan4 <nd4 : for computations 2ou can also call in your scripts &+,aint 'nimation commands, which call specific tools of the software. &hey can be differentiated from the classical George instruction because they all begin with the tv= prefi). 3&hey will be written in blue color4 5or instance : ( &he command tv=LayerCreate allows you to create a new layer. ( &he command tv=;ave>rushAnim sa$es the current brush on the hard dri$e. ( It is possible to change the colors of the bin tab than-s to the tv=;etPalette command ( @tcN 32ou will find in appendi) the complete instruction and command listings of the George :anguage.4 'll &+,aint 'nimation commands need their own arguments and return some $alues as answer. 5or e)ample, the t$9:ayer"reate command needs a name for the layer that you want to create.
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&his command returns some information regarding your layer: opacity, number of pictures, place of the timeline,N 1o you can reuse or modify them. It would be too long to enumerate here the arguments and the return $alues of each George command. 'll those parameters are fully e)plained in the de$elopper -it 31J;4 of &+,aint 'nimation. &he 1J; is a$ailable on demand at the email address: t$paintRt$paint.fr
Ia-e sure to differentiate George instructions 3which often start with a sharp : ?4 and George commands for &+, 'nimation 3which always start with the tv = prefi)4. &he commands act on the software itself and on your current display whereas George instructions are used to write the structure of the program 3conditionals, computations, loops, ...4
1ince appro)imati$ely .M years, all the softwares using the &+,aint technology offers a scripting language. %ere are some informations regarding the compatibility between those scripting language : If you upgraded to &+, 'nimation, your old scripts should still wor-. %owe$er, some recent commands 3for instance: TV=Add>oo7mar7s4 are not a$ailable in older products using the &+,aint &echnology. 3'ura, Iirage,N4
An e%ample of program
ritten in /eorge.
&he program on the ne)t page comes from the file cloc-.grg. It allows you to draw a clocdisplaying the current time on the pro>ect window.
<e suggest you create a button assigned to this script in a custom panel, as e)plained pre$iously. 'fter this operation, it should be easy for you to test this George Script in the pro>ect window. *nce this stage is passed, you can try to edit the George Script, to modify it and to test it again in &+,aint 'nimation. &his should help you learn the basics of the George :anguage.
&he best way to get used to George scripts is probably to try the e)ample programs that come with &+,aint 'nimation. 1tudy them and ma-e small alterations to them, then run them and see the effects of your changes.
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&he clock.grg script : Param "ircle == &+,aint should wait for the coordinates of a circle before running the == program. &he user must therefore draw a circle to start the program. Parse result command ) y r button == 5etches the coordinates of the userOs circle. if cmp3command,S"ircleS4BBM tv=9arn S&his program needs the coordinates of a circle KS e%it == If there are no coordinates for a circle, warn the user and end the program. 'nd tBtime parse t h m s == 5etches the hours 3h4, minutes 3m4 and seconds 3s4 of the current time. mBmGs=CM == &he seconds can slightly alter the minutes arm of the cloc-. tv=Pen r=?M == 1elects a pen proportional to the cloc- size. tv=Circle ) y r == Jraws the outline of the cloc-. angB?CM=.0 dBr-3r=.M4 ?for iBM to ?CM-ang step ang == :oop to draw the .0 hour mar-ers on the clocTaBcos3i4(d TbBsin3i4(d tv=8ot )Ga y-b M ?end iBh(?CM=.0 dBr=0 aBsin 3i4(d bBcos 3i4(d tv=Line ) y )Ga y-b iBm(?CM=CM dBr-3r=A4 aBsin3i4(d bBcos3i4(d tv=Line ) y )Ga y-b == Jraw in the hours
== Jraw in the minutes
== @nd of the e)ample
Commands 8escription
%ere are some information regarding the commands that you can find on the pre$ious page : 7elow, each command will be followed by the synta) of the $ariables it reHuires. 5or e)ample, to draw a straight line from one point to another, you must gi$e the coordinates of the start point then the end point.
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&he synta) to draw such a line would be: tv=Line %1 y1 %@ y@ AB+1C &he AB+1C parameter indicates that you can use either the left ABC or the right A1C mouse button. &his is optionalU by default, itOs always the left button that will be used. &o summarize : P Q +ariables inside sHuare brac-ets are optional. = &he =! symbol separates se$eral options of which only one is used. 5or instance, M=. means either M or .. tv=Circle % y r AB+1C &his command allows you to draw a circle with a radius r and a center located on the pi)el with 3),y4 coordinates. &he AB+1C parameter indicates that you can use either the left ABC or the right A1C mouse button. *f course, the circle will be drawn on the current image on the current layer. tv=8ot % y AB+1C this command allows you to use the current tool 3airbrush, pen, custombrush,N4 on the pi)el with 3),y4 coordinates, in the current image on the current layer. &he AB+1C parameter indicates that you can use either the left ABC or the right A1C mouse button. tv=9arn te%t &his command displays a popup dialog bo) containing the character string te%t and an o-! button. &he character string must be surrounded by Huotation mar-s. tv=Pen size &his command allows you to select the pen tool with its current parameters 3drawing mode, opacity, power, ...4 and change its size.
2ou should always remember that a George 1cript will use &+, 'nimation as it finds it, i.e. with the functions and options that are currently set. 5or instance, if you want to draw a red line with a George 1cript, the script needs to be told more than >ust the line coordinates. Unless you e)plicitly tell it to use a red color, your script will go ahead and use the current color when the script is run, whate$er it may be. 1imilarly, if when you run the script it is in the Behind or Colori,e drawing mode, you wonOt e)actly be getting the clean line you were hoping for.
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useful options
It is now time to e)plain some programming con$entions: .V4 ' sharp character T at the beginning of a line will not affect the e)ecution of the script. 5or instance, the line : Pause 0M will pause the e)ecution of your script during 0M seconds. 'nd the following script line will ha$e the same result : ?Pause 0M
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0V4 2ou can use only one instruction or command on the same line. 5or instance, if you use the following line in a script : Print Dwait a littleS Pause 0M 'n error message will be returned. &he two lines below will not return any error messages : Print Swait a littleS Pause 0M ?V4 @$erything on a line that is after a double slash == is ignored. &hey are only comments that ha$e been put into the script to ma-e it more understandable and readable by humans. 5or instance, the line : Pause 0M == wait 0M seconds ma-es &+,aint 'nimation wait during 0M seconds. %owe$er, the line : ++ Pause 0M will not pause the e)ecution of your script.
&+, 'nimation sees no difference between uppercase and lowercase letters. 5or instance, TV=layercreate4 tV=LaEe<c<eAt'4 tv=LAE'<C<'AT' are all e)actly the same command.
Ho
to use the varia#les
It is not necessary to declare the types of your $ariables in a George 1cript. 5or instance, you can write the two lines below in a script without declaring that the $ariable 'y&u" er is numeric or the $ariable Ans$er boolean.
'y&u" erB.M Ans$erBfalse
's for commands and instructions, the George language sees no difference between uppercase and lowercase letters. 5or instance, 'y&u" er- "ynu" er'.&/'B*R- 'y&u' *r are all e)actly the same $ariable.
&he George language use a few reser$ed $ariables in order to wor- correctly. 2ou can use them as you wish, but it is not ad$ised to modify them. &hat is the case with the two $ariables Ti"e and Result 3encountered in the cloc-.grg script abo$e4 which contains respecti$ely the current time and the results of the last used &+, 'nimation command.
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The operators at your disposal

Arithmetic &perators " negati$e ** e)ponent * multiplication + di$ision ( addition " subtraction Logic &perators FF and 11 or <elated &perators GG eHual HG not eHual to ! greater than !G greater or eHual than I less than IG less or eHual than '%amples $ .A -W -.A .A((?B.A(.A(.ABDA?0 .A(?BDE .A=?BC .AG?B0. .A)CB.0 '%amples $ aXXb aIIb '%amples $ )BBC )KBD )WE )WB? )YA )YB#
)BB)G0 )KBy-? )Wy-z )WBz=y )Y-y )YB)GD
&he B operator is an assignment operator and allows to assign a gi$en $alue to the $ariable of your choice. 5or e)ample : IyZumber*f:ayersBD
&he BB operator is an comparison operator between two $ariables, usually used during conditional tests. 5or e)ample : if aBBD
&he comparison operator is not appropriate if want to -now if two non numerical $ariables are eHual. 5or this, you need to use the instruction cmp, as shown in the clock.grg script abo$e : if cmp3command,S"ircleS4BBM
The Param and Parse instructions4 the launching modes.

&he instruction Parse allows you to split up a character string into smaller character strings 8ainbowBSred orange yellow green blue indigo $ioletS Parse 8ainbow color. color0 color? tv= arn color. == displays red tv= arn color0 == displays orange tv= arn color? == displays yellow green blue indigo $iolet
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Usually, each George Script begins with the Param instruction. It allows you to choose which action will ha$e to be done by the user in order to start the script e)ecution : drawing a circle, a segment, a rectangle ... ( &he script line : Param Zone allows the George Script to be e)ecuted without waiting for an user action. ( &he two script lines : Param 1ingle Parse result command ) y button allows you to e)ecute a George Script after a simple mouse clic- on the pro>ect window. - &he character string 0 single1 will be assigned to the $ariable called co""and if a point is drawn on the screen. - &he point coordinates will be assigned to the $ariables ) and y. - &he button selected by the user to draw the point will be assigned to the $ariable called utton. 3. for 8I7, M for :I74. ( <ith the following script lines : Param :ine Parse result command ). y. )0 y0 button &he George Script will be launched only if a segment is drawn on the pro>ect window. - &he character string 0 Line 1 will be assigned to the $ariable called co""and if a line is drawn on the screen. - &he coordinates of the points at the ends of the segment will be assigned to the $ariables ). y. and )0 y0 3 see opposite 4 - &he button selected by the user to draw the line will be assigned to the $ariable called utton. 3. for 8I7, M for :I74. ( <ith the two script lines below : Param "ircle Parse result command ) y r button &he George Script will be launched only if a circle is drawn on the pro>ect window. - &he character string 0 Circle 1 will be assigned to the $ariable called co""and if a circle is drawn on the screen. - &he coordinates of the circle center will be assigned to the $ariables ) and y. - &he radius of the circle will be assigned to the $ariable r. - &he button selected by the user to draw the circle will be assigned to the $ariable called utton. 3. for 8I7, M for :I74. ( <ith the following script lines : Param 8ectangle Parse result command ). y. )0 y0 button
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&he George Script will be launched only if a rectangle is drawn on the pro>ect window. - &he character string 0 Rectangle 1 will be assigned to the $ariable called co""and if a rectangle is drawn on the screen. - &he coordinates of the points at the ends of the rectangle will be assigned to the $ariables ). y. and )0 y0 3 see opposite 4 - &he button selected by the user to draw the rectangle will be assigned to the $ariable called utton. 3. for 8I7, M for :I74. ( <ith the two script lines below : Param 5reehand Parse result command ) y button &he George Script will be launched only if a freehand cur$e is drawn on the pro>ect window. - &he character string 0 Freehand 1 will be assigned to the $ariable called co""and if a cur$e is drawn on the screen. - &he button selected by the user to draw the cur$e will be assigned to the $ariable called utton. 3. for 8I7, M for :I74.
The character strings

It is important to -now how to use the character strings because they usually plays a part in numerous situations. 5or e)ample, in the following script lines, a loop allows to load the pro>ects : J:=cartoon?.t$p, J:=cartoonE.t$p, ... ... ... J:=cartoon.D.t$p, J:=cartoon.C.t$p. 3or numberB? to .C Zame*f&he5ileBSJ:=cartoonSnumberF.t$pF tv=loadproJect Zame*f&he5ile 'nd 's shown abo$e, you will ha$e to use simple Huotation mar-s 3F...F4 or double Huotation mar-s 3FF...FF4 in order to differentiate $ariables from character strings. In the e)ample abo$e : n!m"er and #ame$fTheFile are $ariables D:/cartoon and %tvp are character strings &he $ariable #ame$fTheFile recei$e the concatenation of D:/cartoon& n!m"er and %tvp In other words, the character strings ':/cartoon and %tvp, the $ariable n!m"er ha$e been >oined end to end in order to create the $ariable #ame$fTheFile% It is possible to use the Concat instruction to >oin end to end character strings and=or $ariables. &he following lines ha$e the same effect : Zame*f&he5ileBnumberF.>pgF Zame*f&he5ileBConcat3number,.>pg4 If you need to use simple Huotation mar-s 3F...F4 or double Huotation mar-s 3FF...FF4 in your character strings, you must surround them with the other Huotation mar-s at your disposal, as shown in the e)ample below :
./-.C &he ad$anced functions of &+,aint 'nimation
Print F Iy prefered animation program is S &+, 'nimation S F == will surround the name of the software with double Huotation mar-s. Print S Iy prefered animation program is F &+, 'nimation F S == will surround the name of the software with single Huotation mar-s.
The arrays
's in other programming languages, George can create and use arrays with one, two or more dimensions. &o create an array, you only need to add parentheses or sHuare brac-ets after the name of a $ariable. 2ou can use either parentheses or sHuare brac-ets. 5or instance, Iy'rray3i4 or Iy'rrayPiQ represent the same array with one dimension. Iy'rray3i,>4 or Iy'rrayPi,>Q represent the same array with two dimensions. Iy'rray3i,>,-4 or Iy'rrayPi,>,-Q represent the same array with three dimensions. 'nd so on ... <ith the George language, it is not necessary to indicate or declare the dimension or the number of elements before using an array. In the e)emple below, an array called color with one dimension was created. It contains four elements : SIagentaS, S"yanS, S2ellowS and S7lac-S <e used a loop to display its content. colorP.QBSIagentaS colorP0QBS"yanS colorP?QBS2ellowS colorPEQBS7lac-S 3or iB. To E tv= arn colorPiQ 'nd 22 displays each color 3 4'agenta4- 4Cyan4- 4.ello$4 22 and 4Black4- in a dialog o).
3unctions and procedures

:etFs assume that you are writing a script which needs some instructions, conditional tests, etc ... to be e)ecuted se$eral times. 35or instance, a script which tests the pi)elFs colors se$eral time and acts differently depending on the obtained results. 4 "opying the same lines se$eral time in a George 1cript can Huic-ly become fastidious. It doesnFt ma-e the things easier when you need to chec- or modify your script. &hatFs the reason why writing procedures and functions is $ery con$enient : ( ' function is a set of instructions and commands which allows you to e)ecute a precise tasinside a George 1cript. &he functions are independent from the remainder of the George 1cript and are located at the end of the script.
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&he part of a George 1cript which distinguish itself from the function3s4 will be called main part of the script!. 'll the functions are a$ailable at any moment in order to be used by the Iain part of the script. ' function can recei$e parameters and always returns a result. ( ' procedure is a function which does not return results. %ere is an e)ample of a script using a function : 3*f course, using functions is really useful when you ha$e to create bigger and more sophisticated scripts 4
Param 1ingle Parse result command abscissa ordinate button tv= arn Test>lac7Color3abscissa,ordinate4 == Iain part of the script [ == - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - == 5unction \ 3unction Test>lac7Color3),y4 Local r g b alpha sum tv=getpi%el ) y Parse result r g b alpha 1f alphaYWM sumBrGgGb 1f sumBBM <eturn S the pi)elFs color is blac- S 'lse <eturn S the pi)elFs color is Z*& blac- S 'nd 'lse <eturn S the pi)el is transparent S 'nd 'nd
&he line : tv= arn Test>lac7Color,a#scissa4ordinate"an be replaced by the two following lines : 'nswerBTest>lac7Color,a#scissa4ordinatetv= arn 'nswer %ere is the synta) of the instructions relati$e to the procedures and functions : 3unction Kame&fThe3unction ,Varia#le14 Varia#le@4 Varia#leL4 etc ... &his instruction declares the e)istence of a function or a procedure in a George 1cript. 3there is no instruction called procedure 4 &his instruction is followed by the procedure or function name, and then by the name of the $ariables 3from the main part4 that are needed. 5unctions and procedures must always be located after the main part of your script. "alling a function or a procedure in the main part of your script can be done by writing its name and the needed $ariables between parenthesis, separated by comas.
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Local LocalVaria#le14 LocalVaria#le@4 LocalVaria#leL4 etc ... &his instruction allows you to specify the $ariables which will be used solely inside your function or procedure. <eturn <esult &his instruction allows you to specify the result of your function and to ma-e it a$ailable in the main part of the script. It could be a character string, a numerical $alue, a boolean $alue, etc ... In the main part of your script, it is possible to sa$e it into a $ariable, and after to re-use it. &his instruction is optional. If you donFt use it, you ha$e created a procedure instead of a function. 'nd &his instruction is needed to finish your function or procedure.
&he functions and procedures written in George language can be recursi$e. In other words, a function can call itself. It allows you to create more sophisticated scripts. 5or instance, drawing a fractal cur$e can be done than-s to a recursi$e script 3see below4
Ho
to create li#raries of functions and procedures.
<e ha$e >ust seen in the last chapter that it was possible to create your own George functions and procedures. &his may be ta-en e$en further as you can store your functions and procedures in .grg files and you can re-use them in other scripts written in George. In other words, you can create your own libraries. &o insert one of your libraries in a George 1cript, you only ha$e to write the following line in your script : ?1nclude SIy:ibrary.grgS
&he instruction T(ncl!'e will search the file called 'yLi rary.grg in the directory containing the current George 1cript or in the root directory of &+,aint 'nimation. &he following line allows you to specify a more precise access path, from the base directory :
?1nclude SIy5older*f:ibraries=Iy:ibrary.grgS
,lease read the (nitiali)ation File section in the appendi) of this user-manual if you want to change the root directory of &+, 'nimation. &wo e)amples of libraries are a$ailable in the directory :
&he ad$anced functions of &+,aint 'nimation ./-./
C:/program files/TVPaint Animation/George/(ncl!'e Applications/TVPaint Animation/Contents/ esso!rce/George/
#indo$s Apple OS-%
&hey are called Basic.grg and Ad5anced.grg and are related to character strings management. ? 1nclude Sinclude=basic.grgS ? 1nclude Sinclude=ad$anced.grgS &o ma-e them a$ailable in the George 1cripts gi$en with the software, you only need to add the opposite lines at the end of those scripts :
The Start!p%grg file

't startup, the first thing that &+,aint 'nimation does 3after displaying the main toolbo), but before gi$ing control to the user4 is to run the Startup.grg script 3which should be in the same directory as the other scripts4. <hen there is no Startup.grg file, nothing will happen. *therwise, you ha$e at your disposal a startup file that gets run e$ery time you load &+,aint 'nimation. If, for e)ample, you rename the Logo.grg file to Startup.grg, it will load the &+,aint J]$eloppement logo to screen e$ery time you run &+,aint 'nimation. 2ou could also, than-s to a simple George script, define all your preferred parameters. 5or instance : load a pro>ect from your harddri$e, change the current colors, add some layers to your pro>ect, etcN
The TVPaint Animation Plug"in developpement

's e)plained before, George is not the only program that can send commands to &+,aint 'nimation. 'ny other program could theoretically do so. @)amples using an @)cel script, a " program or other languages are certainly concei$able. 7esides, it is possible for e)perienced users or third-party companies to create Plug-ins that can be used with &+,aint 'nimation. &hose Plug-ins allows you to add customized tools to the software li-e effects on pictures, new drawing modes, new tools or new functions. &he ,lug-in may be in the .dll 36yna"ic Link Li rary7 file format, which can be obtained than-s to a compiler. .dll files are not readable in a te)t editor, unli-e the classical George 1cripts. 5or more details about this sub>ect, please $isit the &+,aint Je$eloppement forum. 2ou can also as- us the de$elopment -it 3also called 1J;4 at the email address : t$paintRt$paint.fr &his -it contains source codes for interface functions, documentation and some detailed plug-in e)amples.
Adding arguments
2ou can add arguments to the e)ecution of &+,aint 'nimation. &hese arguments are : - images 3>ust write the path and file name4, - scripts 3synta): scriptB,ath'nd5ileZame.grg4, - george commands 3synta): cmdBGeorge"ommand4. 5or e)ample : &+,aint 'nimation.e)e SIyImageS SscriptBIy1cript,ath'ndZame.grgS ScmdBIyGeorge"ommandS
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&he Jrawing 8ecorder
The 8ra ing <ecorder

&he aim of the 6ra$ing Recorder panel 3#indo$s 8 /tilities4 is to store all the stro-es of the user when he is drawing. <ith this feature, it is possible to create an animation from a static drawing. 1o the result of the 6ra$ing Recorder is an animation which shows each step of the drawing and how it has been constructed. Zote that it is possible to change the current tool during the drawing and the timing of the drawing is preser$ed when the animation is created. @ach time the content of the image changes, a new image is added in the animation of the 6ra$ing Recorder. &he original image which was drawn, while the 6ra$ing Recorder was running, ? letters with ? different tools.
The animation4 #ased on the original image4 created than7s to the dra ing recorder.
&he 6ra$ing Recorder panel is $ery simple, three buttons and a pre$iew.
( &he menu abo$e allows you to choose to preser$e the alpha channel 3Current layer4 or not 36isplay4. ( &he pre$iew area and the slider below it allow to see and na$igate between each frame of the record. ( &he 8ecord=,ause button starts or pauses the recording. ( <hen the user thin-s he has finished his wor-, the new ,ro>ect button allows you to create a new pro>ect and store all the stro-es=frames of the recording. ( 'nd with the 1-ull button , it is possible to delete the current recording to be able to start a new one.
&he Tutorial recorder &his custom panel allows you to record easily your &+,aint 'nimation interface. &his is really useful, especially to create tuorials. &his panel can be found in the menu Custo" panels9.
&he first button is used to start the record, whereas the second allows to stop and generate an images seHuence into the &+,aint 'nimationFs timeline.
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Appendix
The video cards compatible with TVPaint Animation (Pro). The digital camera working with the Canon Plug-in. The George commands and instructions. The e port !ile !ormats. The available ke"board shortcuts. The technical support and #esources.
The video cards compatible with TVPaint Animation (Pro)

$or both video input and%or output& some video cards are compatible with TVPaint Animation (Pro)' (ere is the complete list& with all the !eatures detailed (onl" !or PC at this time) '
Video Output
Possibilit" to view "our )eeds a The current work on rendered pro*ect TVPaint preview window (with Animation be!ore being opacit" Pro and the available on values) can video the video be ke"ed over hardware hardware a live video
Video nput
Possibilit" to displa" the current video in the pro*ect window
Hardware Model
Native file format
+mage grabber option
!eitch
Velocit",
"dps
!eitch
Velocit" (-
.hould be added in the ne t updates o! TVPaint Animation Pro
#P$
PA# - PV# (oll"wood
Matrox
-igi.uite -igi.uite /0 -igi.uite -TV
"avi
Newte%
VT)T VT123 4 VT153
"rtv
#V
compatible with 6(C+ 7589
"rtv
&#M
:eb Cam -igital Camera
'luefish (((
)uic%time avi cineon
'luefish ((( H#
.hould be added in the ne t updates o! TVPaint Animation Pro
* Available
* Not available
A-2
Appendi
The hardware native !ile !ormats& i! the" are available& are used b" TVPaint Animation Pro and "our video card during the video import and%or e port process.
Appendi
A-5
The digital camera working with the Canon Plug-in (PC onl")
The di+ital camera wor%in+ with the ,anon Plu+-in (P, onl.)
Please !ind below the list o! theoricall" supported models regarding the canon .-; we used !or this plugin (PC onl" at this time)
Power.hot A7<& Power.hot A2<& Power.hot A5<& Power.hot A9<& Power.hot A=<& Power.hot A><& Power.hot A>?& Power.hot A@<& Power.hot A@?& Power.hot A8? Power.hot A7<<& Power.hot A2<<& Power.hot A5<<& Power.hot A57<& Power.hot A9<<& Power.hot A?7<& Power.hot A?2< Power.hot .7<& Power.hot .2<& Power.hot .5<& Power.hot .9<& Power.hot .9?& Power.hot .?<& Power.hot .=<& Power.hot .>< Power.hot .7<<& +AB -+G+TA/& -+G+TA/ +AC. Power.hot .77<& +AB -+G+TA/ 2<<& -+G+TA/ +AC. v Power.hot .2<<& +AB -+G+TA/ 2<<a& -+G+TA/ +AC. v2 Power.hot .25<& +AB -+G+TA/ 52<& -+G+TA/ +AC. v5 Power.hot .5<<& +AB -+G+TA/ 5<<& -+G+TA/ +AC. 5<< Power.hot .55<& +AB -+G+TA/ 5<<a& -+G+TA/ +AC. 55< Power.hot .-7<<& +AB -+G+TA/ 5<& -+G+TA/ +AC. ++ Power.hot .9<<& +AB -+G+TA/ 9<<& -+G+TA/ +AC. 9<< Power.hot .-7<& +AB -+G+TA/ /& -+G+TA/ +AC. i Power.hot .-77<& +AB -+G+TA/ 5<a& -+G+TA/ +AC. ++s Power.hot .97<& +AB -+G+TA/ 9?<& -+G+TA/ +AC. 95< Power.hot .?<<& +AB -+G+TA/ ?<<& -+G+TA/ +AC. ?<< Power.hot .-2<& +AB -+G+TA/ /2 & -+G+TA/ +AC. i? Power.hot .-2<<& +AB -+G+TA/ 9<& -+G+TA/ +AC. 5< Power.hot .-5<<& +AB -+G+TA/ ?<& -+G+TA/ +AC. 9< Power.hot .-9<<& +AB -+G+TA/ ??& -+G+TA/ +AC. ?< Power.hot .-?<<& +AB -+G+TA/ =<<& -+G+TA/ +AC. ><< Power.hot G7& Power.hot G2& Power.hot G5& Power.hot G?& Power.hot G= Power.hot Pro8< +. Power.hot .7 +.& Power.hot .2 +. Power.hot Pro7
The /O$ class o! digital cameras are not supported at this time.
The 0eor+e instructions

(ere is the complete list o! George instructions '
abs acos asin atan break char cos cmp cut
date do...until e it len !or i!...else...end ma min param
parse pause print rnd sin sDr tan time trunc
version while concat !or...to...end !unction local return while...end
A-9
Appendi
The George language commands
The 0eor+e lan+ua+e commands

(ere is a non e haustive list o! George commands '
tvEairbrush tvEalphaloadmode tvEalphasavemode tvEareadraw tvEareainit tvEareamove tvEtvpaint2back tvEtvpaint2!ront tvEbackground tvEblend tvEbookmarksenum tvEbookmarkset tvEbookmarkclear tvEbookmarktoggle tvEbookmarkne t tvEbookmarkprev tvEbrushcut tvEbrush!romclipboard tvEbrushin!o tvEbrushpol" tvEbrushrestore tvEbrushtoclipboard tvEbump tvEcircle tvEcircle!ill tvEclear tvEcolor!actor" tvEcraF"blur tvEdensit"line tvEdensit"line" tvEdensit" tvEdensit"" tvEdispla" tvEdot tvEellipse tvEellipse!ill tvE!astline tvE!ieldcop" tvE!ielddouble tvE!ilein!o tvE!ill tvE!ilter tvE!irstimage tvE!lipimage tvE!lipimage" tvE!i motion tvE!ramerate tvEgauge tvEgblur tvEgetactivetool tvEgetactiveshape tvEgetapen tvEgetbpen tvEget!ield tvEgetheight tvEgetmouse tvEgetpalette tvEgetpath tvEgetpi el tvEgetpi eldispla" tvEgetpi ella"er tvEgetpro*ectname tvEgetuser tvEgetwidth tvEghostline tvEgrab tvEimage!romclipboard tvEimagetoclipboard tvElastimage tvEla"eranim tvEla"ercop" tvEla"ercreate tvEla"ercurrentid tvEla"ercut tvEla"erdensit" tvEla"erdispla" tvEla"erduplicate tvEla"er!etch tvEla"ergetid tvEla"ergetimage tvEla"ergetpos tvEla"erhold tvEla"erimage tvEla"erin!o tvEla"erinsertimage tvEla"erinvert tvEla"erkill tvEla"ermerge tvEla"ermergeall tvEla"ermove tvEla"erpaste tvEla"errename tvEla"erselect tvEla"erselectin!o tvEla"erset tvEla"ershi!t tvEla"erstencil tvEla"erstretch tvEline tvElistreDuest tvEloadbrush tvEloadbrushanim tvEloadimage tvEloadpalette tvEloadpro*ect tvEloadseDuence tvEloadspare tvElockcache!lush tvElockdispla" tvElockmouse tvEmagicnumber tvEmenuhide tvEmenushow tvEmosaic tvEnoise tvEnop tvEpanning tvEpenbrush tvEpencil tvEperswrap tvEpiccolor tvEpreserve tvEpropelling tvEpro*ectclose tvEpro*ectcurrentid tvEpro*ectduplicate tvEpro*ectenumid tvEpro*ectin!o tvEpro*ectnew tvEpro*ectselect tvEreadpro*ectstring tvEoilbrush tvEDuit tvErangeclear tvErangegrab tvErangenoise tvErangeset tvEratio tvEreaduserstring tvEreadte t!ile tvErecorder tvErect tvErect!ill tvEredo tvEreDangle tvEreD!ile tvEreD!loat tvEreDnum tvEreDstring tvEreDuest tvEresetdispla" tvEresiFepage tvEsavebrush tvEsavebrushanim tvEsavedispla" tvEsaveimage tvEsavemode tvEsavepalette tvEsavepro*ect tvEsaveseDuence tvEselectshapetool tvEserialnumber tvEsetapen tvEsetbpen tvEsetcolor tvEsetpalette tvEshadow tvEsmooth tvEsmoothdensit" tvEsmoothedge tvEspareadddensit" tvEsparecop" tvEsparekill tvEsparesubdensit" tvEspareswap tvEsparetoback tvEspareto!ront tvEspecialbrush tvEspeed tvEstacksavebin tvEstacksave tvEstackloadbin tvEstackload tvEstacke ecutebin tvEstacke ecute tvEstackopen tvEstackclose tvEstackappl" tvEstackclear tvEstart!rame tvEstrokepoint tvEstrokesiFe tvEtcmode tvEte tbrush tvEte ttool tvEtornado tvEundo tvEupdateundo tvEunlockcache!lush tvEunlockdispla" tvEunlockmouse tvEversion tvEv!get!ont tvEv!stringsiFe tvEwaitbutton tvEwarn tvEwarpbrush tvEwave tvEwetbrush tvEwritepi el tvEwriteuserstring tvEwritepro*ectstring tvEFdot tvEFline tvEFspline
Gore in!ormation ' http'%%wiki.tvpaint.com%

Appendi A-?
The main characteristics o! the e port !ormats '
The main characteristics of the export formats 1

Bou can e port pro*ects !rom TVPaint Animation using several di!!erent !ile !ormats. -+P& AV+& G+$& ,C+C;T+G0& -PA& $/+& P)G& PCA& .C)#A.T0#& P.-& TGA& HPG& +/IG& T+$$ & IGP. And "ou have these !urther !ormats !or TVPaint Animation Pro' $/B0# C/+P& -7 #TV& C+)06)& .G+& .6$T+GAG0& VPI. J The $/B0# C/+P !ile !ormat lets "ou e port an animation that "ou can use with the VideoToaster $l"er !rom )ewtek. The animation is saved as a single !ile and has usuall" a resolution o! >?2 9@<. J Bou can use the -7 #TV !ile !ormat in order to e port an animation usable with the VideoToaster !rom )ewtek . The animation is saved as a single !ile and has a resolution o! >?2 9@= !or )T.C ans >2< ?>= !or PA/ J The C+)06) e port !ormat was created b" the 0astman ;odak Compan" in order to be used with their scanners and recorders. +t uses logarithmic data (7< bits). J The VPI !ormat is native to the ,uantel Video Paintbo . +t uses 29 bits per pi els (more than 7= millions o! colors). Although the VPI !ormat use stencils and la"ers& TVPaint Animation Pro does not translate its la"ers into VPI la"ers at this time. The other e port !ormats are classi!ied in the table below.
* Available 2 possible for this file format * Not available or not recommanded for this file format
/xport Animation ma+e or ma+e 3ile format 1 as sin+le file se)uence TVP (AC# G+#) -+P AV+
,olors 4 bits 1 567 colors 5( bits 87"999"587 colors $ave Opacit.
Other options $ave ,ompression !a.ers
G+$ -
6ne transparent color
,C+C;T+G0 -PA $/+
A-=
Appendi
The main characteristics o! the e port !ormats ' /xport P)G PCA .C)#A.T0# P.TGA HPG ,olors Other options
IGP
in TVP
+/IG T+$$ .G+ -
.6$T+GAG0
Appendi
A->
The available ke"board shortcuts and commands
The available %e.board shortcuts and commands

:All ,ommands; Tools' #ight Gouse Iutton Cndo' Gulti #edo Cndo' /ast Action Cndo' Pro*ect' #edo Cndo' Pro*ect' Cndo Cndo' $A .tack' #edo Cndo' $A .tack' Cndo Color' Pick Color' Pick I Color TVP Animation' Gagic )umber TVP Animation' (elp +mage Iu!!er' (old +mage Iu!!er' $etch .pare' Cop" To .pare' 0 change Clipboard' .ave +mage Clipboard' /oad +mage Clipboard' .ave Irush Clipboard' /oad Irush $ile Pro*ect' )ew $ile Pro*ect' 6pen $ile Pro*ect' .ave $ile Pro*ect' .ave As $ile Pro*ect' .ave all $ile Pro*ect' Close Pro*ect' Clip' .ave Current Clip TVP Animation' ,uit TVP Animation' +coni!" Printer' Con!ig Printer' Print Twain' AcDuire $ile +mport' Pro*ect $ile +mport' .eDuence $ile +mport' Irush $ile 0 port' .eDuence $ile 0 port' Irush +nter!ace' 6pen Gain Panel +nter!ace' Close Gain Panel +nter!ace' Toggle Gain Panel +nter!ace' 6pen Genu Panel +nter!ace' Close Genu Panel +nter!ace' Toggle Genu Panel +nter!ace' Toggle Tools Panel +nter!ace' 6pen Tools Panel +nter!ace' Close Tools Panel +nter!ace' Toggle $A Panel +nter!ace' 6pen $A Panel +nter!ace' Close $A Panel +nter!ace' 6pen Time /ine Panel +nter!ace' 6pen A.heet Panel /a"er' .et $rame #epeat +nter!ace' 6pen Pro*ect Panel +nter!ace' Toggle /ightTable Panel +nter!ace' 6pen /ightTable Panel +nter!ace' Close /ightTable Panel /a"er' /ight Table' 6ut 6! Pegs #eset ;e"s /a"er' /ight Table' 6ut 6! Pegs 0dit )e t ;e" /a"er' /ight Table' 6ut 6! Pegs 0dit Prev ;e" +nter!ace' Toggle Palette Panel +nter!ace' 6pen Palette Panel +nter!ace' Close Palette Panel +nter!ace' Toggle /a"er Panel +nter!ace' 6pen /a"er Panel +nter!ace' Close /a"er Panel +nter!ace' Toggle )avigator Panel +nter!ace' 6pen )avigator Panel +nter!ace' Close )avigator Panel +nter!ace' Toggle #emote Panel +nter!ace' 6pen #emote Panel +nter!ace' Close #emote Panel +nter!ace' Toggle Gradient Panel +nter!ace' 6pen Gradient Panel +nter!ace' Close Gradient Panel +nter!ace' Toggle Coordinates Panel +nter!ace' 6pen Coordinates Panel +nter!ace' Close Coordinates Panel +nter!ace' Toggle Paper Panel +nter!ace' 6pen Paper Panel +nter!ace' Close Paper Panel +nter!ace' Toggle Guides Panel +nter!ace' 6pen Guides Panel +nter!ace' Close Guides Panel +nter!ace' Toggle Grid Panel +nter!ace' 6pen Grid Panel +nter!ace' Close Grid Panel +nter!ace' 6pen Video +n Panel +nter!ace' Close Video +n Panel +nter!ace' Toggle Video +n Panel +nter!ace' 6pen Video 6ut Panel +nter!ace' Close Video 6ut Panel +nter!ace' Toggle Video 6ut Panel +nter!ace' 6pen Preview .ettings Panel +nter!ace' Close Preview .ettings Panel +nter!ace' Toggle Preview .ettings Panel +nter!ace' 6pen Pre!erences Panel +nter!ace' 6pen -ispla" Panel +nter!ace' Close -ispla" Panel +nter!ace' Toggle -ispla" Panel +nter!ace' 6pen .hape .ettings Panel +nter!ace' Close .hape .ettings Panel +nter!ace' Toggle .hape .ettings Panel +nter!ace' 6pen Path Ganager Panel +nter!ace' Close Path Ganager Panel +nter!ace' Toggle Path Ganager Panel +nter!ace' 6pen Pi el Tracker Panel +nter!ace' 6pen Path #ecorder Panel +nter!ace' 6pen Connection Panel +nter!ace' 6pen -rawing #ecorder Panel +nter!ace' Close -rawing #ecorder Panel +nter!ace' Toggle -rawing #ecorder Panel +nter!ace' 6pen Custom Panel +nter!ace' Close Custom Panel +nter!ace' Toggle Custom Panel +nter!ace' 6pen Peg-(oles #egistration Panel +nter!ace' Close Peg-(oles #egistration Panel +nter!ace' Toggle Peg-(oles #egistration Panel +nter!ace' 6pen +mage Gark Panel +nter!ace' Close +mage Gark Panel +nter!ace' Toggle +mage Gark Panel +nter!ace' 6pen .topwatch Panel +nter!ace' Close .topwatch Panel +nter!ace' Toggle .topwatch Panel +nter!ace' 6pen (istor" Panel +nter!ace' Close (istor" Panel +nter!ace' Toggle (istor" Panel $ile Pro*ect' #esiFe +nter!ace' Con!igure ;e"board TVP Animation' About +nter!ace' Close :indow +nter!ace' )e t Cursor /a"er' Pick /a"er /a"er' Gerge -ispla" /a"er' Gerge visible /a"er' Gerge .elected /a"er' Gake Anim /a"er' #ecompute 0 posures
A-@
Appendi

/a"er' #ename /a"er' .elect All /a"er' .elect +mage $rom ;e"s /a"er' -elete /a"er' -uplicate /a"er' )ew /a"er' )ew /a"er $rom .elected +mages /a"er' )ew /a"ers $rom .elected +mages /a"er' +nsert .ingle +mage Ie!ore Current +mage /a"er' +nsert .ingle +mage A!ter Current +mage /a"er' -uplicate .ingle +mage /a"er' +nsert +nstances Ie!ore Current +mage /a"er' +nsert +nstances A!ter Current +mage /a"er' -uplicate +mage Pro*ect' Clip' +nsert +mages Pro*ect' Clip' Append +mages Pro*ect' Clip' -uplicate +mage Pro*ect' Clip' +nsert .ingle +mage Pro*ect' Clip' Append .ingle +mage Pro*ect' Clip' -uplicate .ingle +mage TVP Animation' #oom 7 TVP Animation' #oom 2 TVP Animation' #oom 5 TVP Animation' #oom 9 /a"er' +nsert Tween +mage /a"er' +nsert Tween +mages /a"er' #etime /a"er' #esiFe Pro*ect' -uplicate /a"er' .elect All +mages /a"er' -elete +mage Pro*ect' Clip' -elete +mage Pro*ect' Previous Pro*ect' )e t /a"er' $irst /a"er /a"er' /ast /a"er /a"er' Previous /a"er /a"er' )e t /a"er /a"er' $irst /a"er with .election /a"er' /ast /a"er with .election /a"er' Previous /a"er with .election /a"er' )e t /a"er with .election /a"er' Gove /a"er Cp /a"er' Gove /a"er -own /a"er' Position /ock /a"er' Position Cnlock /a"er' Position /ock Toggle /a"er' $irst +mage /a"er' /ast +mage /a"er' )e t +mage /a"er' Prev +mage /a"er' Go #ight /a"er' Go /e!t /a"er' Go Cp /a"er' Go -own /a"er' Go /e!t with .election /a"er' Go #ight with .election /a"er' Go Cp with .election /a"er' Go -own with .election /a"er' $irst +mage with .election /a"er' /ast +mage with .election /a"er' )e t +mage with .election /a"er' Prev +mage with .election /a"er' )e t ;e" /a"er' Prev ;e" /a"er' )e t ;e" with .election /a"er' Prev ;e" with .election /a"er' Create ;e" /a"er' -elete +nstance (ead /a"er' Toggle Auto ;e" /a"er' .elect All ;e"s /a"er' Toggle -ispla" All /a"er' Toggle .tencil /a"er' +nvert .tencil /a"er' .how All /a"er' (ide All /a"er' Clear All .tencil /a"er' +nvert All .tencil /a"er' Previous Ilending Gode /a"er' )e t Ilending Gode +mage' Iasic .can Cleaner +mage' $lip (oriFontall" +mage' $lip Verticall" +mage' $lip Ioth A is Timeline' Koom +n Timeline' Koom 6ut /a"er' /ight Table Gode Timeline' Toggle $rames%Time Code /a"er' Toggle Iackground Gode /a"er' Iackground Gode )one /a"er' Iackground Gode Color /a"er' Iackground Gode Check Preview' Pla" Preview' Pla" $rom Current +mage Preview' $lip Iook Preview' $lip /ight Table Preview' $lip Previous $rame /a"er' 0 posure' Add single /a"er' 0 posure' Add multiple... /a"er' 0 posure' #emove single /a"er' 0 posure' #emove multiple... /a"er' 0 posure' #emove All /a"er' 0 posure' Go to )e t +nstance /a"er' 0 posure' Go to Previous +nstance /a"er' 0 posure' )e t /oop /a"er' 0 posure' Prev /oop /a"er' 0 posure' Go to +nstance (ead /a"er' 0 posure' Go to +nstance Tail /a"er' 0 posure' Ireak /a"er' 0 posure' -elete +nstance (ead /a"er' 0 posure' .elect Pro*ect' Clip' Add 0 posures Pro*ect' Clip' Add .ingle 0 posure /a"er' 0 posure' Toggle Auto Create +nstance /a"er' 0 posure' Activate Auto Create +nstance /a"er' 0 posure' +nactivate Auto Create +nstance /a"er' 0 posure' Toggle Auto Ireak +nstance /a"er' 0 posure' Activate Auto Ireak +nstance /a"er' 0 posure' +nactivate Auto Ireak +nstance /a"er' 0 posure' $au -$i e /a"er' 0 posure' $au -$i e Gode #epeat /a"er' 0 posure' $au -$i e Gode Ping Pong /a"er' 0 posure' $au -$i e Gode #andom /a"er .ound' /oad Timeline' $it To Clip Timeline' $it To .election Timeline' $it To /a"er Timeline' $it To ;e"s Timeline' $it To .ound Timeline' $it To $rame Timeline' $it To 0 posure (andle /a"er' #everse .election /a"er' .plit /a"er' Hoin .elected /a"ers /a"er' /ink /a"er' Align /e!t /a"er' Align #ight /a"er' .lide /a"er' .lide To /a"er' Go to +mage Timeline' 0 pand % Collapse Current /a"er /a"er' .elect Current +mage /a"er' .elect Current /a"er /a"er Ilending Gode' Color
Appendi
A-8

/a"er Ilending Gode' Iehind /a"er Ilending Gode' 0rase /a"er Ilending Gode' .hade /a"er Ilending Gode' /ight /a"er Ilending Gode' ColoriFe /a"er Ilending Gode' Tint /a"er Ilending Gode' .aturate2 /a"er Ilending Gode' Value /a"er Ilending Gode' Add /a"er Ilending Gode' .ub /a"er Ilending Gode' Gultipl" /a"er Ilending Gode' .creen /a"er Ilending Gode' #eplace /a"er Ilending Gode' .ubstitute /a"er Ilending Gode' -i!!erence /a"er Ilending Gode' -ivide /a"er Ilending Gode' 6verla" /a"er Ilending Gode' -odge (/ight2) /a"er Ilending Gode' Iurn (.hade2) /a"er Ilending Gode' (ard /ight /a"er Ilending Gode' .o!t /ight /a"er Ilending Gode' Grain 0 tract /a"er Ilending Gode' Grain Gerge /a"er Ilending Gode' .ubtract /a"er Ilending Gode' -arken 6nl" /a"er Ilending Gode' /ighten 6nl" $A .tack' Appl" $A .tack' #eset All $A .tack' -elete All Koom' )ew Koom window Koom' Toggle Aspect Koom' Toggle Video Koom' Center Koom' +n Koom' 6ut Koom' $it Koom' $it Pro*ect Panel Koom' 7<<L Koom' #otation #eset Koom' #otate M7? (counter clockwise) Koom' #otate -7? (clockwise) Koom' $lip horiFontall" Koom' $lip verticall" Koom' .hake Koom' Ilack Preview Koom' .how !ull page +nter!ace' $ull .creen Koom' .croll Cp Koom' .croll Cp /e!t Koom' .croll /e!t Koom' .croll -own /e!t Koom' .croll -own Koom' .croll -own #ight Koom' .croll #ight Koom' .croll Cp #ight +nter!ace' Toggle windows displa" Koom' )e t Koom window Koom' Prev Koom window Tools' -raw -ot Tools' Custom Irush .tamp in Place Tools' Toggle .tencil Tools' Toggle Paper Tools' Toggle Transparenc" Tools Irush' Gove /e!t Tools Irush' Gove #ight Tools Irush' Gove Cp Tools Irush' Gove -own Tools Irush' +ncrease .iFe Tools Irush' +ncrease .iFe 2 Tools Irush' -ecrease .iFe Tools Irush' -ecrease .iFe 2 Tools Irush' Change siFe Tools Irush' reset /a"er' Clear Tools Gode' )e t Tools Gode' Prev Tools Gode' -e!ault -rawing Gode' <7 (Color) -rawing Gode' <2 (Iehind) -rawing Gode' <5 (0rase) -rawing Gode' <9 (Panto) -rawing Gode' <? (Gerge) -rawing Gode' <= (.hade) -rawing Gode' <> (/ight) -rawing Gode' <@ (ColoriFe) -rawing Gode' <8 (Tint) -rawing Gode' 7< (Grain) -rawing Gode' 77 (.mooth) -rawing Gode' 72 ()oise) -rawing Gode' 75 ()egative) -rawing Gode' 79 (.harp) -rawing Gode' 7? (0mboss) -rawing Gode' 7= (.olariFe) -rawing Gode' 7> (.aturate) -rawing Gode' 7@ (Cn.aturate) -rawing Gode' 78 (Add) -rawing Gode' 2< (.ub) -rawing Gode' 27 (Gultipl") -rawing Gode' 22 (.creen) -rawing Gode' 25 (Alpha -i!!) -rawing Gode' 29 ((ealing) -rawing Gode' 2? (6verla") -rawing Gode' 2= (Iurn) -rawing Gode' 2> (-odge) -rawing Gode' 2@ (-arken) -rawing Gode' 28 (/ighten) Tools Irush' Air Tools Irush' Pen Tools Irush' 6il Paint Tools Irush' :ater Color Tools Irush' Gechanical Tools Irush' Pencil Tools Irush' :arp Tools Irush' .pecial Tools Irush' Te t Tools Irush' CustomIrush Tools Irush' Previous Tools Irush' )e t Tools Irush' Toggle -ispla" Irush' Toggle CutIrush Irush' Cut #ectangle Irush' Cut Gagic :and Irush' Cut Pol" Irush' Cut $reehand Irush' -ouble .iFe Irush' (alve .iFe Irush' Toggle (andle Corner Irush' Gove (andle Corner Irush' 6utline Irush' -ouble :idth Irush' -ouble (eight Irush' (alve (eight Irush' (alve :idth Irush' $lip (oriFontall" Irush' $lip Verticall" Irush' #otate 8<N Irush' #otate -8<N Irush' #otate Irush' #esiFe Irush' $ree #esiFe Irush' 6ptimiFe Irush' 6ptimiFe .ource Irush' Toggle Transparenc" Irush' )e t Animbrush
A-7<
Appendi

Irush' Previous Animbrush Irush' Toggle .tamp%Irush .hape' Appl" .hape' Cancel .hape' 0rase /ast Point .hape' $reehand -ot .hape' .ingle -ot .hape' $reehand .hape' $reehand $ill .hape' Circle .hape' Circle $ill .hape' Circle 2Pts .hape' Circle 2Pts $ill .hape' Circle 5Pts .hape' Circle 5Pts $ill .hape' /ine .hape' Pol" $ill .hape' $lood $ill .hape' .pline 5Pts .hape' .pline .hape' .pline $ill .hape' .pline I-.pline .hape' .pline I-.pline $ill .hape' #ectangle .hape' #ectangle $ill .hape .elect' $ree(and .hape .elect' #ectangle .hape .elect' 0llipse .hape .elect' Gagic:and .hape .elect' .pline .hape .elect' Clear .hape .elect' +nvert .hape .elect' Cop" To CustomIrush .hape .elect' Cut To CustomIrush .hape .elect' Cop" To )ew /a"er .hape .elect' Cut To )ew /a"er .hape Trans!orm' Pan .hape Trans!orm' Position .hape Trans!orm' :arp .hape Trans!orm' Camera Tools Pantograph' .et Tools (ealing' .et Timeline' )otes' Toggle -ispla" Timeline' )otes' .how Timeline' )otes' (ide Timeline' )otes' Toggle Timeline' )otes' 6pen Timeline' )otes' Close Timeline' Audio' Toggle Timeline' Audio' 6pen Timeline' Audio' Close Audio' .crub' )ever Audio' .crub' .crub Audio' .crub' Alwa"s Audio' .crub' Toggle Audio' Gute' 6n Audio' Gute' 6!! Audio' Gute' Toggle Tools' Crop Tools' Koom +n Tools' Koom 6ut TVP Animation' Cop" .election TVP Animation' Paste TVP Animation' Cut .election TVP Animation' .elect All TVP Animation' -elete .election Color' Cp Color' -own Color' #ight Color' /e!t Color' +nvert A%I Color' (ue OO Color' (ue PP Color' .aturation Color' .aturation M Color' /uminosit" Color' /uminosit" M Color' #ed Color' #ed M Color' Green Color' Green M Color' Ilue Color' Ilue M Gradient' )e t Gradient' Previous Gradient' /oad Gradient' .ave Gradient' -e!ault Gradient' +nvert Grid' Toggle Grid' .nap Grid' -ispla" Guides' Toggle Guides' .nap Guides' -ispla" Guides' Add Guides' #emove -ispla"' .how .a!eArea -ispla"' .how $ieldChart -ispla"' .how .tencil -ispla"' .how .election -ispla"' .how Paper -ispla"' .how Camera Grab' Video +nput Grab' .witch Godes Grab' Grab /ength Grab' +ncrease Grab /ength Grab' -ecrease Grab /ength Iookmarks' .et Iookmarks' Clear Iookmarks' Clear All Iookmarks' Toggle Iookmarks' )e t Iookmarks' Previous Gark +n%6ut' .et Gark +n Gark +n%6ut' Toggle Gark +n Gark +n%6ut' Go to Gark +n Gark +n%6ut' .et Gark 6ut Gark +n%6ut' Toggle Gark 6ut Gark +n%6ut' Go to Gark 6ut +mageGarks' .et +mageGarks' Clear +mageGarks' Toggle +mageGarks' Clear All +mageGarks' )e t +mageGarks' Previous Pro*ect' Publish Pro*ect' Publish in (TG/ Pro*ect' Publish in P-$ Pro*ect' Publish in 0-/ Pro*ect' #e0 port in 0-/ (Current clip& 6riginal param.) Pro*ect' #e0 port in 0-/ (Current clip& Custom param.) Pro*ect' Clip' -uplicate Pro*ect' Clip' .plit Pro*ect' Clip' Add Pro*ect' Clip' +nsert Pro*ect' Clip' #emove Pro*ect' .cene' -uplicate Pro*ect' .cene' Add Pro*ect' .cene' +nsert Pro*ect' .cene' #emove Pro*ect' .cene' .plit Pro*ect' .cene' Hoin Pro*ect' Clip' Goto )e t
Appendi
A-77

Pro*ect' Clip' Goto )e t with selection Pro*ect' Clip' Goto Previous Pro*ect' Clip' Goto Previous with selection Pro*ect' Clip' Goto $irst Pro*ect' Clip' Goto $irst with selection Pro*ect' Clip' Goto /ast Pro*ect' Clip' Goto /ast with selection Pro*ect' .cene' Goto )e t Pro*ect' .cene' Goto )e t with selection Pro*ect' .cene' Goto Previous Pro*ect' .cene' Goto Previous with selection Pro*ect' .cene' Goto (ead Pro*ect' .cene' Goto (ead with selection Pro*ect' .cene' Goto Tail Pro*ect' .cene' Goto Tail with selection Pro*ect' )ew Pro*ect $rom .elected Clips Pro*ect' Clip' Cop" Current
A-72
Appendi

:$hortcuts; QAQ R Koom' .hake QIQ R Irush' Toggle CutIrush QCQ R Irush' #otate Q-Q R .hape' $reehand Q0Q R Tools Irush' )e t Q$Q R .hape' $lood $ill QGQ R Grid' Toggle Q(Q R Irush' (alve .iFe Q+Q R Pro*ect' Clip' Append +mages QHQ R .pare' 0 change Q;Q R none Q/Q R .hape' /ine QGQ R Koom' )ew Koom window Q)Q R Color' +nvert A%I Q6Q R Irush' 6utline QPQ R +nter!ace' Toggle Palette Panel Q,Q R .hape' .pline Q#Q R .hape' #ectangle Q.Q R .hape' $reehand -ot QTQ R Tools Irush' Te t QCQ R Cndo' /ast Action QVQ R +nter!ace' $ull .creen Q:Q R Preview' $lip Iook QAQ R Irush' $lip (oriFontall" QBQ R Irush' $lip Verticall" QKQ R Tools Irush' Change siFe Q.hi!t AQ R +nter!ace' Toggle Tools Panel Q.hi!t IQ R /a"er' Toggle Iackground Gode Q.hi!t CQ R Tools (ealing' .et Q.hi!t -Q R +nter!ace' 6pen Pre!erences Panel Q.hi!t 0Q R $ile 0 port' Irush Q.hi!t $Q R /a"er' Go to +mage Q.hi!t GQ R +nter!ace' 6pen Grid Panel Q.hi!t (Q R Irush' -ouble .iFe Q.hi!t +Q R Pro*ect' Clip' +nsert +mages Q.hi!t HQ R .pare' Cop" To Q.hi!t ;Q R /a"er' Clear Q.hi!t /Q R $ile Pro*ect' 6pen Q.hi!t GQ R none Q.hi!t )Q R $ile Pro*ect' )ew Q.hi!t 6Q R Irush' Toggle (andle Corner Q.hi!t PQ R Tools Pantograph' .et Q.hi!t ,Q R TVP Animation' ,uit Q.hi!t #Q R .hape' #ectangle $ill Q.hi!t .Q R $ile Pro*ect' .ave Q.hi!t TQ R none Q.hi!t CQ R Cndo' Gulti #edo Q.hi!t VQ R Koom' .how !ull page Q.hi!t :Q R $ile Pro*ect' Close Q.hi!t AQ R Irush' -ouble :idth Q.hi!t BQ R Cndo' Gulti #edo Q.hi!t KQ R Irush' #otate 8<N QCtrl AQ R TVP Animation' .elect All QCtrl IQ R none QCtrl CQ R TVP Animation' Cop" .election QCtrl -Q R .hape .elect' Clear QCtrl 0Q R Tools Irush' Previous QCtrl $Q R /a"er' .lide To QCtrl GQ R none QCtrl HQ R none QCtrl ;Q R +nter!ace' Con!igure ;e"board QCtrl /Q R /a"er' /ight Table Gode QCtrl )Q R /a"er' )ew M /a"er' Gake Anim QCtrl 6Q R $ile Pro*ect' 6pen QCtrl PQ R Printer' Print QCtrl ,Q R none QCtrl #Q R QCtrl .Q R $ile Pro*ect' .ave QCtrl TQ R .hape Trans!orm' Position QCtrl CQ R none QCtrl VQ R TVP Animation' Paste QCtrl :Q R none QCtrl AQ R TVP Animation' Cut .election QCtrl BQ R Irush' $lip Verticall" QCtrl KQ R Cndo' /ast Action QCtrl .hi!t AQ R none QCtrl .hi!t IQ R none QCtrl .hi!t CQ R none QCtrl .hi!t -Q R none QCtrl .hi!t 0Q R $ile 0 port' .eDuence QCtrl .hi!t $Q R none QCtrl .hi!t GQ R none QCtrl .hi!t HQ R none QCtrl .hi!t ;Q R none QCtrl .hi!t /Q R none QCtrl .hi!t )Q R none QCtrl .hi!t 6Q R none QCtrl .hi!t PQ R none QCtrl .hi!t ,Q R none QCtrl .hi!t #Q R none QCtrl .hi!t .Q R $ile Pro*ect' .ave all QCtrl .hi!t TQ R none QCtrl .hi!t CQ R none QCtrl .hi!t VQ R none QCtrl .hi!t :Q R none QCtrl .hi!t AQ R none QCtrl .hi!t BQ R none QCtrl .hi!t KQ R none QCmd AQ R TVP Animation' .elect All QCmd IQ R none QCmd CQ R TVP Animation' Cop" .election QCmd -Q R none QCmd 0Q R none QCmd $Q R none QCmd GQ R none QCmd (Q R none QCmd +Q R none QCmd HQ R none QCmd ;Q R none QCmd /Q R none QCmd GQ R none QCmd )Q R /a"er' )ew QCmd 6Q R $ile Pro*ect' 6pen QCmd PQ R none QCmd ,Q R TVP Animation' ,uit QCmd #Q R none QCmd .Q R $ile Pro*ect' .ave QCmd TQ R none QCmd CQ R none QCmd VQ R TVP Animation' Paste QCmd :Q R +nter!ace' Close :indow QCmd AQ R TVP Animation' Cut .election QCmd BQ R Cndo' Gulti #edo QCmd KQ R Cndo' /ast Action QCmd .hi!t AQ R none QCmd .hi!t IQ R none QCmd .hi!t CQ R none QCmd .hi!t -Q R none QCmd .hi!t 0Q R $ile 0 port' .eDuence QCmd .hi!t $Q R none QCmd .hi!t GQ R none QCmd .hi!t (Q R none QCmd .hi!t +Q R none QCmd .hi!t HQ R none QCmd .hi!t ;Q R none QCmd .hi!t /Q R none QCmd .hi!t GQ R none QCmd .hi!t )Q R none QCmd .hi!t 6Q R none QCmd .hi!t PQ R none QCmd .hi!t ,Q R none QCmd .hi!t #Q R none
Appendi
A-75

QCmd .hi!t .Q R $ile Pro*ect' .ave QCmd .hi!t TQ R none QCmd .hi!t CQ R none QCmd .hi!t VQ R none QCmd .hi!t :Q R none QCmd .hi!t AQ R none QCmd .hi!t BQ R none QCmd .hi!t KQ R none Q<Q R +nter!ace' Toggle /a"er Panel Q7Q R Koom' .croll -own /e!t Q2Q R Koom' .croll -own Q5Q R Koom' .croll -own #ight Q9Q R Koom' .croll /e!t Q?Q R Koom' Center Q=Q R Koom' .croll #ight Q>Q R Koom' .croll Cp /e!t Q@Q R Koom' .croll Cp Q8Q R Koom' .croll Cp #ight QCtrl Pad <Q R Koom' 7<<L QCtrl Pad 7Q R TVP Animation' #oom 7 QCtrl Pad 2Q R Tools Irush' Gove -own QCtrl Pad 5Q R TVP Animation' #oom 2 QCtrl Pad 9Q R Tools Irush' Gove /e!t QCtrl Pad ?Q R none QCtrl Pad =Q R Tools Irush' Gove #ight QCtrl Pad >Q R TVP Animation' #oom 5 QCtrl Pad @Q R Tools Irush' Gove Cp QCtrl Pad 8Q R TVP Animation' #oom 9 QCmd <Q R none QCmd 7Q R none QCmd 2Q R none QCmd 5Q R none QCmd 9Q R none QCmd ?Q R none QCmd =Q R none QCmd >Q R none QCmd @Q R none QCmd 8Q R none Q%Q R Tools Irush' -ecrease .iFe 2 QJQ R Tools Irush' +ncrease .iFe 2 Q-Q R Tools Irush' -ecrease .iFe QMQ R Tools Irush' +ncrease .iFe Q&Q R /a"er' Pick /a"er QSQ R Color' Pick Q'Q R Tools Irush' reset QTQ R Timeline' )otes' Toggle QOQ R Koom' 6ut QPQ R Koom' +n QUQ R none QVQ R none QQQ R none QWQ R none QXQ R none QYQ R +nter!ace' Toggle Coordinates Panel QZQ R none QEQ R none Q[Q R none Q\Q R none Q(Q R none Q)Q R none Q1Q R Koom' $lip horiFontall" Q3Q R Koom' $lip horiFontall" Q]Q R none Q^Q R none Q_Q R none Q`Q R none QLQ R none Q.Q R none QRQ R /a"er' Toggle -ispla" All QaQ R none Q$7Q R TVP Animation' (elp Q$2Q R -rawing Gode' <7 (Color) Q$5Q R -rawing Gode' <2 (Iehind) Q$9Q R -rawing Gode' <5 (0rase) Q$?Q R -rawing Gode' <9 (Panto) Q$=Q R -rawing Gode' <? (Gerge) Q$>Q R -rawing Gode' <= (.hade) Q$@Q R -rawing Gode' <> (/ight) Q$8Q R -rawing Gode' <@ (ColoriFe) Q$7<Q R -rawing Gode' <8 (Tint) Q$77Q R Koom' .how !ull page Q$72Q R +nter!ace' Toggle windows displa" QCtrl $7Q R none QCtrl $2Q R none QCtrl $5Q R none QCtrl $9Q R +nter!ace' Close :indow QCtrl $?Q R none QCtrl $=Q R none QCtrl $>Q R none QCtrl $@Q R none QCtrl $8Q R TVP Animation' +coni!" QCtrl $7<Q R none QCtrl $77Q R none QCtrl $72Q R none Q.hi!t $7Q R none Q.hi!t $2Q R none Q.hi!t $5Q R none Q.hi!t $9Q R none Q.hi!t $?Q R none Q.hi!t $=Q R none Q.hi!t $>Q R none Q.hi!t $@Q R none Q.hi!t $8Q R none Q.hi!t $7<Q R none Q.hi!t $77Q R none Q.hi!t $72Q R none QCtrl .hi!t $7Q R none QCtrl .hi!t $2Q R none QCtrl .hi!t $5Q R none QCtrl .hi!t $9Q R none QCtrl .hi!t $?Q R none QCtrl .hi!t $=Q R none QCtrl .hi!t $>Q R none QCtrl .hi!t $@Q R none QCtrl .hi!t $8Q R none QCtrl .hi!t $7<Q R none QCtrl .hi!t $77Q R none QCtrl .hi!t $72Q R none Q.paceQ R Tools' #ight Gouse Iutton Q.hi!t .paceQ R none QCtrl .paceQ R none QTabQ R Pro*ect' Clip' Goto )e t Q.hi!t TabQ R Pro*ect' Clip' Goto Previous QCtrl TabQ R Koom' )e t Koom window QCtrl .hi!t TabQ R Koom' Prev Koom window Q0nterQ R .hape' Appl" Q.hi!t 0nterQ R none Q0scapeQ R .hape' Cancel Q.hi!t 0scapeQ R none Q(omeQ R /a"er' $irst +mage Q.hi!t (omeQ R Koom' #otation #eset QCtrl (omeQ R /a"er' $irst /a"er QCtrl .hi!t (omeQ R none Q0ndQ R /a"er' /ast +mage QCtrl 0ndQ R /a"er' /ast /a"er Q.hi!t 0ndQ R none QCtrl .hi!t 0ndQ R TVP Animation' Gagic )umber Q-elQ R TVP Animation' -elete .election Q.hi!t -elQ R .hape' 0rase /ast Point QCtrl -elQ R none QCtrl .hi!t -elQ R none QIackspaceQ R /a"er' Clear Q.hi!t IackspaceQ R none QCtrl IackspaceQ R none
A-79
Appendi

QCtrl .hi!t IackspaceQ R none Q:heel CpQ R Tools Irush' +ncrease .iFe Q.hi!t :heel CpQ R Tools Irush' +ncrease .iFe 2 QCtrl :heel CpQ R none QCtrl .hi!t :heel CpQ R none Q:heel -ownQ R Tools Irush' -ecrease .iFe Q.hi!t :heel -ownQ R Tools Irush' -ecrease .iFe 2 QCtrl :heel -ownQ R none QCtrl .hi!t :heel -ownQ R none QCpQ R /a"er' Go Cp Q.hi!t CpQ R /a"er' Go Cp with .election QCtrl CpQ R /a"er' Gove /a"er Cp QCtrl .hi!t CpQ R Iookmarks' Toggle Q-ownQ R /a"er' Go -own Q.hi!t -ownQ R /a"er' Go -own with .election QCtrl -ownQ R /a"er' Gove /a"er -own QCtrl .hi!t -ownQ R Color' -own Q/e!tQ R /a"er' Go /e!t Q.hi!t /e!tQ R /a"er' Go /e!t with .election QCtrl /e!tQ R /a"er' 0 posure' Go to Previous +nstance QCtrl .hi!t /e!tQ R Iookmarks' Previous Q#ightQ R /a"er' Go #ight Q.hi!t #ightQ R /a"er' Go #ight with .election QCtrl #ightQ R /a"er' 0 posure' Go to )e t +nstance QCtrl .hi!t #ightQ R Iookmarks' )e t QPage CpQ R /a"er' Prev ;e" Q.hi!t Page CpQ R Koom' #otate M7? (counter clockwise) QCtrl Page CpQ R none QCtrl .hi!t Page CpQ R none QPage -ownQ R /a"er' )e t ;e" Q.hi!t Page -ownQ R Koom' #otate -7? (clockwise) QCtrl Page -ownQ R none QCtrl .hi!t Page -ownQ R none QGGIQ R none Q.hi!t GGIQ R none QCtrl GGIQ R none QCtrl .hi!t GGIQ R none
Appendi
A-7?
The technical support and internet resources

:e did our best to provide "ou a detailed user-manual& with a lot o! illustrated e amples. (owever& "ou ma" still have Duestions regarding the so!tware. Bou can !ind additional and help!ul in!ormations about the TVPaint technolog" on our website '
www"tvpaint"com
Bou will !ind ' J /atest news& about the TVPaint Technolog" J Tutorials& palettes& custom brushes& papers& scripts and plug-in. J .ome user-stories& J /atest demos and updates $or "our current .o!tware. J -iscussion !orums with a technical support in !rench& english and spanish language. J A galler" where hundreds o! pictures and animations will show "ou the possibilities given b" the TVPaint solutions !rom its creation. +tXs the share place T The TVPaint !orums gather the discussion o! our users& samples o! their works as well as brushes& scripts and tips !or the bene!it o! all. $eel !ree to post "our own productions and to share "our techniDues T Hoin the TVPaint users Communit" T :hen contacting us via email& !orum& phone& ... please donXt !orget to give us the !ollowing in!ormations ' J Bour computer (PC& Gacintosh& /inu ...)& its CPC (AG-& +ntel& ...)& itXs amount o! #AG J Bour operating s"stem (apple 6.-A& Gicroso!t windows& ...) J The version o! TVPaint Animation (Pro) that "ou are running ' "ou can !ind it in the about section o! the so!tware (see below) J Bour video hardware& i! "ou have one.
A-7=
Appendi
(ere are our !ull coordinates '
TVPA NT #/V/!OPP/M/NT <oute de Maran+e 6954= Mai>ieres les Met> 3<AN,/ Phone 1 ?@@ (=)@49 89@ 6A4 3ax 1 ?@@ (=)@49 89@ 6AA /mail 1 tvpaintBtvpaint"fr
TVPaint -eveloppement is located at GaiFieres /es GetF& 7< km awa"s !rom GetF. Transportation means !or meeting us are '
Planes 1 GetF % )anc" /orraine Airport - 9< ;m http'%%www.metF-nanc"-lorraine.aeroport.!r% /u embourg $indel Aiport - ?? ;m http'%%www.lu air.lu%!r%airport% Trains 1 GetF #ailwa" .tation Iooking % +n!ormation .)C$ ' Phone ' M55 (<)@ 82.5?.5?.5? http'%%www.snc!.com Met> Taxi 1 Phone ' M55 (<)5 @>.?=.87.82 ,ar 1 Autoroute A57& 0 it n5? $or a custom itinerar" ' http'%%www.viamichelin.com
Appendi
A-7>
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User Guide

Credits for illustrations

'o e useful tips

*or+ing ,ith pro-ects

To /uit the progra The Preferences panel

Lesson 0" : 0ra,ing basics

2se filling tools

'election3 crop and transfor

Lesson 0#: 'pacial 1anage ent of Layers

4lending 1odes concept

10 10 10 10 11 11 11 11 11 1" 1" 1" 1" 1" 1# 1# 1# 1# 1# 1$ 1$ 1$ 1$ 1$ 1% 1% 1( 1) 1)

Lesson 0$: Te poral 1anage ent of Layers

Lesson 0%: 5andling TVPaint Ani ation pro-ects and Layout

The Panel 4ins feature

*or+ing ,ith 6oo s

Lesson 0&: The steps to creating an ani ated i age

*or+ing ,ith hand! ade dra,ings

*or+ing directly ,ith TVPaint Ani ation

1anaging the i ages of an ani ation layer

*or+ing ,ith instances

The Ani ator Panel

The classical tools of the ani ator

The in+ing process

To finish the ani ation

Lesson 0(: 7ther TVPaint Ani ation dra,ing tools

Clipboard and spare

aster the dra,ing tools8

panels ! 1st part

Lesson 0): 'ound and 9'heet

The 9'heet Layers and 9'heet Panel

The steps to create a Lip!'ync

Lesson 0. : Create and

*hat is a storyboard Create a storyboard

1anage your storyboard

Turn a storyboard into an ani atic

:;port your storyboard < ani atic

Lesson 10: *or+ing ,ith F9 'tac+s

*or+ing ,ith ani ation +eys

1ore details about the F9 stac+

Introduction to the video effects

# # $ $ % & ( ) 10 10 10 11 11 11 11 1# 1$ 1% 1% 1& 1& 1& 1&

Lesson 11: The effects of the 4lur and Transition groups

The Transition group effects

Increasing the transition possibilities by using the F9!stac+

Lesson 1": The effects of the Color and =ey groups

The effects of the =ey

" # & ( ( ( ) 10 11 1" 1% 1% 1& 1& 1( 1. "1 "" "#

Lesson 1#: The effects of the 'tyli>e group

Lesson 1$: The effects of the 0istortion group

Lesson 1%: The effects of the 1otion and Paint groups

Lesson 1&: The 1otion ? 1ultiplane Ca era effect

Lesson 1(: The effects of the 6endering group

The .endering < Pattern +enerator effect

Lesson 1): The 6endering ? Particles @enerator effect

The tabs of the Particles @enerator effect

Lesson 1.: The advanced functions of TVPaint Ani ation

5o, to use the plug!ins

5o, to use the scripting language A @eorge B

Lesson 1 First approach of TVPaint Animation

In this lesson you will:

irst approach of TVPaint Animation

The various program panels

The Menu panel

irst approach of TVPaint Animation