Manual TV Paint 8 Pro

TVP Animation Pro 8.
5 User Guide
TVPaint Animation Pro 1991-2007 TVPaint Developpement. All rights reserved. This edition of the TVPaint Animation Pro User D&veloppement. All rights reserved. !ide is prote"ted #$ "op$right 200%-2007 TVPaint
This !ser g!ide ma$ not' either (holl$ or partl$' #e "opied' reprod!"ed' translated' transferred to a magneti"' ele"troni" or opti"al s!pport or disposed off to third parties (itho!t prior (ritten approval of its a!thor and TVPaint D&veloppement. All forms of d!pli"ation of the TVPaint Animation Pro soft(are' either ph$si"al or ele"troni"' is stri"tl$ for#idden. TVPaint Animation Pro is a registered trademar) of TVPaint D&veloppement. All other prod!"ts or #rands mentioned in this !ser g!ide are registered trademar)s of their respe"tive o(ners.
Credits
The TVPaint Developpement team *erv& ADA+' ,ri" +AT,-./' 0&#astien +/ 1/2' 3i"olas 4/-*A4D' Patri"e 5,43A0021A' +i"hael 0-*4,/3,4 Documentation 6a#ri"e D,5A4 ,
Credits for illustrations

- The first paper 7lesson 89 "omes from Power Box Animator "reated #$ 5enoit 0t-+o!lin. - Running-Kid 7lesson :' %' 12' et" ...9 (as "reated #$ Alain -harrier and animated #$ 4a$mond o!rrier. - the elephant 7lesson 119 (as "reated and animated #$ ;ig2tto. - The "ar 7lesson 119 (as dra(n #$ 3i"olas ele$. - The #!tterfl$ 7lesson 1<9 and the #ea"h (ith the $o!ng (oman 7lesson 1:9 (ere "reated and animated #$ 2livier +i"hon. - The s)!ll 7lesson 189' the "o!ntr$side 7lesson 1:9 and the "hara"ter 7lesson =9 !sed to des"ri#e the >rapping rid' the m!ltiplane "amera and the lip-s$n" (ere "reated #$ Peter >assin). - The parti"le presets 7lesson 1=9 (ere invented #$ +an!el ;ander. - Lineart 7at the #eginning of lesson 189 (as "reated #$ ?oann 4o#ert. - The original idea of the 0)et"h Panel "omes from Dave -o")#!rn. - The red planet' the tree' the prehistori"' the ho!se' the flo(ers paintings' the "olor pi")er' the photos and vario!s diagrams (ere "reated #$ 6a#ri"e De#arge. - All other images 7s"reenshots' panels' ...9 are prote"ted #$ "op$right of TVPaint D&veloppement.
+an$ than)s $o! to all those (ho have helped !s from "lose and far to "omplete this tas).
Lesson 00 Introduction
Getting to know TVPaint Animation Pro
TVPaint Animation Pro is a program "ompiled for graphi" design and 2D animation. This program is intended for dra(ing and animation enth!siasts. >ith its #itmap approa"h' its o#@e"tive is to "over the main needs of the artist. /t offers a "omplete range of high-performan"e tools' the parameters of (hi"h ma$ #e set' (hether for the la$man or the professional artist and $et still offers the "reative feeling provided #$ pen and paper. TVPaint Animation Pro is the animatorAs home st!dio. 5ased on TVPaint te"hnolog$' (hi"h is reno(ned (orld(ide sin"e its s!""ess on the Amiga in 1991 and "onstantl$ !pgraded for ever #etter performan"e' TVPaint adapts to all prod!"tion diagrams' (hether traditional' f!ll$ digital or h$#rid. Designed to (or) (ith all resol!tions' it (ill delight all dra(ing enth!siasts than)s to its tools (hi"h offer limitless possi#ilities. ?o!r "reations are onl$ restri"ted #$ the #o!ndaries of $o!r imagination B
T pographic conventions
/n order to simplif$ !nderstanding of the te"hniC!es des"ri#ed' this !ser g!ide !ses the follo(ing t$pographi" "onventions D - Italics D the names of men!s' #!ttons' ta#s' (indo(s' "ommands' tools 7all elements referring to one of the o#@e"ts present in the program9 are (ritten in itali"s. - E)e$F D designates a )e$#oard short"!ts. - E)e$1G )e$2F D designates a )e$ "om#ination. .eep the first )e$ pressed and then press the se"ond )e$. - left "li") H right "li") 71+5' 4+59 D these short"!ts refer to a "li") on the left or right mo!se #!tton. As $o! are advan"ing in the g!ide#oo)' $o! (ill en"o!nter the follo(ing s$m#olsD
T/P
A s$m#ol representing a light #!l# indi"ates tips and hints for !sing the program.
4emar)
A s$m#ol representing a (arning sign emphasises information that reC!ires parti"!lar attention and indi"ates an important "omment.
4eminder
The reminder s$m#ol "hara"terises an$ information the eIpli"ation of (hi"h (as alread$ given in the g!ide #oo).
Table of Contents
Lesson 00 : Introduction and typographic conventions Lesson 01 : First approach of TVPaint Ani ation Pro
The various progra panels The toolbar Main panel Color picker Toolbox Current project window The layers window Main menu &o e useful tips Move a window Close, minimize or maximize a window Sliders and mini-sliders Alphanumeric ields !ro"ress bar )or*ing +ith pro,ects Create a new project #iew data relative to your project $ame a project %orkin" with several projects %orkin" in ullscreen mode Close a project The ain enu Help &n'ine support The About((( window To /uit the progra Save the con i"uration Mana"in" the con i"urations The Preferences panel The )eneral tab The *isplay tab The &nter ace tab The Memory + Cache tab &o e details %orkin" without the notion o *!& The notion o pixel aspect ratio #ideo ields 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 10 11 1" 1" 1# 1$ 1% 1' 1' 1' 1(
Lesson 0" : 0ra+ing basics

1our first dra+ing The irst "eometric orm, trace a rectan"le The -lood ill option .ecover a color on the screen "! "! "! "! " " # #
.edo and undo $otion o layers and colored back"round /oom and #iew options $otion o pixel opacity .,),0 and 1,S,' color systems The dra+ing odes The drawin" modes Color and 0ehind Mechanical pencil and !encil tools The 2rase drawin" mode The Shade and 'i"ht drawin" mode Color A and color 0 'a rotation du plan de travail Mana"ement o palettes and mixers 1istory o colors *rawin" splines, se"ments and circles Adjust the Shape settin"s The !anto drawin" mode Settin" the tools *raw lood illed shapes Settin" o the brush pro ile The coordinates The .e-apply option 3se the )rid 3se the "uides The Sa e Area *isplay settin"s
"! "! "! "! "! "! "! "! "! "! "! "! "! "! "! "! "! "! "! "! "! "! "! "! "! "! "!
# $ % ' ' ' ( ( . . . 10 11 11 1# 1# 1$ 1% 1% 1% 1' 1' 1( 1( 1-
Further details
Lesson 0#: &pacial
anage ent of layers

#! #! #! #! #! #! #! #! #! #! #! #! #! #! #! #! #! #! #! " " " # # # $ % % ' ' ( . . 10 10 10 10
Layers and ti eline The 4ilbrush tool .ename a layer Create a $ew layer The current layer The advanta"e o workin" with several layers -lip layers 2rase the contents o a layer 3se o a !aper So ten the contours o a sur ace Apply a color "radient Modi y the "lobal opacity o a layer )radients and 4pacity mappin" *isplay and hide a layer Mer"e layers Further details *elete, duplicate a layer 'ock a layer .educe a layer
Assi"n a color to a layer The color "radients Color "radients and drawin" tools The di erent types o "radients Another use o papers Create and mana"e your own papers The !apers and the 4ilbrush tool 3sin" the mask *isplay masks and papers 4pacity mappin" Some remarks or usin" the 4pacity unction
#! #! #! #! #! #! #! #! #! #! #!
11 11 11 1" 1" 1# 1$ 1$ 1' 1' 1-
Lesson 0$: Te poral

Ani ation layers
anage ent of layers

Creation and concept o an Animation layer Add ima"es Movement and orientation within the timeline Create a brush The irst animation T#!aint Animation !ro and compositin" !lay an animation The .emote Control 4ther movement methods The $avi"ator Trans orm an &ma"e layer into an Animation layer Select, erase the contents o the ima"es in an Animation layer -lip the ima"es o an Animation layer Move the layers in the timeline $! $! $! $! $! $! $! $! $! $! $! $! $! $! $! $! $! $! $! $! $! $! $! $! $! $! " " # # $ % % ' ( ( . 10 10 11 11 11 11 11 1" 1" 1# 1$ 1' 1(
2ore details Show, hide the icons Similarities with &ma"e layers The Auto -it option in the timeline Start rame, ne"ative ima"es 3sin" the 0ookmarks The !review settin"s The Cut0rush tool options 2dit brush options -lood ill usin" a brush The notion o Animated brushes
Lesson 0%: 3andling TVPaint pro,ects

&ntroduction Save a project 3se the re5uester Save a template 'oad an existin" project Modi y a project 'oad an existin" ima"e or animation %! %! %! %! %! %! %! " " " # $ $ '
*ependencies 2xport iles The project panel #ideo "rabber
%! %! %! %!
. 1" 1$
Lesson 0': The steps to creating an ani ated i age

&ntroduction
)or*ing +ith hand! ade dra+ings

Scan and print your ima"es Croppin" a project Clean-up the se5uence -lip an ima"e
)or*ing directly +ith TVPaint Ani ation Pro

The sketch !anel
2anaging the i ages of an ani ation layer

&nsert, duplicate or delete one or several ima"es Cut, Copy, !aste ima"es Cut, Copy, !aste layers
)or*ing +ith instances

&ntroduction %hat is instance6 Some vocabulary The contents o the cells Splitin" an instance into two smaller instances 1ow to use the instances or animatin" 1ow to chan"e the colors o a rou"h 1ow to trans orm an ima"e layer into an Animation layer *rawin" outside the existin" layers 2rasin" the content o an ima"e instance .emove cells rom an instance Split a layer Mer"in" layers Stretch a layer Shrink an Animation layer !r7 and !ost-behavior 1ow to use several layers at the same time The .ecompute 2xposures option
The Ani ator Panel The classical tools ot the ani ator
.otate workspace 3sin" the li"ht table
The in*ing process

The ilod ill tool The Auto !ick Color option Create shadows
To finish the ani ation

Add Music
'! '! '! '! '! '! '! '! '! '! '! '! '! '! '! '! '! '! '! '! '! '! '! '! '! '! '! '! '! '! '! '! '! '! '! '! '! '! '! '! '!
" " " # $ $ % % . . 10 10 10 11 11 11 11

1$
1$ 1$ 1$ 1% 1% 1' 1' 1( 111. 1. "1 "1 "" "$ "$ "( "( ""-
Lesson 0(: 4ther TVPaint Ani ation Pro dra+ing tools

The others dra+ing odes The Saturate and 3nsaturate drawin" modes The Smooth and Sharp drawin" modes The Colorize and Tint drawin" modes The $e"ative and Solarize drawin" modes The )rain and $oise drawin" modes The 2mboss drawin" mode The Add and Sub drawin" modes The Multiply and Screen drawin" modes The 1ealin" drawin" mode Clipboard and spare The clipboard The Spare ima"e The Mer"e drawin" mode The &mpressionist drawin" mode To perfectly aster the dra+ing tools5 The warpbrush The Special brush The Text tool The connections The connections !ro ils 3se o the brush as a drawin" tool 1ow to use the brush modes The Alpha Stamp and Alpha Stamp Max modes The drawin" tool panel,0in tab The tool bin panel &elections and cutbrushes 3se the ma"ic wand cutbrush %orkin" on a speci ic area on the screen The various types o selections Complex selections and brush creation The transfor ation tools The !annin" tool in the main panel The Trans orm tool in the main panel The %rap tool on the main panel (! (! (! (! (! (! (! (! (! (! (! (! (! (! (! (! (! (! (! (! (! (! (! (! (! (! (! (! (! (! (! (! (! (! (! " " # # $ $ % % % ' . . 10 10 10 11 1# 1% 111. "0 "1 "" "" "" "# "# "$ "$ "% "'
Lesson 0-: 6sheet panel and 6sheet layers

3o+ to add an sound trac* to your pro,ect The 6&heet Layers and 6&heet Panel &ntroduction and principle The projects used in this chapter -irst approach o the 8Sheet panel The Timeline tab The 8Sheet tab A ew simple options o the 8Sheet panel 1ow to create a 8Sheet layer 1ow to create and mana"e a 8Sheet layer -! -! -! -! -! -! -! -! -! -! " # # $ $ % % ' ( -
A concrete example Mana"e the content o a 8Sheet layer Select several ima"es in a 8Sheet layer The icons o the 8Sheet tab Select a de ault source About the projects The steps to create a Lip!&ync The iles used in this chapter Calibrate the options relative to the audio track !ositionin" syllabe and phonemes Create source columns Create 8Sheet 'ayers
-! -! -! -! -! -! -! -! -! -! -! -!
. . 10 11 1" 1" 1# 1# 1$ 1$ 1% 1'
Lesson 0.: )or*ing +ith F6 &tac*s

The stac* or F6 stac* &nitial study o the -8 stack %orkin" in real time The various viewin" modes Some operations )or*ing +ith ani ation *eys Mana"e the e ect pro"ress Mana"in" e ects with several parameters The path Movin" rom key to key The contextual menu or the keys Contract, stretch a key line 3se the selections 2ore details about the F6 stac* A more complex e ect, the .enderin" 9 'i"htin" e ect Sin"le e ects, multiple e ects Current e ect, preview and collapsin" o e ects &nvert two e ects .eset and rename e ects Savin" the settin"s o the -8 stack -8 stack and T#!aint Animation !ro projects Introduction to the video effects .! .! .! .! .! .! .! .! .! .! .! .! .! .! .! .! .! .! .! .! .! .! " " # $ $ % ( . 10 10 10 11 11 11 1# 1$ 1% 1' 1' 1' 1(
Lesson 10: The effects of the 7lur and Transition groups

The 7lur group effects The 0lur 9 Cubic blur e ect The 0lur 9 )aussian blur e ect The 0lur 9 Chroma blur e ect The 0lur 9 Center blur e ect The 0lur 9 .adial blur e ect The 0lur 9 *irectional blur e ect The 0lur 9 Median blur e ect The Median blur in Smooth mode The Median blur in 'i"ht halo mode 10 ! 10 ! 10 ! 10 ! 10 ! 10 ! 10 ! 10 ! 10 ! 10 ! " # # # $ $ $ % % %
The Median blur in *ark halo mode The Median blur in 'i"ht mark mode The Median blur in *ark mark mode The Median blur in *ouble ed"e mode The Median blur &mpressionist mode The Transition group effects The Transition 9 1ide e ect The Transition 9 0lock e ect The Transition 9 Classic e ect The Transition 9 -ade e ect The Transition 9 Slide e ect The Transition 9 .otary e ect The Transition 9 !a"e Turn e ect Increasing the transition possibilities by using the F6!stac*5
10 ! 10 ! 10 ! 10 ! 10 ! 10 ! 10 ! 10 ! 10 ! 10 ! 10 ! 10 ! 10 ! 10 !
% ' ' ' ( ( ( . . . .
Lesson 11: The effects of the Color and 8ey groups

Color channels The effects of the Color enu The Color 9 0lack + %hite converter e ect The Color 9 Color Adjust e ect The Color 9 Color eraser e ect The Color 9 Color replacer e ect The Color 9 Curves e ect The Color 9 1isto"ram e ect The Color 9 Sliders e ect The Color 9 Scan cleaner e ect The Color 9 Source &ma"e e ect The effects of the 8ey enu The :eyin" 9 'uma :eyer e ect The :eyin" 9 Color :eyer e ect The :eyin" 9 Chroma :eyer e ect The :eyin" 9 Alpha Control e ect The :eyin" 9 Advanced :eyer e ect The :eyin" 9 Cross :eyer e ect 11 ! 11 ! 11 ! 11 ! 11 ! 11 ! 11 ! 11 ! 11 ! 11 ! 11 ! 11 ! 11 ! 11 ! 11 ! 11 ! 11 ! 11 ! " " " # ' ' ( 10 11 11 1" 1" 1# 1% 1' 11.
Lesson 1": The effects of the &tylise group

&ntroduction The Stylize 9 )low e ect The Stylize 9 )rain e ect The Stylize 9 0evel e ect The Stylize 9 *rop shadow e ect The Stylize 9 Toon Shadin" e ect The Stylize 9 2rode e ect The Stylize 9 Add 0order e ect The Stylize 9 0loom e ect The Stylize 9 0lender e ect The Stylize 9 Mosaic e ect The Stylize 9 !osterize e ect 1" ! 1" ! 1" ! 1" ! 1" ! 1" ! 1" ! 1" ! 1" ! 1" ! 1" ! 1" ! " " " # # $ ( ( ( -
The Stylize 9 $oise e ect The Stylize 9 !rint e ect The Stylize 9 $e"ative e ect The Stylize 9 Solarize e ect The Stylize 9 Color ran"e e ect The Stylize 9 1al Tone e ect The Stylize 9 'umix e ect Some remarks re"ardin" the Source &ma"e notion The Colors 9 &ma"e Source e ect The Stylize 9 Convolve e ect
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 9 -lip e ect The *istortion 9 Mirror e ect The *istortion 9 :aleidoscope e ect The *istortion 9 !erspective , ; points e ect The *istortion 9 %ave e ect The *istortion 9 Tornado e ect The *istortion 9 0ump e ect The *istortion 9 *isplacement Mappin" 2 ect The *istortion 9 %rappin" )rid e ect The *istortion 9 4ptical -low e ect 1# ! 1# ! 1# ! 1# ! 1# ! 1# ! 1# ! 1# ! 1# ! 1# ! " " # ( . 10 11 1%
Lesson 1$: The effects of the 2otion and Paint groups

The !aint 9 Auto!aint e ect Mana"ement o !aths The !ath recorder The !ath mana"er Save paths The !ixel Tracker The Motion 9 :ey ramer e ect <st example , movement, zoom and motion blur =nd example, !itch, 1eadin", 0ank and !ivot >rd example ;th example The Motion 9 Stabilization e ects The Motion 9 Stabilization < point e ect The Motion 9 Stabilization = points e ect 1$ ! 1$ ! 1$ ! 1$ ! 1$ ! 1$ ! 1$ ! 1$ ! 1$ ! 1$ ! 1$ ! 1$ ! 1$ ! 1$ ! " $ $ % ' ( . . 11 1# 1% 1' 1' 1(
Lesson 1%: The 2otion 9 2ultiplane Ca era effect

The concept The blur caused by ocusin" 2ditin" table and computer multi plane camera The project used in this chapter >* views !ositionin" in space The #iew tab 1% ! 1% ! 1% ! 1% ! 1% ! 1% ! 1% ! " " # # $ % %
The !lanes tab Create an animation with the multi plane camera e ect, part < The !osition, !ivot and Size parameters Create an animation with the multi plane camera e ect, part = Create an animation with the multi plane camera e ect, part > Creatin" movement, move the camera Create and mana"e ocusin" blurs Make the kid run The multi plane camera wizard 4ther situations
1% ! 1% ! 1% ! 1% ! 1% ! 1% ! 1% ! 1% ! 1% ! 1% !
' ( . 10 10 1" 1" 1$
Lesson 1': The effects of the :endering group

The .enderin" 9 'ens -lare e ect 'ens -lares o the generic type Streak type 'ens -lares 'ens -lares o the Image type The .ender order or lens lares The 'ens -lare 4bscuration layer The .enderin" 9 'i"htin" e ect The .enderin" 9 #olumetric 'i"ht e ect The .enderin" 9 .otoTrackin" e ect The .enderin" 9 1ealin" Tracker e ect The .enderin" 9 0ack"round )enerator e ect The .enderin" 9 !lasma e ect The .enderin" 9 !erlin $oise e ect The .enderin" 9 Text e ect The .enderin" 9 Multiline Text e ect The .enderin" 9 Time Code "enerator e ect The .enderin" 9 !attern )enerator e ect 1' ! 1' ! 1' ! 1' ! 1' ! 1' ! 1' ! 1' ! 1' ! 1' ! 1' ! 1' ! 1' ! 1' ! 1' ! 1' ! 1' ! " # ' ( ( . 11 1# "0 "# "$ "% "% "( ". #0
Lesson 1(: The :endering 9 Particles ;enerator effect

Presentation and concept 'earn by example The tabs of the Particles ;enerator effect The %orld tab The 2mitters tab The 2mitters 9 !articles tab The 2mitters 9 !articles 9 Current tab The tab 2mitters 9 !articles 9 Shape The 2mitters 9 Current tab 1( ! 1( ! 1( ! 1( ! 1( ! 1( ! 1( ! 1( ! 1( ! " " # $ ( . 1" 1% 1(
Le<on 1-: The advanced functions of TVPaint Ani ation Pro

Custo i=ed +indo+s Addin" an action The actions at your disposal 1ow to mana"e the created actions 1ow to mana"e the panels 1- ! 1- ! 1- ! 1- ! 1- ! " # $ $ %
3o+ to use the plug!ins The Color -actory plu"-in The Canon plu"-in The *irect Show plu"-in The %ave orm plu"-in 3o+ to use the scripting language > ;eorge ? &ntroduction, what is )eor"e 6 -indin", 2ditin" and 3sin" )eor"e Scripts A ew examples o )eor"e Scripts !ro"rammer en lan"a"e )eor"e &nstructions et commandes An example o pro"ram written in )eor"e 'an"ua"e( Commands *escription A ew use ul options 1ow to use the variables The operators at your disposal The instructions !aram and !arse, the launchin" modes( The character strin"s The arrays -unctions and procedures 1ow to create librairies o unctions and procedures The Startup("r" ile 1ow to create a !lu"-in or T#!aint Animation !ro Addin" ar"uments
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' 1( 1( 11. "0 "1 "" "# "$ "$ "$
Appendi@ :
The video cards compatible with T#!aint Animation !ro The di"ital camera workin" with the Canon !lu"-in The )eor"e instructions The )eor"e lan"ua"e commands The main characteristics o the export ormats The available keyboard shorcuts and commands The initialization ile The technical support and internet resources A! A! A! A! A! A! A! A! " # # $ % ( 1" 1$
Lesson 1 First approach of TVPaint Animation Pro
In this lesson you will:

Learn to open and close TVPaint Animation Pro. Discover the various panels and windows. Start a project. Access InLine help. Set your preferences.
irst approach of TVPaint Animation Pro
After havin! followed the installation instructions in the Start"up !uide# you may now start TVPaint Animation Pro. 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 , users). The TVPaint Animation Pro pro!ram and most of the associated files are saved in the -pro!ram. directory of your operatin! system. To use TVPaint Animation Pro# you may choose %etween the mouse or stylus. The latter is more appropriate for persons wishin! to have that - freehand . desi!n feelin!.
The various program panels

(hen the pro!ram is started# the followin! screen appears. This screen ena%les selection of your future wor&space and mana!in! all your confi!urations.
The various options availa%le on this screen will %e discussed in further detail elsewhere in this lesson. or the moment# simply clic& on OK. +nce the pro!ram has loaded# the followin! ima!e illustrates what your screen will %e li&e for a display resolution of /012 3 /204 pi3els.
/"0
The various pro!ram panels
5ere you will find a description of the various panels displayed on the screen. The toolbar
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 e3istin! project)# Save 'save a project)# Close 'close the current project). The followin! icons are used to open or close various TVPaint Animation Pro panels 'display coordinates# li!ht ta%le# timeline# etc.).
To move the tool%ar# clic& and hold the left mouse %utton# then slide the cursor as re7uired. The tool%ar then appears in the form of a panel.
/"6
Main panel
This panel is used to draw se!ments# ellipses# rectan!les# curves#... 8rush 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.
Toolbox
The tool%o3 contains a wide choice of %uttons correspondin! to traditional drawin! tools: air%rush# %rush# pencil# wet %rush# etc. Various parameters may %e set: si9e# power# opacity# etc.
/"4
Current project
in!o
The current project window is the one in which you will %e a%le to e3press your artistic talents and create a wide variety of animated se7uences.
The la"ers
in!o
This window is also referred to as the -timeline. %y many users. It is used to mana!e your layers and insert &eys for your effects 'we will discuss this point in su%se7uent lessons).
Main menu
TVPaint Animation Pro has numerous menus located just a%ove the tool%ar in windows 'they are located at the top of the screen on *ac +S",) : File, Edit, Project, Layer, ma!e, E""ects, View, #indows, $el%. :ach of these menus offers specific options all of which will %e descri%ed in detail in this !uide.
irst approach of TVPaint Animation Pro /";
Some useful tips
#ome useful tips

Move a in!o
If for some reason you wish to move a window# this is done %y simply clic&in! on the title %ar and then slidin! it to the re7uired location while &eepin! the mouse pressed.
Close$ minimi%e or maximi%e a
in!o
These three %uttons# on P< : and on *ac : # are present on many of the panels and windows# in the top ri!ht"hand corner for P< and top left"hand corner for *ac. $ The %uttons = close the window '&ey%oard shortcut >Shift?(@). $ The %uttons = place the current window in front of or %ehind other windows. $ The %uttons = are used to minimi9e the window. +nce minimi9ed# this icon chan!es to and may %e used to ma3imi9e the window a!ain 'note that this icon does not chan!e on *ac). The si9e of some windows# the timeline for e3ample# may %e adjusted: it is possi%le to adjust their si9e with precision %y clic&in! on one of the ed!es.
#li!ers an! mini&sli!ers
The element a%ove on the left is referred to as a slider. It is located hori9ontally under some windows 'in particular under the current project window) or vertically ne3t 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 ne3t 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 fiel!s
:ach time you rename a layer# project# effect or other element# you will %e as&ed to enter a te3t in this type of window. <lic& on OK to confirm the name chan!e or clic& on Cancel&
The standard &ey%oard shortcuts: ><trl?,@ 'cut)# ><trl?<@ 'copy)# ><trl?V@ 'paste)# ><trl?A@ 'select all)# ><trl?A@ 'cancel) are valid in all alphanumeric fields 'note that these shortcuts are valid for P< and on *ac computers the user presses the Apple &ey instead of - <trl .). (hen re7uired they are accessi%le with a ri!ht clic& on the concerned field.
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Some useful tips
Progress bar
Sometimes application of an effect with TVPaint Animation Pro re7uires 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 re7uired# the >:sc@ &ey on (indows# > operation in pro!ress. @ on *ac +S", or Sto% %utton may %e used to stop the
'orking
ith projects
TVPaint Animation Pro wor&s with Projects which contain the artistCs creations. The notion of project is vast and further details will %e provided durin! the firsts lessons.
Create a ne
project
The first thin! to do when usin! this pro!ram is create a new project. To do this# you may: $ Select the parameters of your new project as soon as the pro!ram is started when the start"up screen appears. $ Dse the File main menu. $ Dse the &ey%oard shortcut >Shift?E@. $ <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 pi3els $ The As%ect ratio $ The Frame (ate ' ma!es)sec&) $ The Fields display mode
The Tem%late concept will %e discussed in lesson ;.
Settin! each parameter to create an animation in the format of your choice may proove 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# ETS<# VFA# DTV# ilm# etc.
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(or&in! with projects
TVPaint Animation Pro uses all standard formats 'even very hi!h definition) %oth for ima!e width=hei!ht ratios 4=6 and /B=H as well as others. +nce all options have %een selected# clic& on New %roject. 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 Pro allows you to wor& on several projects at the same time. The ma3imum num%er of projects is limited only %y the capa%ilities of your computer.
Vie
!ata relative to "our project

To view data relative to your current project 'si9e# 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 re7uire.
(ame a project
The default name for a new project is -Dntitled"22 .# - Dntitled"2/ .# - Dntitled"20 .# 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.
'orking
ith several projects
TVPaint Animation Pro offers the user the possi%ility to wor& with several projects on the screen at the same time. The >Ta%@ &ey on your &ey%oard may %e used to switch from one to the other. It should %e noted that the names of the projects present on the screen may %e viewed in the #indows main menu) The chec&ed name is the current project.
/"1 irst approach of TVPaint Animation Pro
(or&in! with projects
'orking in fullscreen mo!e

It is also possi%le to wor& in F+llscreen mode %y simply pressin! the >V@ &ey on your &ey%oard or %y clic&in! on the tool%ar icon indicated %elow.
(hen in F+llscreen mode# the &eys of the numeric &eypad may %e used to move your project on the screen. In fullscreen mode# the > /0@ &ey allows to hide all the tool panels. 5ere a!ain# the >Ta%@ &ey is used to switch from one project to another. To return to windows mode# simply press the >V@ &ey or the icon a%ove a!ain 'these options are also accessi%le via the View main menu ).
Close a project
A project may %e closed in four ways: $ Dse the = %uttons at the top of your project window. $ Dse the fourth %utton from the left on the tool%ar. $ Dse the File * Close %roject main menu. $ Dse the &ey%oard shortcut >Shift?(@. In order to avoid any mista&es# a confirmation messa!e will appear 'see opposite).
The Help main menu

:ach menu proposes specific options. At this sta!e we will ta&e a closer loo& at the $el% menu.
*nLine support
At any time# a help function referred to as nLine 'el%$ is availa%le in TVPaint Animation Pro. *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.
irst approach of TVPaint Animation Pro /"H
The 5elp main menu
+pposite you will find the description correspondin! to the Flood"ill 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 $el% menu.
The About)))
in!o
This section provides information a%out the pro!ram : $ name of developers# $ %eta"testers# $ date of creation# $ serial and license num%er# $ copyri!hts.
The Check for Updates option

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

(e will now 7uit the pro!ram. To do this you may: $ <lic& on the Close %utton at the top of the screen $ Select main menu File * .+it. $ Dse the &ey%oard shortcut >Shift?J@ 'P<) or '*ac)
The confirmation window opposite then appears.
#ave the configuration

At this point# if you wish to &eep the current layout of panels on the screen for the ne3t time you open TVPaint Animation Pro as well as the effects# palettes and various settin!s used 'this list will %e completed as the lessons pro!resses K)# tic& the Save t'is con"i!+ration %o3. Lou may then choose to: $ Leave TVPaint Animation Pro# or. $ Stay and return to the TVPaint Animation Pro interface.
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*ana!in! the confi!urations
Managing the configurations

A confi!uration contains a lot of useful informations li&e the layout of panels# the interface colors# the palettes# etc ... Lou certainly !uess it : it is possi%le to create several &ind of confi!urations : or e3emple : a confi!uration adapted to dual"screen computer# a confi!uration adapted to 5DTV# another one with other interface colors# etc ... The current confi!uration can %e saved when you 7uit the pro!ram. The startin! panel of the pro!ram allows you to mana!e the confi!urations.
(hen restartin! TVPaint Animation Pro# 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 e3istin! confi!uration# clic& on the Co%y %utton in the same window. A te3t window will appear. Lou may enter the name of the duplicated confi!uration in the te3t field and then validate it %y clic&in! o,. $ (hen a confi!uration is deleted# all effects# %rushes# palettes# shortcutsK used previously will %e lost. +f course# if you saved them in advance# you can reload and re"use them. 8y default# the confi!urations are located in the folder : & C:\Documents and Settings\your_name\Application Data\T paint Animation\ for (indows users ! " Home Directory#$ibrary#t%paint animation pro#default for *ac +S", users The "rom "ile popup menu allows you to start the software %y loadin! one of the ten previously used project.
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The Preferences panel
The &references 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 four ta%s: /eneral, 0is%lay, nter"ace, 1emory 2 Cac'e.
The 'eneral tab
The /eneral ta% indicated a%ove comprises four sections for a P< and three for a *A<. $ The first is used to select the 5*I lan!ua!e. At present# the user may choose %etween rench and :n!lish. $ The second section is used to attri%ute &ey%oard shortcuts to almost all icons and menu options. To create your own shortcuts# clic& on the Con"i!+re %utton in the second section. The window opposite then appears.
Lou have pro%a%ly noticed that when the InLine help appears# many tools# options# drawin! modes# etc. already have associated &ey%oard shortcuts. M The left"hand column indicates all &ey%oard &eys and &ey com%inations with the associated functions when attri%uted. M The ri!ht"hand column indicates all TVPaint Animation Pro functions which may %e attri%uted to a &ey%oard shortcut. M 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 ><trl@ ? Assi!n is used to add a function to a &ey. The various functions will %e e3ecuted in the order they were added. M The -nassi!n %utton has the opposite effect 'in this case it deletes the shortcut). M The File popup menu is used to save the ,eyma% on your hard drive# load an e3istin! &eymap# clear the current &eymap or reset the default &eymap.
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$ The third section of the /eneral ta% is used to define a temp directory in which temporary TVPaint Animation Pro files may %e stored. M This directory may %e modified usin! the associated te3t field or usin! the Set %utton 'a file navi!ator window then opens). M The temporary files contain data relative to the current TVPaint Animation Pro session. Data relative to your animations is also stored here 'for e3ample# the various sta!es of your wor& necessary for correct operation of the -ndo and (edo options). M Ine3perienced users are advised not to chan!e the default location. The faster the data stora!e device on which your temporary files are stored# the faster TVPaint Animation Pro will wor&. Always ensure this stora!e device has sufficient availa%le stora!e capacity. $ The fourth section of the /eneral ta% 'specific to P< users) is used to ena%le or disa%le the S+34 Pi5el 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 itN). All the latest models of (acom ta%lets wor& in Su%"Pi3el# i.e. the ta%let precision is !reater than one pi3el on the screen. :na%lin! this function when suita%le hardware is used will allow you to use TVPaint Animation Pro drawin! tools with a precision !reater than one pi3el N 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 e3ample) and will deliver results considera%ly different to those e3pected# 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.
The Display tab
The 0is%lay ta% concerns %rush display 'the latter will %e discussed in detail in lesson 4). The $ide 3r+s' %utton is used to mas& the %rushes when they are used as drawin! tools. +nly the mouse cursor remains visi%le on the screen and a frame indicates the e3act location of the %rush. This option is sometimes practical when wor&in! on a computer with limited resources: the use and display of lar!e %rushes may slow the computer down.
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The (nterface tab
$ The first section of this ta% may %e used to modify the pro!ram interface colors. The default colors used in TVPaint Animation Pro are li!ht !ray in order not to interfere with the colors used in your projects. 5owever# you are of course free to modify these colors as you wish. M The first popup menu allows you to select the element for which you wish to modify the color '%uttons# te3t selected# sliders# etc.) M Ee3t to this field you will find a s7uare %o3 indicatin! the display color of the interface element selected. Simply clic& on this %3 and then select any color on the screen to %e assi!ned to this element. M The Color sc'eme popup menu is used to 7uic&ly select a set of predefined colors or the default color scheme for this interface. $ The $i!'li!'t mini"slider# the Border and 1irror options allows to have a new !radient loo&.
$ The Save and Load options allows to share the interface settin!s. $ The Oeset %utton is used to return to the colors present when your confi!uration was loaded. $ The A%%ly %utton applies the colors selected to your current interface.
/"/4 irst approach of TVPaint Animation Pro
$ The second section allows you to choose the Style of your cursor. The different possi%ilities are: cross# arrow# point or circle as illustrated opposite.
$ The third section is used to 1a!neti6e t'e vario+s windows o" yo+r inter"ace& This renders mana!ement of their movement more practical. Lou may also choose to display the pro!ram without tool or title %ars 'for windows users)# which increases the project wor&in! 9one. $ The fourth section is used to select which type of file re7uester is to %e used. 8elow you will find e3amples of TVPaint Animation Pro specific as well as standard (indows and *ac +S , file re7uesters.
The TVPaint Animation Pro file re7uester is common to many software pac&a!es developed %y TVPaint DIveloppement and is present in your pro!ram re!ardless of your specific operatin! system. It is the only one capa%le of displayin! previews for files with e3tensions .TVP .*IO .ADO .DIP. The Never con"irm %utton# when tic&ed# cancels the confirmation re7uest which normally appears when a file is deleted or rewritten. $ The last section contains a tic& %o3 used to place the current project windows %ehind the other interface panels.
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The )emory * Cache tab
This ta% first displays the physical memory availa%le on your computer. $ Pust %elow this field you will find a numeric field and mini"slider ne3t to it. This field is used to attri%ute the amount of memory you re7uire for the -ndo option which allows you to -return. to and undo the previous steps when drawin! on the screen. The hi!her this value# the -further %ac&. you may !o. 5owever# this default value is lar!ely sufficient. $ TVPaint Animation Pro uses the physical memory of your computer and one or several temporary files as discussed in the /eneral ta%. Lou may want to allow TVPaint Animation Pro to mana!e this function automatically or impose a ma3imum cache si9e 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 Pro mana!es operatin! systems usin! over 6 Fi!a%ytes of physical memory. To save your shortcuts# colors or other predefined preferences for later use with TVPaint Animation Pro# do not for!et to save your confi!uration %efore 7uittin! the pro!ram.
#ome !etails
<reation of a new project re7uires some additional e3planations which you will find %elow:
'orking
ithout the notion of ,P*
Lou may already %e used to the notion of DPI 'dots per inch). The DPI is a pi3el 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 pi3els it contains and the sharper the printed ima!e will %e. In the animation field# the measurement used is the pi3el. The notion of pi3els is more practical as it adapts to the specificities of %oth metric and non"metric systems. or e3ample: the :uropean PAL format uses a resolution of G02 pi3els in width and ;GB pi3els in hei!ht# whereas the American ETS< format uses a resolution of G02 pi3els in width and 41B pi3els in hei!ht. The !lo%al si9e of your animation in centimeters# meters or inches depends entirely on the TV or cinema screen used to view them.
The notion of pixel aspect ratio

The pi3el aspect ratio is the multiplication coefficient which lin&s the pi3el width to the pi3el hei!ht. Dependin! on the video formats# the pi3els may %e either s7uare or sli!htly rectan!ular.
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Some details
Left: 'pi3el width) Q 'pi3el hei!ht) 3 0. The ratio is therefore - 0 .. Oi!ht: 'pi3el width) Q 'pi3el hei!ht). The ratio is - / . and the pi3els are s7uare.
The pi3el aspect ratio has a value of /.2BG for the PAL format and a value of 2.H for the ETS< format. Avoid confusion %etween pi3el aspect ratio and width=hei!ht ratio of a video '4=6# /B=H# K). The ratio is the width=hei!ht ratio of the pi3els.
Vi!eo fiel!s
Eormally# 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 ETS< standards. In PAL=S:<A*# the upper fields appear first# whereas in ETS< it is the lower field which appears first.
This framin! techni7ue# even if twice as many ima!es are re7uired for the same video ';2 instead of 0; ima!es per second in PAL mode)# has %een adopted in order to improve the 7uality of ima!e movement and precision. Ta&in! advanta!e of the persistance 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 Pro. (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 in this menu is used to create a project without usin! fields.
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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 forms and floodfill surfaces. Study the notions of opacity and transparence of a pixel. Study the notions of colored background and layers. !se the different drawing modes.
Drawing basics
It is very easy to draw using "#$aint %nimation $ro. In this second lesson we will draw a small house &very simple' using "#$aint %nimation $ro(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 tables e*uipped with a stylus. "his tool re*uires getting used to for beginners but it is much more natural to use for drawing.
Your first drawing

The first geometric form: draw a rectangle
+nce the program is started, proceed as follows: open a pro,ect in - $%L s*uare . format.
/lick on the Penbrush icon on the Tools panel &as soon as the tool is selected, the icon turns yellow to indicate that the tool is chosen, see image opposite'. "hen ad,ust the si0e of the penbrush to 1.2 pixels in diameter.
Select the Rectangle icon on the main panel by clicking on it once. %gain, the color of the icon changes from gray to yellow once the selection is made. "his applies to almost all icons in this application.
Select the Bin tab of the color picker and choose a gray color &if necessary, use the slider to get there'. %fter having clicked on the desired color &or pointed to it if you use a graphic tablet' this color will appear in the main panel and in the color picker as main color or % color.
/lick on the center of the image and, without letting go of the mouse button, slide it towards the bottom right hand corner. 3elease the mouse button. % gray rectangle has now been drawn in the current pro,ect window &see diagrams below'.
>>
>>
>>
454
Drawing basics
6our first drawing
The Floodfill option

7e will now floodfill this rectangle with color.
Select the Floodfill option in the main panel.
8o the the Picker 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. 6ou will notice that the 389 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.
:ow click inside the rectangle in the pro,ect window and you will obtain the result shown opposite.
Recover a color from 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 % color &on the diagram opposite, the main color is marked with a circle' or on the /olor $icker icon : . "he cursor of the mouse or tablet appears with a *uestion mark. 6ou may then point the cursor wherever you want, the color A will change into the color you point at. "he shortcut for this action is the ;<= key.
Redo and undo

7e will now draw the roof of our house. >or this purpose you may use the Line tool and the Floodfill tool. ?owever, attention must be paid not to leave any holes before floodfilling in a surface &or the entire screen will be floodfilled@' 6our turn now@ 6ou should be able to draw the picture opposite without any trouble.
Drawing basics 45A
6our first drawing
:evertheless, if you do not like the result you can go back as many times as you want using the $ndo option &keyboard shortcut ;!=' on the main panel. :ote that the Redo option &keyboard shortcut ;ShiftE!=' has the opposite effect.
Notion of la ers and colored bac!ground
Let(s add a sun. /hange the tool by selecting the FreeHandDot icon in the main panel and then the Airbrush tool &set the si0e to 142 pixels radius and the power to 1BBC'.
!sing the method described above, recover the yellow color in the Mixer tab of the color picker, then click on the white part of the image to draw your sun. 6ou will obtain the result shown opposite. %t this point, it seems at first sight that the image is mainly composed of white... in fact, that is not the case @ If the layer window is not visible on the screen, click on the Timeline icon on the toolbar to make it appear &keyboard shortcut ;B= on the numeric pad'. :ow change the olor option &bottom left of the timeline' into !one, then into heck and note the changes taking place in the current pro,ect window.
la er la er la er
bac!ground " Color
bac!ground " None
bac!ground " 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...'. 7hat we will refer to as "mage la#er in all future lessons is the e*uivalent of a transparent glass plate placed on a colored background of your choice. 6ou are drawing on this plate and not on the colored background. It is possible to change the color of the backgrounds heck and olor in the same way it is possible to recover a color on the screen thanks to the color fields next to the menu.
45D
Drawing basics
6our first drawing
Zoom and View options
Stay in check mode, we will 0oom in on the sun.
"o ad,ust the 0oom, you can: F !se the small - % . and - - . icons above as well as the mini5sliders. F !se the keyboard shortcuts ;#= and ;>=. F %d,ust the 0oom numerically by modifying the percentage in the text field intended for this purpose. F !se the &oom button on the main panel: once enabled, this button may be used to increase or decrease the 0oom at an exact point of the current image by simply left or right clicking with the mouse. :ote that there are other options in the pro,ect window which may facilitate your task : F "he button - ' . enables re5initiali0ation of the 0oom to 1BB C. F % left click on the - F . button re5aligns the image in the pro,ect window. F % right click on the - F . button extends the pro,ect window to display the entire image. "hese 0oom options are available to make your task easier when working in detail. ?owever, they do not modify the videos, photos and images themselves. 6our will find them all in the (ie) main menu. 6our pro,ect displays are anti5aliased when 0ooming5out &4B, 42, AA or 2BC of the original pro,ect si0e' "his very useful for people who works in very high resolution. &for exemple the ?D"# format' In lesson 1 we learned that it is possible to work with several pro,ects at the same time. It is also possible to open several pro,ect windows for the same pro,ect. 6ou may use the ;G= key of the keyboard or select !e) pro*ect )indo) in the (ie) main menu to do this. "his is recommended when working with large 0oom values and to keep an eye on the entire pro,ect. :ote 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 pro,ect.
"he button of your pro,ect 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. F % 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. F % 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 la#er 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 +haker and is accessible with the keyboard shortcut ;%=. % simple touch on this key will make your current layer shake and reposition it immediately with the aim to rapidly view the current layer.
Drawing basics
452
6our first drawing
Notion of pi$el opacit

%fter having 0oomed to approximately 4BBBC 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.
6ou 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.
R%&%' and (%)%L color s stems

+pen the +lider tab of the color picker. It is possible to define a color from its components R,B - Red. ,reen, Blue or from the ?SL system: Hue, +aturation, Luminosity. 6ou may move the sliders to obtain the desired color or use numeric values. &Select the color blue to continue the drawing'.
If the +liders tab of the color picker is not selected &i.e. on each tab of the color picker except +liders', a line referred to as +tatus bar is visible. "his line is used to display the values in the 389 system of the A color&click on this bar to make the color appear in the ?SL or hexadecimal systems'.
The drawing modes

"here are several drawing modes in "#$aint %nimation $ro: olor. Behind. /rase. Panto. Light. +hade. Tint. olori0e. +mooth. ,rain, etc. 7e will look at each of them in turn. "hey are available in the popup menu located under the icons of the Tool panel &left click to access it'. If re*uired, you may assign keyboard shortcuts of your choice to the various modes proposed &see lesson 1'.
Some modes may not be used with all tools.
45H
Drawing basics
"he drawing modes
The Color and Behind drawing modes
7e will now draw a blue sky. "o do this: F Select the Freehand line icon &in the main panel'. F Select the )etbrush tool &si0e 1BB pixels, power 1BBC, opacity 1BB C'.
"he red -1:D . indicates that the tool is four times larger than the one visible in the white rectangle to the left.
6ou have already seen the olor mode &keyboard shortcut ;>4=' as you have been using it since the beginning of this lesson... 7hen you use the olor mode, your line and color are applied over the already existing image.
*etbrush in Color mode
7hen you select the Behind mode &keyboard shortcut ;>A=', "#$aint %nimation $ro will take into account the already existing pixels from the line as well as their level of opacity. 7hen 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. >loodfill in the entire image in blue using this mode.
*etbrush in Behind mode
Mechanical pencil and Pencil tools

% few words about the Mechanical pencil and Pencil tools to finish off our drawing. Select the Pencil tool &in color mode' and one or several shades of green. "hey are used to add grass at the foot of the house. >or more precise drawing &e.g. a signature', the Mechanical pencil tool is the most suitable.
"he drawing above will serve as a basis to study the other drawing modes.
Drawing basics
45I
"he drawing modes
The Erase drawing mode

"he task of the /rase mode &keyboard shortcut ;>D=', 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. +pposite, the /rase mode is used on a check background.
+irbrush in Erase mode ,bac!ground"chec!-
The Shade and Light drawing modes

%s their names speak for themselves, these drawing modes re*uire almost no additional explanation. "hey are used to brighten or darken the opa*ue areas of the image where you draw your line. Kust note that the higher the Po)er and 1pacit# of the drawing tool, the more the drawing carried out in these modes will approach opa*ue white or opa*ue black.
+irbrush in Light mode
In this example, we used the Airbrush tool with a power of 1BB C and an opacity of 1I C.
If the chosen background is white or black, do not confuse the /rase mode with these two modes : the modes +hade and Light modify the color of the pixels, whereas the /rase mode modifies their opacity.
+irbrush in Shade mode
"he other drawing modes will be studied in lesson I.
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.urther details
/olor and ' Color
% very good tip: It is possible to invert the two colors A and B of the color picker using the keyboard shortcut ;:= or the button on the main panel.
Rotation of the wor!space

+ne 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 pro,ect window is used to freely define an angle by left clicking and holding the button followed by a left L right movement of the cursor. 6ou will see the workspace rotate in real time and you ,ust release the button once the desired angle is obtained. "his free ad,ustment may also be carried out using the keys ;/trlE%lt= E left click.
The free ad0ustment and its !"# in the form of a traditional drawing wor!space
6ou may also right click on the same button, which will open a menu &see opposite' in which you have the possibility to : Reset the overall angle value &keyboard shortcut ;Insert=', Rotate the 6ie) %'45 &keyboard shortcut ;ShiftE$age!p=', Rotate the 6ie) 3'45 &;ShiftE$ageDown=', manually define an angle value &+et option' or choose a pre5defined angle among 12 values all multiples of 12.
:ote that Rotate %23 '45 will always be rounded off to the priorLnext multiple of 12. >or example, if you work at first with an angle of 42M and then decide to tilt the pro,ect by E12M using ;ShiftE$age!p=, you obtain an angle of ABM and not DBM as AB is the first multiple of 12 after 42.
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1anagement of palettes and mi$ers

"he Mixer and Bin tabs in the color picker may be used to optimi0e your choice of color. % 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 Mixer tab menu '. %t first you can choose to work with pre5defined mixer surfaces: blue, clouds, inks, dirty, nebula, etc. or pre5defined palettes: "#$aint %nimation $ro 1, 4, A, D and gray. If the mixer and palettes proposed are not what you want, "#$aint %nimation $ro also offers you the possibility to create, duplicate, rename and cancel your own palettes or mixers. "hese options are also accessible via the contextual menus &options !e). op#. Rename. Delete'.
It is possible to modify the existing or newly created mixers : a left click on the mixer surface incorporates the A color to the visible mixer which can then be -spread.. If you are not satisfied with the color obtained, you can delete it with the Delete Mixer choice.
In the Bin tab you have some additional choices in the contextual menu: Replace. +)ap. +pread and Delete. "hese choices act directly on the current palette. 6ou may repectively: replace the color in one field by the current color, swap the colors of two fields, spread the colors from one field to another and delete a field.
+nce you have created the mixers and palettes adapted to your needs, do not forget to save the configuration when you *uit "#$aint %nimation $ro. In this way you will have your color parameters at your disposal the next time you start the program. 6ou can import or export palettes and mixers at any time via the File sub5menu. "his enables exchanges between users of the software. It is possible to return to the default mixers and palettes of "#$aint %nimation $ro using the Default palette or Pre3defined palette choices in the contextual menus. "he pre5defined palettes et mixers may be restored by resetting the "#$aint %nimation $ro settings. 6ou should note, however, that the last two operations will delete the palettes and mixers that you have created yourself unless you have exported them previously.
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/olors (istor
7hen you draw with "#$aint %nimation $ro, the history of colors you have used is accessible with a right click on the color s*uare on the main panel or a left click on the button &see opposite'. It is therefore very easy to re5use a color that you have recently used.
It is possible to shade the colors A or B by left clicking on the latter in the main panel or the color picker and then keeping the button ;/trl= pressed when moving the mouse to another color on the screen.
The Color Variations panel

"he olor (ariations panel is accessible thanks to a right mouse click on the color box of the main panel or via the 7indo) main menu. It puts at your disposal several ranges of color, derived from the current % color. Some luminosity variations based on the % color Some saturation variations based on the % color Some chromatic variations based on the % color "he +tep option allows to ad,ust the chromatic variation If the Lock button is not checked, the color boxes are automatically refreshed if you change the % color. &% simple click on a color of the olor (ariation panel will change the % color into the one you have chosen' If the lock button is checked, the color boxes will stay the same whatever you do.
Drawing splines% segments and circles

"his icon on the main panel enables the FreeHandDots tool8 "his icon enables the FreeHandLine tool for continuous lines. "his icon is used to trace +traight Lines8 "o draw a segment in your pro,ect window: F Left click on the first end of the segment, F Oeep the button pressed while sliding the mouse, F 3elease the button when you reach the second end of the segment. %t the beginning of this lesson we learned how to draw a Rectangle. "his icon is used to draw ircles and /llipses. In the current pro,ect window, point your stylus to the center of the ellipse to be drawn, then move it to create the ellipse you desire. $ress the ;Shift= key first to obtain a perfect circle.
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"his icon offers you access to more complex +plines. 9y default it is possible to trace multi5point splines. "he latter are also referred to as B90ier +plines by mathematicians. 9y modifying the options in the +hape +ettings window, it is also possible to draw three5point splines &see following section'. "o trace a multi5point spline in your pro,ect window: with a few clicks or presses with the stylus on the current pro,ect window, you can construct a broken yellow line interspersed with knots. "his line is not directly integrated in the drawing: "he option Appl# spline or the keyboard shortcut ;)nter= is re*uired to obtain a result &a right click calls up the contextual menu shown opposite'.
"he advantage of this tool is that it allows to work on the knots. F % left click on one of the knots followed by a movement of the stylus allows you to move or edit the spline line of the broken line at this point. In the latter case, the tangental lines of the spline appear &see the red spline in the diagram below'. F >or more precision: the ;/trl= key allows you to work on the line of your choice without influencing the position of the second. F 6ou may also move the spline globally by pressing ;/trl=E left click outside the spline. F >inally, it is also possible to close the spline via the option in the contextual menu. "he form of the circles, rectangles, splines P obtained using the procedure described above, depends on the tool chosen: penbrush, airbrush, pencil, etc. &see above'.
circles 2 segments 2 '34ier splines ,applied using different tools-
"he Add to bin option allows to keep in memory the current spline. It is often very usefull, especially if you need to re5use it later. &+nce the Add to Bin option is selected, the software asks you to name your spline' 3e5using a stored Spline can be done by choosing its name in the menu. 6ou can also delete a stored spline thanks to the Delete menu.
6our splines will be kept in the bin after restarting the software only if you saved the current configuration. $lease remember that if you delete or reset the configuration, all your Splines will be lost.
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+d0ust the Shape settings

"he panel shown opposite is accessible in the 7indo)s main menu or with a right click on one of the seven drawing tool &dot, freehand, segment, spline, rectangle, ellipse and floodill'.
F In the first popup menu you can define two methods of drawing circles. 6ou may choose to: Q draw your circles fixing a centre and then a radius. Q draw your circles defining three points on the screen &geometrically, there is only one circle passing through three non5aligned points in the drawing'. F In the second popup menu you can modify the nature of the splines you will draw using the +pline tool studied previously. 6ou may choose to: Q draw 9R0ier splines &multi3point splines'. Q draw three3point splines. "o draw a three5point spline in your pro,ect window: Q left5click on the first end of the spline, Q keep the button pressed while sliding the mouse, Q release the button when reaching the second end of the spline, Q slide the mouse, Q left click when satisfied with the spline. F "he section named Panto enables ad,usting the vector of the Panto mode studied in the following sub5chapter.
The Panto drawing mode

"he Panto mode is used to reproduce, by translation of the vector of the S,6 coordinates, all sections of the layer &the S,6 values being those present in the +hape settings panel'. It is possible to interactively define the S,6 values using the Ad*ust button &keyboard shortcut ;ShiftE$=' of the +hape setting panel &tracing a segment on the screen will determine the S and 6 values'. ).g. for ST 5AHB and 6T 54AJ you will obtain, after having used the penbrush to draw a line at the height of the sun in the final image &corresponding to the diagram below' :
?ere are the steps to use the panto mode correctly : 1' first, use the 3G9 on main panel tools and set the vector S and 6 &set values or click on the (Set( button and draw the vector on your pro,ect'. 4' choose a drawing tool like %irbrush and set drawing mode Panto in the popup menu under the drawing tools icons. A' on your pro,ect you have two cursors. +ne simple for the source and an other with preview for
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the destination. $ixels under the first one are moved under the second one with the settings of the current tools.
)etting the tools

6ou have numerous variables at your disposal to set your drawing tools. 7e will describe them in detail except for Dr#ing and ,radient which are explained in lesson A.
F "he variable +i0e defines the tool radius in pixels. F "he variable Po)er defines the color *uantity applied by the tool. F "he variable 1pacit# defines the global tool opacity. "he opacity defines a maximum opacity threshold which the drawing tool cannot exceed. F "he variable Aspect enables flattening of the current tool. F "he variable Angle authorises rotation around the tool U axis. F "he variable +tep, if enabled, manages the waiting time between two applications of the same tool.
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 traced with, from top to bottom, the percentages ABBC, 1BBC and BC for the +tep variable.
"#$aint written with the airbrush tool : Angle T NBM and Aspect T 4BC
Mechanical pencil tool left without +moothing. right with smoothing.
If re*uired, the 3eset button resets the settings of the displayed tool.
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Drawing filled shapes

7ith the exception of the FreeHandDots tool, a second mouse click on one of the icons described previously enables the fill function. 6ou may thus draw filled disks, rectangles and other filled splines. % second click on the FreeHandDots tool enables the +implePoint tool which is used to draw only a single application of the brush. "his is an alternative to the >loodfill option in simple cases.
)etting of the brush profile

"he right field in the tool panel provides a view of the drawing tool cross section. 9elow you will find two profile examples for the airbrush drawing tool.
left to right: profile% three5dimensional view of the tool and its effect on the screen6
"he profile of brushes may be edited in the window shown opposite. 3ight click on the profile of the tool you are using to make it appear.
6ou have the choice : F to create or delete the points of the spline. F to move the latter. F to flip to the spline along the hori0ontal or vertical axis. F to choose the method applied to connect the points with each other: Linear% +pline or Pol#nomial. F to select a pre5defined profile, if re*uired: to do this, use the two arrow buttons to scroll the pre5defined profiles and then click on the profile of your choice to display the corresponding profile on the screen. %s for the palettes and mixers, "#$aint %nimation $ro offers you the possibility to Load% +a6e and Reset the profiles &File popup menu'.
The coordinates
"he oordinates window is accessible via the 7indo)s main menu or via the icon of the tool bar shown opposite. F left you find the coordinates in pixels of the pixel pointed with the mouse as well as its 389 values. F right you find a small 0oom box with a central point. F if you draw a rectangle, the two empty lines will indicate the height and width of the latter in pixels. "here you will also find the length of the two half5axes if you draw an ellipse.
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The $e-appl% option
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"his is a situation that is often encountered: you have drawn an ellipse on your screenP 9ut, you have used the wrong tool: you used the 1ilbrush instead of the Penbrush. "he $ndo option allows you to go back &the ellipse drawn with the oilbrush will disappear', but you may have trouble drawing the ellipse again with the same precisionP )ven when having noted 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 Re3appl# option &keyboard shortcut ;)nter=' was developed to counter this type of problem and facilitate your taskP 7hen your ellipse is deleted, change the tool and ad,ust the parameters and colors. "hen select the Re3appl# option in the /dit main menu. % new ellipse is drawn. 6ou may even do more than that as, before using the Re3appl# option, you have the following choices : change the layer, select several layers, change the type of line to work with filled shapesP &see the examples aboveP' It is even possible to define selections or cut animated brushes from the original drawing @
7se the &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 : F drawing parallel lines, F placing a brush at regular intervals on the screen, F aligning a text along a vertical line, F etc. %s you have probably guessed, this option is also accessible in the Tool bar and the 7indo)s main menu. +nce enabled, it does not affect your pro,ect itself, but the way you will draw &,ust disable the option to make the red grid disappearP'. F "he ,rid panel which is accessible with a right click on the ,rid icon in the Tool bar or via the 7indo)s main menu is used to set the width and height of the boxes &use the numeric fields of the same name or the mini5sliders'. F "he +tart3: and +tart3; numbers will help you shift the grid on the surface defined by the work area. F If re*uired, you may adapt these four values in such way as to recover the image using the current brush and the Brush si0e button. F "he +et button is used to interactively define the grid parameters by drawing a dummy rectangle in the current pro,ect window. F "he +ho) box displays the grid when it is checked.
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F "he +nap box renders the grid magnetic. "his option imposes that the user may only use the red pixels at the intersections of the hori0ontal and vertical lines. "his works as if the cursor on the screen were magnetically attracted to the grid intersections.
7se the guides

"he purpose of the ,uides of "#$aint %nimation $ro $ro is to create customi0ed and magnetic marker points in the current pro,ect window. 7hen using the guides it is very easy to draw concentric circles or parallel lines. "o display the latter, left click on the Tool bar button shown below &a right click will open the window for guide parameter setting'.
"he following options are available in the guide parameter setting window: F +nce the +et button is selected, any click with the mouse in the current pro,ect window will generate a hori0ontal and a vertical line. It is therefore possible to create - a grid with irregular graduations . and to impose the line intersection points as the only points to be used. F "he Reset button is pressed to go back to a pro,ect window without guides. F "he +ho) box, when checked, displays the guides. F "he +nap box imposes the yellow pixels at the intersections of the hori0ontal 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.
The )afe +rea

"he safe area may be displayed in the current pro,ect window: it may be enabled via its +ho) popup menu &see below'. It is therefore possible to recover the markers normally used in the film industry: the action and text safe areas allow viewing of what will effectively appear on the "# screen &i.e. the Safe %rea'.
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Displa settings
"he Displa# +ettings window is accessible via the 7indo)s main menu and is used to choose the color and opacity of the guides, stencils, safe area, animation disk, etc. 6ou 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.
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Drawing basics
Lesson 3 Layers spatial management
In this lesson you will learn to :

Use the paper. Create a Color Gradient. Study the notion of the layer with its multiple aspects. Name, move and select layers. Assign a color to a layer. Manage the glo al opacity of a layer.
!ayers and timeline
Layers and timeline

"hen starting the program, select the template TVPAP Image Layer so that the newly created pro#ect only contains one Image layer.
The Oilbrush tool
"e$ll start y drawing a little man in the center of our image. %o do this, use the Oilbrush tool, select FreeHand and the red color &'()**, +(,, -(,..
Now display the Timeline if it is not displayed yet &shortcut /,0.. %he following window will appear :
%his window shows that our little man was drawn on a layer named 1Untitled 23. Indeed, every layer has a name.
Rename a layer
"e will now rename the layer. 4ou have the choice to : Select Rename layer in the Layer main menu.
Call up the popup menu y clic7ing on the layer name in the Timeline &here : 1 Untitled 2 3.. 8nce the popup menu is displayed, select the name of the layer at the top of the menu and release the mouse.
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!ayers and timeline
Independent of which method was used, a te9t window will appear. 4ou may now enter the name &1 Character 3. in the te9t field and then validate it y clic7ing on OK.
Create a New layer

%:;aint Animation ;ro offers the possi ility to wor7 with several layers. "ith a it of practice, this will ma7e your wor7 much easier. %o create a new layer you can :
Use the 7ey oard shortcut /Ctrl<N0, select e! Layer Image in the Layer main menu or select e! Image Layer in the e! menu of the timeline &see e9ample opposite..
8ur timeline now comprises two layers: the 1!ittle man 3 layer and our newly created layer, referred to y default as 1 Untitled 2 3. 4ou may also rename this layer. "e will call it 1 gray lo 3.
The current layer

%he 1 white 3 layer in the timeline is called Current layer. "hen you draw in the wor7 window, the modifications are only applied to this layer. %he 1 gray 3 layers remain unchanged, independent of their position. %o change the current layer you can: = Use the arrow 7eys / > 0 and / ? 0 on your 7ey oard. = Clic7 on the layer of your choice in the Timeline. = Select Current in the popup menu which is accessi le with a right clic7 in the timeline. = Use the shortcut / , 0 to select the layer y clic7ing on it. ;ress / , 0 then the layer you wish to select. If there is a multiple choice, a menu will appear.
The advantage of working with several layers

Now draw a gray lo in the center of the image on the new layer using the pen rush tool &radius: *, pi9els, power : 2,,@, opacity : 2,,@, mode : color. At first sight, the gray lo seems to cover the little man. -ut in reality this is not the case...
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!ayers and timeline
"hen loo7ing at the thum s in the timeline, we see that the gray lo and the little man are on two different layers. "e have thus superposed two layers on our white ac7ground, as illustrated in the diagram elow.
1 +ray lo 3 layer 1 !ittle man3 layer "hite ac7ground %he gray lo therefore does not delete the little man. If you use the same tool in "rase mode on the same gray lo , you will note that the little man will reappearA
Flip layers
-efore continuing with our wor7, we will flip the two layers. %his is how it is done: left clic7 on the small frame representing the gray lo in the timeline, then slide the cursor on the timeline until it is under the 1 little man3 layer. 'elease the mouse utton.
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before flip after flip no flip (merge)
1 !ittle man 3 layer 1 +ray lo 3 layer "hite ac7ground

position of layers after flip
"e now have the configuration as shown in the diagram a ove. In the current pro#ect window, the little man is positioned on top of the gray lo . "hen trying to flip two layers, a freBuent mista7e made is to move one layer on top of another. %his is the process of merging two layers &which will e descri ed in detail later in this manual.. %he case eing, clic7 on Can#el in the merge options window to return to the original layer disposition.
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!ayers and timeline
%he $ndo option in the main menu may e used for the modifications made to the pro#ect as well as for those applied to the timeline.
rase the contents of a layer
It is possi le to erase the contents of a layer without using the "rase mode. %o do this, #ust clic7 on the icon of the main panel opposite or use the shortcut /Shift<E0. %his option has no effect on the layer named 1 little man3 which is not our current layer.
!se of a Paper
"ith %:;aint Animation ;ro it is possi le to accelerate drawing certain repetitive shapes such as a ric7 wall. ;roceed as follows:
= Dloodfill in the current layer &1 gray lo 3. with a dar7 gray color. = 8pen the Pa%er window which is accessi le in the &indo!s main menu or with a right clic7 on the Pa%ers icon on the tool ar. = Select any type of wall in the papers window. = Change A color for a light color, close to white. = Dloodfill in the 1 gray lo 3 layer using this color.
4ou will note that the paper you have chosen is used as a pattern to paint the layer surface &see drawing a ove.. 8ur ric7 wall has een created and the 1 gray lo 3 layer may now e renamed 1 ric7 wall 3.
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!ayers and timeline
"often the conto#rs of a s#rface

!et$s continue our drawing: = chec7 that the 1 ric7 wall 3 is the current layer, = deselect the function Pa%er on the tool ar, = select the Re#tangle Fill shape in the main menu, then the 'e#hani#al Pen#il icon in the tool panel. = ena le the "rase mode( = in the option window named Filling sha%e which appears in place of the tool panel, set the value in the )mooth numeric field to ), pi9els.
= Fraw a rectangle in the center of the image. %he effect of the prior manipulation is immediate: the edges of the rectangle are less sharp. = %o finish, flip the two layers again.
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before flip after flip
$pply a color gradient
8ur little man is now ehind the ric7 wall. "e will add a tinted glass etween the little man and the wall.
= Start y creating a new layer, name it 1 glass 3 and place it as shown in the Timeline a ove.
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= Select the color cyan for A color then a lue color for - color. = In the Filling sha%e panel, change the "rase mode for the Color mode and tic7 the o9 Gradient. %he gradient from A color to - color now ecomes visi le. = Fraw a Filled re#tangle in the layer named 1 glass 3, paying attention that its dimensions correspond to the siHe of the 1 hole 3 in the ric7 wall.
= %he cursor shown opposite invites you to choose the Orientation and "*tent of the gradient. %he gradient will e applied along the segment you will draw, from A color to color. 4ou will thus o tain the result shown opposite in the current pro#ect window. %he perspective diagram and the timeline hereafter confirm the presence of three layers although only two are visi le on the screen.
-ric7 wall layer +lass layer Character layer "hite ac7ground
%odify the global opacity of a layer

4ou may modify the glo al O%a#ity of a layer: = y left clic7ing on the white ar on the timeline. = y right clic7ing on the same ar to call up the numeric field shown opposite& = via the conte9tual menu of the layer.
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!ayers and timeline
+lo al O%a#ity of the +lass layer with various values:
,@
), @
C,@
G, @
Modification of the 1 glass 3 layer$s glo al opacity will vary the opacity of all pi9els ma7ing up the layer.
J,@
2,,@
Gradients and Opacity mapping

%he parameters for the pi9el opacity of our glass may e entered as soon as the gradient is esta lished: 2st method: the opacity gradient. Krase the contents of the layer named 1 glass 3 and set its glo al opacity to 2,,@. 8pen the Color gradients window &right clic7 on Gradient in the Filling sha%e panel or access it via the &indo!s main menu.. = %he first horiHontal ar represents the aspect of the gradient as it will e displayed on the screen. = %he second ar displays the colors chosen for the gradient. In our case, the two 7eys at the end indicate the A color on the left and - color on the right. = %he third ar indicates the opacity chosen for oth colors.
Clic7 on the left 7ey of the opacity ar and modify its opacity using the Al%ha mini6slider to ad#ust the percentage to around ),@. %he 7eys are sym olised y a colored rectangle L&
%he first horiHontal ar changes and its left section ecomes transparent &presence of a chec7 under the cyan color.. Now draw the rectangle that represents our glass and you will note that the cyan section is transparent while the lue section is opaBue. Note that no modification was made regarding the glo al opacity of the layer named 1 glass 3.
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!ayers and timeline
)nd method : 4ou may also use the O%a#ity ma%%ing option in the Filling )ha%e panel. If you draw a single6colored rectangle after having ena led this option, the opaBue and transparent areas are respectively layered on the lac7 and white areas shown in the frame elow &see elow.. Dor those who wish to 7now how to edit your own mapping, this is e9plained on page 2G of this lesson.
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Show and hide a layer

It is possi le at any time to only show the layers of your choice. %he layers visi le in the pro#ect window are those tic7ed in green in the first column of the timeline. %he hidden layers are those which are tic7ed in red in the same column and the name of which is displayed in gray &clic7 on the color fields to toggle a layer from visi le state to hidden state and vice versa.. "hatever the displaying options are, once the icon H is tic7ed, only the current layer is displayed. 4ou can draw only on a displayed layer.
Merge layers
"hen it is no longer useful to wor7 with several layers, you have the possi ility to merge the layers. %he 'erge popup menu in the timeline offers you three options for this purpose. %hese options are also availa le in the Layer main menu. = 'erge sele#ted layers : the non6selected layers are not merged. = 'erge +isible layers : in this case, the hidden layers remain intact. = 'erge all layers : the layer resulting from this operation contains the current image.
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!ayers and timeline
%o select an additional layer &multi6selection.: press the /Ctrl0 7ey on the 7ey oard and left clic7 on its thum . 4ou may also use the /Shift0 7ey to select all layers etween the last selected and the one you are clic7ing on. Another possi ility is to slide one layer on top of another and call up the merge options shown opposite. If you tic7 the )tam% field, the merger is made according to the opacity of the layer moved and the A color. 4ou may choose to cancel or 7eep the original layer as well as apply one layer on another in #olor( erase( behind mode, etc.
F#rther details
Delete' duplicate a layer
= It is possi le to delete a layer, an option which is Buite different from erasing its contentsN %o do this, select ,elete sele#ted layers then clic7 on Con-irm in the conte9tual menu of the timeline &to do this, you may also use the Layer main menu.. = %o duplicate a layer, proceed in the same way using the same menus.
Lock a layer
%o loc7 a layer may e useful under several circumstances. Clic7 on the little padloc7 located in the timeline in front of the layer to e loc7ed.
8nce a layer is loc7ed you may neither draw on it, nor delete it or modify its glo al opacity, nor select it as current layer. Clic7 again on the padloc7 to unloc7 the layer.
Red#ce a layer
It is practical to reduce a layer when there are too many of them to e displayed on the screen. A left clic7 on one of the arrows in the lac7 circle on the diagram opposite increases or decreases the siHe of a layer in the Timeline.
%he layer itself is not changed in any way ut only its name and glo al opacity are visi le in the timeline.
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$ssign a color to a layer
Another operation that does not affect the layer itself is to assign a color to a layer. %his operation allows you to simply organise and mar7 the layers using pre6defined colors. Clic7 on the ( C icon in the first column of the timeline to modify the color of the chosen layer.
The color gradients

As for the mi9ers and palettes, there are pre6defined color gradients which you may Co%y( Rename( ,elete. %hese pre6defined gradients are accessi le in the popup menu indicated in the image elow in the Gradient window. It is also possi le to create your own gradients according to your color and opacity criteria: = A right clic7 on one of the 7eys of the color ar ena les you to either delete the 7ey, to assign the A color or - color to it or to recover a color. = A right clic7 on one of the 7eys of the opacity ar ena les you to either delete the corresponding 7ey or to set its opacity &or alpha value.. = %he s%read num er field mi9es the pi9els within the current gradient. = %he ,ither numeric field wor7s in the same way as the )%read numeric field ut uses colors which are not necessarily among those you have chosen, although they are Buite close to them &this process is often used in the video sector.. = %he In+ert option flips the current gradient. = %he cursor ena les cali ration of the transition Hone from one gradient to another. = %he File popup menu ena les you to load or save your gradients on a memory support. 4ou may also choose to recover the pre6defined gradients of %:;aint Animation ;ro if reBuired. Oere again, it is necessary to )a+e the #on-iguration to recover the gradients you have created using this program.
Color gradients and drawing tools

Color gradients are also useful when wor7ing with drawing tools : Assigning a color or opacity gradient to a drawing tool provides a wide variety of interesting visual effects &see e9ample oppositeN.. %he more power applied to the tool or the more repetition on the screen, the more its color will cover the gradient chosen.
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Durther details
The different types of gradients

"hen the gradient field is tic7ed on the Filling sha%e panel, several types of gradients are availa le to you &clic7 on one of the five uttons on the panelN.. "hatever your choice may e, you will have to draw a vector on the screen to determine the direction and e9tent of the gradient &see elow..
Drom left to right: the gradients Linear( )%heri#al( /iLinear( Radial and Re#tangular.
$nother #se of papers

Apart from reproducing a given pattern, the papers may e used to simulate drawing on a real paper. %he com ination of papers with different drawing tools provides very realistic results and ena les imitation of different drawing styles: charcoal, painting on glass, lithography, etc. &see elow.
Some images are constructed using many papers. %he image opposite, for e9ample, which is availa le on the CF was compiled using 2, papers.
Numerous options are availa le in the papers window. 4ou may: = Modify Hardness( )i0e and Angle of your papers.
hardness 33)
hardness **)
hardness +,,)
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Durther details
si-e .,,)
si-e +,,)
si-e /,)
angle ,0
angle *,0
angle +.,0
= In+ert the papers & egati+e option..
original paper
inverted paper
= Create a symmetry along the horiHontal a9is or vertical a9is efore application &options Fli% 1 and Fli% 2..
original paper
symmetry along vertical a1is
Create and manage yo#r own papers

= 'ight clic7 on one of the papers in the papers windows to either choose the latter or delete it. = 'ight clic7 on the part of the window that does not contain any papers to create a new paper from the current image. Note that your choices are only saved after closing the program if you have saved your configuration previously.
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Durther details
The Papers and the Oilbrush tool
As indicated a ove, the Oilbrush drawing tool also interacts with the various types of papers availa le &see opposite..
-ut the Oilbrush tool also offers many other functions... It offers a Light parameter which gives volume to the paint &see opposite..
2ario#s light parameters possible
-y default, the oil paint is not deposited on top of the oil paint already on the layer : it melts into it. Oowever, if you clic7 on the Frying option, the former will e the case.
witho#t Drying with Drying
Note that there are different +rain modes availa le which are shown elow:
silk
soft
medi#m
hard
!sing the mask

Using the mas7 is very handy when handling the layers. It ena les you to draw, on the layer of your choice, the opaBue pi9els of another layer in e9actly the same place. In this way it is possi le, for e9ample, to modify the 1 te9ture 3 of a drawing without changing its shape &see elow..
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Durther details
>>
&2.
&).
&5.
Oow to proceed : = Dirst of all, create two layers in the timeline, then draw the little red man shown a ove in one of them. = %hen ena le the 'as3 for this layer : to do this, clic7 on the little gray rectangle in the second column of the timeline on the current layer. %he little gray rectangle must turn yellow. = Oide the layer with the little red man, then move to the empty layer. Any drawing will then e limited to the opaBue areas of the layer containing the little red man. Dor e9ample, drawing a filled rectangle with color gradient and use of a paper on the screen will display image 2, drawing with drawing tools, gradients, papers and specific modes will o tain the results ) and 5. It is possi le to flip the mas7 and only draw on the transparent areas of the layer containing the initial little man &e9amples C and * elow.. %o do this, proceed as descri ed a ove and clic7 on the utton In+ert the mas3 indicated in the following diagram &this must then turn lac7..
Kna le the mas7 3 > In+ert the mas7 3 > &C. %he ) utton on the timeline ena les disa ling of all mas7s or inverting of all mas7s according to your choice in the menu. It is possi le to wor7 with several mas7s divided into different layers: in this case, the mas7s are added up. "hen a pi9el is partially opaBue, it may only e partially modified when using a mas7. Dor e9ample, a pi9el with J,@ opacity can only e painted with ma9imum J,@ opacity when the mas7 mode is used &if the mas7 is inverted, it may only e painted with ma9imum ),@ opacity.. Dinally, you should understand that, when pressing the "rase utton while using a mas7, only the part of the drawing corresponding to the mas7 will e erased. &*.
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Durther details
4isplaying masks and papers

It is possi le to display mas7s and papers on the screen to give a etter idea of the pro#ect areas on which you are currently wor7ing. %o do this, #ust use the popup menu ,is%lay in the current pro#ect window &see elow..
Opacity mapping
%his window is accessi le with a right clic7 on the corresponding field of the Filling )ha%e panel and ena les precise definition of the opacity and transparency areas when applying a filled shape. 4ou may trace the spline of your choice on the P and 4 a9es y placing points at your convenience. %hree types of interpolation are availa le to connect the points with each other: Linear( )%line or Polynomial4 In accordance with your settings, a new opacity mapping will e defined. %he two red splines define the opacity of each point of the card as indicated in the dotted e9ample.
%he File popup menu ena les saving, loading or resetting the opacity mapping. As reBuired, you may swap the two splines corresponding to the P a9is and 4 a9is of the mapping &)!a% utton. or flip each spline vertically or horiHontally &Fli% 1 and Fli% 2 buttons.. %he Co%y utton is used to copy the current spline &the one that has a point selected thus yellow. on the other a9is. 8n the image a ove, the current spline is the 4 spline. At the ottom left of the window, pre6defined opacity mapping are at your disposal. 4ou may also ad#ust the mapping y clic7ing on the image and sliding the mouse. Oere again, you have pre6defined parameters at your disposal. &;ress the and uttons at the ottom left of the panel, then clic7 on the pre6defined mapping of your choice..
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Durther details
%he icons at the ottom of the window have a special function. %hey ena le you to choose how the o%a#ity ma%%ing will e applied in the filled shape you will draw. !et$s ta7e for e9ample the opacity mapping &left. in order to floodfill a shape created using the spline tool &see elow..
Fepending on the options chosen at the ottom of the panel, the opacity mapping will e applied: = without modifications &2. = adapting to the shape you will floodfill &). = according to a vector of your choice &5. = in a circular fashion along a vector &C.
&2.
&).
&5.
Dor case &5., you must draw a vector on the screen, as you have done for drawing a gradient.
Dor the fourth option, modify the P spline as shown in the e9ample opposite.
Dor case &C., you must draw a vector on the screen. Note that the option on the 4 a9is is disa led.
&C.
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Durther details
"ome remarks for #sing the Opacity f#nction %he Gradients and O%a#ity ma%%ing functions com ined for use in a layer are very useful for creating effects of lighting or transparency independent of the ac7ground color or scenery &as they are not part of it.. %his is the case for windows, tinted windows, lamps, pro#ectors, etc N
A ove, the opacity gradients were used on a layer to create car headlights. %hey must no longer e modified when the ac7ground color changes, which results in considera le time saving.
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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 metres away. The images are pro!ected at such speed that they give the illusion of movement to the spectator. T./aint "nimation /ro 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 /ro we refer to this roll as: Animation Layers. "s we will see hereafter: the advantage of T./aint "nimation /ro resides in the fact that it is possi le to superpose several rolls &for e%ample: one with a ackground scenery, another with a character and another with a foreground scenery.)
It is possi le to create animation layers using the New menu in the timeline.
01#
Temporal management of layers
"nimation layers
"n animation layer is represented y an icon in the timeline. "n image layer only has a gray icon &see encircled area shown opposite).
<reate an animation layer and name it 7 cloud 9. /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).
Add images
We have !ust created a single image &empty2). To make our first film, we have to increase the num er of images in our roll. To do this, you can use the key oard shortcut 3Shift4I5 or choose Insert Images before current image in the Layers menu to add frames to the current layer. 6ow you !ust have to enter the num er 7 8 9 in the numeric field. This will give you a total of (: frames.
Movement and orientation within the timeline

;se the 35 and 35 keys to change the current layer. When you are in an animation layer, you can move etween the images of this animation using the 35 and 35 arrows on the key oard. ,ou may also use the mouse to move inside the timeline, y clicking on the space1time location of your choice.
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"nimation layers
The white s$uare with two red ars ena les you to identify the image of the animation layer viewed in the window of the current pro!ect. The title ar contains several indications. =rom left to right : > The name of the pro!ect you are working on. > The time code of the first and last image of the pro!ect &TimeCode, or image num er). > The total pro!ect duration. > The name of the current layer. > The time code of the first and last image of the current layer &TimeCode or image num er). > The total duration of the layer. If working with time data provided in time units seems difficult to you, click on the TimeCode utton at the ottom of the timeline. "ll prior values and time codes are then converted to image num ers. To simplify future lessons, we will from now on work in this way &later, you are free to work as you wish with your own animated se$uences).
Create a brush
?o to the first image of the animation layer named 7 cloud 9 and draw a gray cloud using the tools of your choice. Then reduce viewing to the current layer &icon H in the first column of the timeline or shortcut 3@5).
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 opposite from the main panel. This option is used to carry out Rectangle CutBrush. Aut, what does this meanB
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"nimation layers
Cet+s take an e%ample: *raw a Rectangle 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 CutBrush tools are at your disposal in the main panel to simplify your task when creating a rush : Rectangle CutBrush, Polygonal, reeHand and !agic "and# See opposite:
The first animation

The first image in our animation layer 7 cloud 9 contains 2 a cloud. The other nine images, however, are empty. > ?o into the second image of this animation layer and apply the rush in order to place the cloud slightly to the right of the cloud on the first image in our 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.
,ou will note that the corresponding icons of the timeline display the cloud and when you move inside the layer using the 35 and 35 arrows on the key oard, your cloud will moveD
TVPaint Animation Pro and compositing

6ow e%tend viewing to all layers. Sliding along the timeline again displays the complete scenery for the first image ut on the nine following images2 there is only the cloud. We learned how to stack our image layers like transparent glass sheets on a colored ackground in lessons # and 3. In a way it is possi le to do the same here and stack the 7 transparent rolls 9 in front of our pro!ector. The white ackground is used like a 7 white light 9 pro!ector.
The image finally o tained is referred to as a 7 composite 9 image &composed of several images2) In the case of our house and cloud, it is possi le 7 to spread 9 the house and sun as fi%ed ackgrounds or immo ile ackgrounds in time. In other words, one of the transparent rolls may e composed of identical images. The procedure is simple:
01E
"nimation layers
In the screenshot a ove, we selected bac$ground % none in order to have a etter reada ility in the timeline. Select one of the four image layers in the timeline and use the Insert frames option as descri ed a ove. *o the same with the other image layers, then move within the timeline again: this time, scenery and moving cloud are still visi le.
>
>
>
>
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 uttons Play and &to' as you will find on video recorders and camcorders, etc. to advance or rewind one frame in the current layer. to go to the first or last frame of your current layer. to go to the 're(ious $ey or ne)t $ey &the notion of keys will e e%plained in the following lessons). to modify the ramerate when playing the animation. 6ote that this value is not necessarily used when e%porting your se$uences. /ress this utton to play the animation in a loop. If you have chosen a sound track to accompany your pro!ect &see lesson F page #), press this utton to play it with your pro!ect. the li' utton, key oard shortcut 3W5 offers you a $uick look at your work. It allows you to play your animation starting a few frames efore the current image and stopping a few frames after the current image. Then you come ack to the image you were working on !ust efore pressing the utton. The framerate used is the one selected in the pro!ect window popup menu. The num er of frames played on either side of the current image may also e set in the preview settings &see the Pre(iew &ettings section of this lesson). > The yellow rectangle located in the graduated line underneath the uttons indicates the image and the num er of the image currently displayed on the screen.
01G
"nimation layers
> The !ar$ in and !ar$ 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. ,ou may use the arrow uttons to assign your mark in or mark out point to the current image. 6ow let+s move on to field pro!ects andHor pro!ects with a ratio other than ( : The uttons B, * and + of the horiJontal ar are only availa le when you are working with a pro!ect containing fields.
> Autton B ena les display of oth fields simultaneously when playing an animation or video. > Autton * will display the field which you have defined as the first field. > Autton + will display the second field of the current image. 6ote 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 # fields). Autton A of the current pro!ect window is used to ena leHdisa le pi%el As'ect Ratio display. This does not modify the current pro!ect: only its aspect in the pro!ect window will e different.
The Remote Control

The icon in the top right hand corner of the current pro!ect window is used to hide,dis'lay the viewing commands descri ed previously. If re$uired, it is possi le to display some of these uttons in a separate window referred to as Remote control, which is accessi le via the "indows main menu. The uttons containing num ers are used to define the play frame rate &in frames per second).
ther 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 :
01I
"nimation layers
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.
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 main menu. This panel also allows you to have a low $uality preview of your se$uenceHanimation which can e useful y pressing the utton. > Autton 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 -is'lay popup menu is the same as the one descri ed in lesson 3 page (G.
Transform an Image layer into an Animation layer

We will now make the sun move. It is not necessary to create a new animation layer. T./aint "nimation /ro allows you to transform an image layer into an animation layer. This option is again offered in the menus reserved for layer handling. "s soon as the sun image layer is transformed into an animation layer, its icon will appear in the timeline.
We o tained here an instance# This concept will e deeply studied in the lesson G. "ll you need to know here is that the first image is identically reproduced several time in the timeline.
01F
"nimation layers
!elect and erase the contents of the images in an Animation Layer

Select the sun as current rush. "s with the cloud, it is now possi le to make the sun move up in the sky and leave the screen. However, efore using the rush, the sun must e erased in every frame of our sun animation layer. This may e done with the utton on the main panel for all images one after the other, ut this may e too time1consuming 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 3<trl4"5). ,our timeline must e displayed as shown elow: a light yellow rectangle is present underneath the selected images.
/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 and sliding from the first image to e selected to the last. Kur instance has een replaced y empty images. you may now make your sun move, as you did for the cloud.
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"nimation layers
Flip the images of an Animation layer

Some options may speed up your work considera ly. The option named in the title of this paragraph is used to flip the images of a layer in time. It is only availa le in the layer menu after having selected the images to e flipped in an animation layer of your choice. This is what happens to our cloud layer: the last image is now first, the last ut one is second, and so on 2 The cloud now moves from right to left.
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. Aut 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 :
6ow click on any image of the 7cloud9 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 7sun9 layer. In the screenshot elow, the 7cloud9 layer will only e shown starting from the tenth image of the animation and the 7sun9 layer starting from the fourth image.
The range in num er of frames &or in seconds, if you are in TimeCode 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 Time Code) only refer to these layers.
01(:
Lore details
More 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).
!imilarities with Image layers

Lany of the details regarding the image layers discussed in lesson 3 are also valid for the animation layers: locking, duplication, reduction of layers as well as assigning a color work e%actly in the same way for the animation layers. The reference images for the masks are those located in the same temporal position as your current image.
The Auto Fit option in the timeline

When using a very long animation layer, it may e discouraging having to use the sliders continually to only view a section of the timeline. =ortunately it is possi le to modify the timeline scale : <lick 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 siJe of the icons in the timeline in order to view the entire pro!ect, current layer, current image, current selection or keys.
!tart frame" negative images

If you take a closer look at the timeline, you will see that our pro!ect starts at image ( or the time: : hour, : minute, : second, ( trame &in Time Code mode). It is possi le to modify the start values for our pro!ect using the &tart image option in the Pro.ect menu &enter the value re$uired in the corresponding numeric field).
01((
Lore details
,ou will note that it is possi le to place your layers efore image : in the timeline using the 3Shift5 key while dragging the layer to the left. ,ou will therefore o tain 7negative9 images in the timeline or time values close to #3 hours, E8 minutes, E8 seconds.
#sing the Bookmarks
It is possi le to place Boo$mar$s on the images of your animation layer &circled in lack a ove) using the corresponding option in the /dit main menu. Knce the Boo$mar$s are placed, the key oard shortcuts 3Shift4<trl45 and 3Shift4<trl45 ena le you to move to the closest Boo$mar$ to the left or right of the current image. =inally, the key oard shortcut 3Shift4<trl4M5 creates a Boo$mar$ for the current image or deletes the Boo$mar$ if the current image already contains one. This option provides fast access to key images in your animation without having to modify the Joom factor of your timeline andHor use the sliders.
The Preview settings

The 're(iew settings are used to configure the way your computer and program interact to play your animations. ,ou may open the 're(iew settings panel shown opposite via the "indows main menu or y clicking on the preview progress ar in the tool ar.
Three pre1view modes are availa le in the Pre(iew popup menu : > The Real time mode respects the duration of your animation when viewing it. It depends on the processing power of your computer. If the computer is fast, all images will e displayed at the framerate chosen y you. In the contrary case, some images are not displayed in order to respect the framerate. In real time mode, the progress ar displays No 'ro)y.
> The Pro)y mode uses periods of less activity in the program to carry out a pre1calculation for viewing. If, for e%ample, you spend ten seconds without drawing and without using any program options, this time will e used to prepare some of the images for viewing.
01(#
Lore details
> The Render mode does not carry out the calculations re$uired for viewing during viewing. It pre1 calculates the viewing in advance, !ust efore playing. This compensates the inconveniences encountered in Real time mode for slower computers &!erking, image !umps, etc.) ut re$uires a lot of disk space and time for this calculation. The progress ar elow shows how many images may e viewed within the pro!ect.
>>
If you modify several images at the same time in Pro)y mode &for e%ample y erasing a layer), the viewing calculation will e re1started for the num er of images concerned. If you start viewing efore the calculation process is completed, only some of the images may e viewed in Pro)y mode. The other images will e viewed in Real time mode. In T./aint "nimation /ro, the preview ratio $uality is automatically set, depending on the data rate of your temp drive. In other words, the data rate automatically change the siJe ratio of your preview to play it as well as possi le regarding the play ack frame rate of your pro!ect. The tem' drive is the drive containing the tem' folder that can e chosen in the preference panel. &See lesson (.) ,ou can use the test utton to determine the data transfert rate of your temp drive. The $uality ratio will e reduced if you decrease the data rate value. It is not advised to set a higher value than the one T./aint "nimation /ro computes when you click on the Test utton. If you do so, the $uality ratio will e increased ut the se$uence won+t e played fluently anymore. The &how TC utton is used to display the time code during pre1viewing. The Play all utton forces the program to display all fields and images during viewing even if this affects the display rate of the chosen images. The li' Boo$ te%t field ena les ad!ustment of the num er of seconds to play on either side of the current image when the utton is pressed in the pro!ect window &see page G).
The CutBrush tool options

If you select one of the four rush creation icons in the main panel, the Cut Brush panel appears in place of the tool panel.
,ou may: > <reate a rush y deleting at the same time the area in which it is located on the screen &Cut option in the popup menu). > &mooth the cut rush &see lesson 3: smooth the contours of a surface). > With the 0ee' option you may keep the previous rush handle &refer to the following section to study the various handles availa le). > 'emove as many transparent pi%els as possi le around the rush &O'timi1e option). > The -is'lay option is used to cut your rush through the visi le layers. This is referred to as deep cut.
01(3
Lore details
Aelow, the sun, cloud and sky are placed on three different layers. The current layer is the cloud layer:
Area to be cut
$rush obtained without deep cut
$rush obtained with deep cut
Edit rush options

Knce a rush is cut, it is possi le to use it as such. 6umerous parameters are availa le. ,ou may : > ;se the rush in Color mode. In this case the color of the pi%els is not modified. > ;se the rush in Al'ha &tam' mode: only the opacity of the rush pi%els is taken into account, their color ecomes the A color. > ;se the rush in Luma &tam' mode: the color of the rush pi%els varies from A color to B color depending on the original luminosity of the colors of the rush pi%els. > ;se the rush in Hue stam' mode: in this case, the hue of the rush pi%els ecomes that of A color &the luminosity of the pi%els is preserved). > ;se the rush inthe Al'ha &tam' and Al'ha !a) &tam' modes &see lesson I for details a out those modes) > Lodify the glo al &i1e of the rush. > Lodify the 2itter of the rush. > Lodify the O'acity of the rush. > Lodify the Angle of the rush. > Lodify the &te' etween two applications of the rush on the screen. This option ena les drawing in a discontinued manner. > The &ubPi)el option is used for more precision during drawing. > ;se the &hift option. It allows to distort the current image in the direction of your stroke. It is often used with the opacity parameter set to :N. &see elow) When using the &hift option, the Al'ha &tam' and Al'ha !a) &tam' modes are not availa le. > ;se the -rying option &see end of lesson 3). > O'timi1e the rush: i.e. re1align the rush to conserve less transparent areas around the rush. > <hange the Handle of the rush: in other words, change the position of the cursor in relation to the rush which is centered y default. > Reset the rush settings. > The Anim option will e discussed later.
The state of the SubPi)el option shown a ove will e kept if the 0ee' utton is ena led when the rushes are cut.
01(0
Lore details
The illustrations elow show the various concepts descri ed on the previous page... Cet+s take a look at the colors A &' @ E, ? @ #EE, A @ F ) and B &' @ #EE, ? @ (F3, A @ (() elow : "n e%ample of the various rush application modes :
Color mode Alpha !tamp mode %original brush&
Luma !tamp mode
Invert Luma Mode
"ue !tamp mode
The rush application modes will also e studied in lesson I in the chapter : 7 ;se of the rush as a drawing tool 9
shift ' ()) * opacity ' ())
shift ' ()) * opacity ' )
shift ' ()) * opacity ' (+
,ormal brush
,on-optimi.ed brush
ptimi.ed brush
Centered handle
/andle top right
/andle custom-placed
Traditional drawing modes are applied to the rushes and sometimes provide interesting results:
riginal brush %the white pi1els are opa2ue&
0mage on which the brush will be applied
Application in #ultiply mode
Application in !$reen mode
01(E
Lore details
Cet+s talk a out the /dit utton: it is used to display the panel shown opposite.The various uttons from left to right and top to ottom have the following functions: > dou le the siJe of the rush. > dou le its width or height. > turn the rush 48:O. > flip rush on P a%is. > optimiJe the rush. > cut rush siJe in half. > cut rush width, height in half. > turn the rush 18:O. > flip rush on , a%is. > replace the transparent areas with A color. > lock the widthHheigth aspect ratio. > modify the siJe of the rush numerically or in the pro!ect window. > rotate the rush to an angle of your choice. > add a order to the rush &you may choose the color and thickness of the order). > anti1aliase the rush when modifying siJe and angle. > use the opacity map &see lesson 3). > reset all settings to Jero and recover the original rush. > validate the modifications and use the new rush. It is possi le to o tain all the configurations shown elow and many more DDD
3loodfill using a brush

The illing sha'e panel appears when you decide to draw a filled surface or floodfill a surface on the screen. This panel ena les the use of the rush as a floodfill pattern. The Brush "ra''ing utton ena les this function. There are several methods availa le. =ollowing the horiJontal andHor vertical a%is, you may : > apply the rush while adapting its siJe &width andHor height) to the surface to e filled, without distorting the rush &if necessary, the whole rush will not e visi le) &&tretch option). > apply the rush at regular intervals without distording it &Tile option). > distort the rush so that it takes the shape of the surface to e filled &"ra' option).
!tandard brush
!tret$h
%ile
&rap
6ote that for this e%ample we used a rush created with the Te)t tool which will e discussed in lesson I ut the e%ample applies to all types of rushes.
01(G Temporal management of layers
Lore details
The notion of Animated Brushes

;sing the -ee' cut option which was displayed during the rush cut, we saw that it is possi le to cut a rush in space, several layers deep 2 It is also possi le to cut a rush in time: this is referred to as animated brush# We will study this notion in detail using e%amples. -%ample (: We+ll put a finishing touch to our animation y adding irds. > <reate an Animation layer of (: images, then create a ird with a different wing position in every image of the layer &see timeline elow).
> Select all the images of your layer. > <arry out a rectangular rush cut in a siJe similar to that of the image. > T./aint "nimation /ro will ask you if you wish to cut an animated rush via a small window. > "nswer yes. ,ou have !ust created your first animated rush. We will soon e a le to use it: > *elete the content of the layer you have !ust created. > ;se the -dit rush option to reduce the siJe of your animated rush. > Cet+s now look at the short animation created previously &refer to the first chapter of lesson E e%plaining how to save your pro!ects) with the sun and cloud. <heck that you are working in color mode then click several times anywhere in the lue sky. This is the result: The irds you have drawn efore have ecome your rush 7each in turn9 as you place them on the screenD
" few words on parameter setting for animated rushes: > "t the ottom of the Tool 3 Brush panel you will find the num er of the image currently used. > The Anim popup menu of the Tool 3 Brush panel controls how the images appear. The images in your animated rush may appear in various ways : > 6one. > Knce. > StartQKnce, > Coop. > /ingpong. > 'andom. > Stylus pressure.
Temporal management of layers 01(I
Lore details
> Stylus speed. > Stylus direction. "ll other options and parameter settings for the rushes studied previously &modification of siJe, opacity, direction) also apply to animated rushes 2
-%ample # : 'eproduce an animation. Cet+s now look at the short animation created with our sun and cloud ut without the irds. > We start y merging all layers e%cept the 7clouds9 layer and rename the new layer. ,ou will o tain the following timeline:
> Select all images in your 7clouds9 layer, then cut a rectangular rush in roughly the same siJe as the red frame shown a ove. ,ou !ust created a new animated rush. > /lace your 7 animated rush of the cloud 9 in the free sky area, !ust a ove the house. > /ress the 4ndo utton: the cloud disappears. > <heck that the 7 animated rush of the cloud 9 is applied in mode &tart Q Once from image E. > Select all images of the 7 clouds 9 layer. > /ress 3-nter5. ,ou will notice that the images of the animated rush are applied in the given order to all images of the current layer: a second cloud now moves from left to right 2
>
>
>
>
*id you understand these two e%amples B If yes, you can now easily make the wings of a ird flap wherever you want to 2
01(F
Lesson 5 Handling TVPaint projects
In this lesson you will :
Learn how to handle TVPaint Animation Pro projects: load, save, import, export, etc... Study the notions o Templates, Dependencies. !iscover the Video Grabber Panel. Learn how to use the project mana"ement panel.
Introduction
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 Pro 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 /(, 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 1, # 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 File main menu. Save project '.ey+oard shortcut 2Shi t3S4( 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 requester

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: 5 The text ield at the top o the window allows you to enter the name under which the ile is to +e saved. 5 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. 5 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 .P67 .89P .:P7 ;(. TVPaint Animation Pro projects have the extension .TVP. 5 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 Open, Delete and Rename unctions. The and +uttons are used to display or hide the content o your stora"e supports, olders or su+, olders. 5 The is used to return to the parent older. 5 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..
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>andlin" TVPaint projects
?se the re<uester
5 The ri"ht section o the window displays the iles contained in the older you selected on the le t side o the window. 5 @ou may choose to display thum+nails o your iles '+utton T !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(. 6ote that some data is not ta.en into account or all ile ormats. 5 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. 5 Bnce you have selected the ile or older you re<uire, clic. on O&. 5 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 : 5 Cnter D 5.jp" E to display all ima"e iles o the type jp" in the ri"ht section o the window. 5 Cnter D dessinFF#G.jp" E to display all iles named dessinFF# ollowed +y another character and the extension D .jp" E. There ore iles +etween dessinFF#F.jp" and dessinFF#/.jp" will appear whereas dessinFF1F.jp" or dessinFF%F.jp" will not.
A+ove an example o a ile re<uester with projects displayed in the orm o thum+nails.
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 File main menu opposite 'the template will have to +e "iven a name(.
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Save a Template
In this way you may select the template you just created when a new project is started 'when startin" up or usin" the pro"ram(. @ou may also use one o the many prede ined models.
Load an existing project

To load an existin" project rom the data stora"e support, simply press the .ey+oard shortcut 2Shi t3L4 or the "oad option in the File main menu. The ile re<uester will then as. you to select an access path and ile name. 6ow that you .now how to use the re<uester, load the ile D runnin" .idH1.tvp E -older C:/program files/TVPaint Developpement/TVPaint Animation Pro/ or &indows users. -older Applications/TVPaint Animation Pro or BS,) users. 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 Pro is availa+le in the File main menu. Simply clic. on the name o one o these projects to load it a"ain.
Modi ! a project
The option (odi%y project is accessi+le in the Project main menu. The latter opens the panel illustrated +elow: 5 The project properties are indicated on the top le t,hand side o the window and include: Project name, )idt , *eig t, num+er o rames per second ' re<uency(, Pi+el aspect and Field options. 8ottom le t you will see the uture siAe o your project, a ter modi ication. 5 :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 V7A ormat, to o+tain a project in 6TSI ormat.
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9odi y a project
5 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: )idt , *eig t, Frame rate, Aspect Ratio, Field 'a mini popup menu is availa+le or the parameters Frame rate and Aspect ratio(. The "oc, aspect +utton allows you to .eep the width and hei"ht ratio o the ori"inal project. The Rotation parameter is used to rotate the project /F, 0*F or 1JF de"rees. 5 >ere you will discover the unctions o the next ive +uttons: 8y de ault, when the (odi%y project unction is used, TVPaint Animation Pro .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 Stretc 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 1% ima"esKsecond and your rame rate is set to 01 ima"esKsecond, your project will last twice as lon" 'the num+er o ima"es is, +y de ault, retained(. I the +utton Stretc 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. In the opposite case: ori"inal project with 01 ima"esKsecond, modi ied to a project with 1% ima"esKsecond, the modi ied project will +e shorter than the ori"inal project. I the +utton Stretc 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.
>andlin" TVPaint projects =,=
9odi y a project
, The two a orementioned examples are similar to the layerLs contract and stretch section discussed in lesson %. The Time interpolation +utton also re ers to this unction as it imposes layer stretchin" or contractin" with interpolation when the +utton Stretc 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. ?se o the Remove project option is at your own ris. as in this case the .ndo unction cannot +e used to help you out; 5 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. 5 The central numeric ield and slider are used or navi"ation over the entire duration o the project.
Load an existing i"age or ani"ation

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, 9IM or A?M( 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 9BV( , 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 /ro$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, $idt , eig t, %rame rate, aspect ratio, %ield, rotation may all +e modi ied as we discovered in the previous section. The Alp a popup menu, however, possesses speci ic options includin": G!ess, Prem!ltiply, #o Prem!ltiply, )it o!t alp a and Alp a only.
=,N >andlin" TVPaint projects
Load an existin" ima"e or animation
5 The option G!ess will consider that the Alp a value is e<ual to the maximum M78A values present in the se<uence. 5 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. 5 The option )it o!t alp a will load your se<uence without transparency i it had any +e orehand. 5 -inally, the option Alp a 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(. 5 &hen a video is loaded as a new project, two 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. 5 &hen a video is loaded as a new layer, 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, , Iompensate or any possi+le rame rate di erences +etween your current project and your video +y stretchin" or contractin" your video, , Ihoose to stretch or contract with or without interpolation, , Ireate 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(.
5 &hen a video is loaded as a custom +rush, the same options are availa+le with the exception o the Stretc 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.
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Load an existin" ima"e or animation
The 0mport %ootage option in the timeline shown opposite returns the user directly to the import oota"e panel, #e$ layer ta+.
#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: 5 LetLs assume your projects possess layers composed o non,preloaded video oota"e. &hen loadin" the same project a"ain, TVPaint Animation Pro will 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;(. 5 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.
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Cxport iles
$xport iles
Savin" a project in TVPaint Animation Pro 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. ?se o the dependencies unction will render your project smaller, +ut it is not more practical in the a orementioned cases. The option File 1 2+port project to... is used to convert your project into a ormat o your choice: animated 7I-, 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. This option is present in the File main menu. Bnce selected, the ollowin" panel appears:
Its layout should +e amiliar to you. @ou may choose to export an ima"e 'or ima"e se<uence( rom your project while retainin" the layers or current +rush 'possi+ly animated(. These three possi+ilities are mutually exclusive. To export the project ima"e: 5 A +ox on the top le t,hand side is the irst section o this ta+ and provides in ormation relative to the current project. 5 The second section deals with the export ile ormat: TVPaint Animation Pro allows you to export your projects in a wide variety o ormats: !IP, AVI, 7I-, O?IIPTI9C, -LI, P67, PI), S?6MASTCM, PS!, T7A, :P7, IL89, TI--, -L@CM ILIP, !0 MTV, II6CB6, S7I, SB-TI9A7C, VP8. 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.
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Cxport iles
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 Pro project in !V! ormat, you must have a 9PC7,1 encoder codec installed in your operatin" system. &hen re<uired, and dependin" on the various ormats o export, you may need to set the ollowin" option parameters: , 9ode @ou may choose to export your wor. in the orm o ima"es or a video with a limited palette '* +itsQ1=N colors(, a lar"e palette '1% +itsQ0N.JJJ.10N colors(, a palette which ta.es into account the pixel transparency: #1 +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 "ray scale palette. The pro"ram palette located in the /in ta+ o the palette panel A "lo+al <uantiAed palette to +e used or all rames o your oota"e or animation. A local <uantiAed palette which is modi ied or each rame o an animation. , The num+er o colors @ou may also choose a precise num+er o colors +etween 1 and 1=N 'to do this you must irst choose one o the two <uantiAed palettes(. , !ither The Dit er +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 Bptions relative to the Alpha unction were discussed on pa"e J. 5 The third section o the panel contains several options: , The /ro$se +utton and an associated text ield are used to enter the name and location o the ile to +e exported. , The Single image +utton is used to save the ima"e visi+le in the ri"ht section o the panel only. , The Se3!ence +utton is used to save, one at a time, the ima"es located +etween the (ar, in and (ar, o!t points. The ima"es created in this way are num+ered. 8y de ault, the ima"es are num+ered as ollows: ileHnameH0.ext, ileHnameH1.ext, ; ; ; ileHnameH01#.ext, ; Includin" a D F E in your ile name may help with num+erin" your ima"es. -or example i the irst ile name is D dessinHFFF E, the ima"es will have the names dessinHFF0.jp", dessinHFF1.jp", ; ;dessinH#=%.jp"; , The Animation +utton is used to save all the rames +etween the (ar, in and (ar, o!t points in a sin"le ile and is availa+le or some ile ormats 'deep, "i , <uic.time, li, avi(. 5 The ourth 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. 5 Several +uttons are present in the i th and last section: , The /ac,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 Stretc 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.
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Cxport iles
, 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(. To export an animated +rush: The options are the same as those availa+le to export a project display. To export project layers: The options proposed are: , Ihoose the path and ile name , Ihoose the ile ormat: TVPaint or PS! '+oth ile ormats retain the layers you have created(. Cxportin" in PS! ormat : Carlier we saw that the Cxport panel contains three ta+s: Project display, Project layers and '!stom br!s . The '!stom br!s ta+ does not concern us at this point in time as we are only interested in the di erences resultin" rom the choices made in the Project display and Project layers ta+s : I you decide to export a project in PS! ormat in the Project display ta+, you will export an ima"e 'or an ima"e se<uence( with all the layers o your project in a sin"le ima"e without transparency. The transparent areas will +e replaced +y the color +lac.. I you decide to export a project in the orm o layers in the same way as your project .tvp, you will have to choose the Project layers ta+ or this export. I you decide to export a project in PS! ormat in the Project layers ta+, you will export an ima"e 'or an ima"e se<uence( with all the layers o your project in the spatial order, with transparency.
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The projects panel
The projects panel

&e have already discussed the notion o TVP project in previous chapters. LetLs assume that some o them have +een already loaded. I you donLt have a dual,screen computer con i"uration, the situation can <uic.ly +ecome con usin" on screen. 'see +elow( In the example opposite, ive projects have +een loaded and displayed on screen : , mil..tvp , city.tvp , "aAelle.tvp , Aoom.tvp , mpc.tvp 'They are all supplied with the TVPaint Animation Pro I!,rom(
&e will remedy to this situation, without closin" any loaded project. To do so, just +e"in +y clic.in" on the Project ta+, located near the well .nown Timeline ta+. The project ta+ is divided in two parts, as shown +elow : 5 Bn the le t part o the ta+, there is a window displayin" the current project. It displays the current ima"e and the visi+le layers. The display is automatically updated when you move throu"hout the timeline. 8elow the preview window, you can view datas relatin" to the current project : , 6ame , SiAe , -rame Mate , Pixel aspect , -ield
@ou can also add comments to your project. ' those comments are saved each time you save a project (
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The projects panel
5 Bn the ri"ht part o the ta+, the thum+nails o the opened K loaded project are visi+le. @ou can chan"e the current project +y clic.in" on the thum+nail o your choice. -or each thum+nails, you can use : , The +utton allows to hide the correspondin" project , The +utton allows to displays the correspondin" project , The +utton allows to close the correspondin" project A contextual menu is availa+le or each thum+nail 'see +elow(. The options at your disposal are standard : , Activate the current project. , >ide the current project.. , >ide the other loaded K opened projects. , Show all projects. , Ilose the current project , 9odi y the current project. , !uplicate the current project , Save the current project. , Save the current project with an other name. , Cxport the current project in an other ile ormat. @ou can also use the ollowin" shortcuts, instead o the contextual menu : >ide other projects : 2Itrl 3 B4 Show All Project : 2Itrl 3 P4 Show the Timeline ta+ : 2Itrl 3 04 Show the )Sheet ta+ : 2Itrl 3 14 Show the Project ta+ : 2Itrl 3 #4 Bnce you will have mastered the project ta+, it will +e easy or you to turn the situation descri+ed on the last pa"e, into somethin" clean, unctionnal and ready to use :
At this state, you only have to clic. on a thum+nail in order to +e"in your wor. on the correspondin" project.
The project ta+ is especially desi"ned or those who need to use at the same time several se<uences +ein" part o a same animation. Cach se<uence is easily availa+le.
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Video "ra++er
Video gra%%er
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 Pro is compati+le with &!9 standard e<uipment without havin" to install speci ic drivers or plu"ins. -or in ormation, &!9 devices are &indows !evice 9ana"er devices 'used +y most &e+Iam and !V ormat camcorders(. Bn 9ac BS ), TVPaint Animation Pro 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. This action opens the Video grabber window:
In the Video 0ntp!t ta+ : 5 The irst Device menu allows you to select the type o peripheral device you intend usin" to "ra+ the video oota"e. 5 The 0np!t menu displays a list o the peripheral devices availa+le and allows you to select the device to +e used. 5 The Format menu allows you to select the resolution with which your peripheral device will "ra+ the oota"e which in turn depends on the capa+ilities o your e<uipment. 5 The Settings +utton allows you to automatically open the options panel o your e<uipment and de ine in most cases certain parameters such as luminosity, rame rate, contrast, etc. 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. I you wish to view this video in the project window, le t,clic. on the same V +utton you used to open the Video grabber panel.
The value o the (i+ parameter de ines the video oota"e opacity percenta"e. This will allow you to continue viewin" your project whatever happens. -inally, the Apply in menu allows you to de ine whether the video "ra++ed +y your peripheral device should +e automatically inserted into a new layer or simply added to the current layer. The "engt option de ines the num+er o rames to +e "ra++ed. I this value is set to = and you "ra+ a video, the resultin" video will +e duplicated on = rames o the destination layer. This is very use ul as it allows you to monitor the rhythm o your animations. The last menu is the Field menu which is used to de ine mana"ement o your video ields. -our options are availa+le: As is .eeps +oth ields, 4.pper %irst and 4"o$er %irst will only use one o the ields, interpolated to correspond to your project window. The (i+ option is use ul or non, interlaced rames and ena+les reduction o rame lic.in". -inally, this panel is completed +y the Grab inp!t +utton which "ra+s the video each time it is pressed. A detailled example o animation created with the help o the video "ra++er and a Ianon camera is availa+le in the lesson 0* 'chapter D plu",in Ianon E( o this manual.
=,0% >andlin" TVPaint projects
Video "ra++er
The Video Input ta+ o the Video 7ra++er panel allows to mana"e the visualiAation o the project window throu"h an external hardware such as television, overhead projector, ... 5 The popup menu allows to select the device you will use to display the content o the project window. 5 The Activate +utton allows to start the selected external device.
5 The 2nable O!t +utton allows to activate the visualiAation throu"h your external device. 5 The Re%res +utton allows, i possi+le, to o+tain a realtime display on the external device. '+y de ault, the display is re reshed a ter each stro.e( 5 The &eyer +utton allows to improve the mana"ement o the transparent pixels with some external devices. 5 The Fit +utton allows to adjust the dimensions o your current project in order to o+tain a +etter result on the external device. Please read the appendix o this manual to o+tain the complete list o external hardware compati+le with TVPaint Animation Pro.
=,0=
Lesson 6 The steps to create animated graphics
Learn, one by one, the various stages involved in the creation of an animated drawing using this application. (the scan cleaner, light table, rotative drawing disk and inking options will be introduced) Use the nimator !anel. Use the scan and print options of the software. Learn how to use instances.
"he steps to create animated graphics
Introduction
"he aim of this section is to sum up the various steps involved in creating a cartoon using "#!aint nimation !ro and to deal with fre$uently asked $uestions. %ome steps will be e&plained in more detail when studying the corresponding effects.
Working with hand-made drawings

Scan and print your images
'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 !ro.
"#!aint nimation !ro works with "wain standard scanners in *indows. + "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 ,%./, "#!aint nimation !ro works with I0 standard scanners. Use the File > ICA > Acquire option to display the ac$uisition interface. 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 pro1ect.
Inversely, it is also possible to print the content of an animation layer. "he File > Configure printer option displays the options available on your printer, The File > Print option opens a new window: . t the top of this window you will find the name of your printer. . "he Setup button displays the options available on your printer.
2.3
*orking with hand.made drawings
. "he Single tab opposite is used to print the current image. 'ou may ad1ust the si6e 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.
. "he Ani" tab offers the possibility to print several images of your animation (merged layers) on the same sheet of paper. In addition to the image si6e and position setting options, you may: 0hoose the number of columns for your images. 7isplay the position of each image on the timeline. 0hoose every second, third, fourth, etc. image in the Step! field. "he two buttons in the bottom right.hand corner of the panel are used to scroll through the various pages to be printed.
Cropping a project
"he Crop tool is used to define a rectangular area in the current pro1ect and to transform the content of this area (including all layers) into a new pro1ect. "his is very practical when cropping your animations due to badly defined edges (see e&ample opposite). "he variables Start X and Start Y are used to define the top left.hand corner of the rectangular area, whereas the ne&t two variables ad1ust the Width and Height. Loc a!pect retains the current width4height ratio.
before cropping
after cropping
2.5
*orking with hand.made drawings
Clean-up the se uence

,nce the drawing has been scanned, it is possible to : + 7elete 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 gi!e "
+ 0lean up your drawings in order to correct rough pencil lines.
(6oom)
##
"hose who have worked with earlier "#!aint 78veloppement software packages use the Lu"a e# effect followed by one of the color effects to remove the (light) gray aspect of the semi.transparent pi&els. 9ew users will no doubt prefer the new Scan cleaner effect specially designed to accomplish the two aforementioned operations in a few clicks (even the veterans should give it a go). "o use this function, simply open the :/ stack (discussed in lesson ;) and add the 0olor < Scan Cleaner effect. ,nce all drawings have been scanned, many users wish to delete, add or duplicate images. %ometimes, they also have to transfer complete images or layers from one pro1ect 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 hori6ontal, 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 I"age > $odif# > Flip %Hori&ontall#' (erticall# or )oth* an image or the selected images.
2.= "he steps to create animated graphics
*orking directly with "#!aint nimation !ro
Working directly with T()aint *nimation )ro

The Sketch panel
"he S etch panel comprises some useful preset tools which will allow you to create and clean sketchs, 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. (pencil, eraser, ...) >ere is a detailled description of the panel : + "he pencil icons allow to draw sketchs 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 to paint any pre.e&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 serie 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. 9ow, let?s study how to draw and clean a sketch step by step : + :irstly, erase the content of the current pro1ect or open a new pro1ect window. + Use the blue and the orange pencils to rough out your drawing. "he two colors, orange and blue, can help you to differenciate 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 legs. (the colored eraser will only delete the corresponding colors)
2.@
(ither you draw or erase, don?t 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.
+ 9ow 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.
+ 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.
2.2
+ 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.
+ 9ow 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)
"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. %ome artists uses one color for the characters and another color for the background landscape ... It should be easy for you to adapt the S ech panel to your workflow.
2.A
-anaging the images of an animation layer
+anaging the images of an animation layer

,egarding the images management- it is now clearly ad!ised to use the new instance system. /see the ne0t chapter of this lesson1 The instances features are a!ailable since !ersion 2.3.4 of the software.
.....................
Insert- duplicate or delete one or se!eral images

"o duplicate or delete an image, simply go to the image of your choice in the timeline:
right click on the timeline opens a conte&tual menu which allows you to duplicate or delete your image (above). *hen duplicating, you will be asked to indicate the number of copies of the current image you wish to create. *hen deleting, you will be asked to confirm the operation. "o insert one or several empty images in your animation, simply call up the same conte&tual menu. It should, however, be noted that the new empty images inserted will be placed 1ust behind the current image. "he other images of your layer will be shifted accordingly.
image 32 duplicated
images inserted from image 32
"he In!ert' ,uplicate' ,elete i"age! options are also available in the I"age main menu.
2.B
-anaging the images of an animation layer
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 images selected are then marked in yellow (see below).
It is therefore possible to duplicate or delete all images selected in the same way as described above.
Cut, Copy- Paste images

*hen using the method described above, it is also possible to cut, copy and paste your images anywhere you wish. "his may be in the same layer, from one layer to another, or even from one pro1ect to another if you are working on several pro1ects. ,nce you have created a selection within the layer of your choice, the conte&tual menu displayed with a right click on the timeline allows you to cut or copy the images selected. :inally, to paste your images, you must: . select a current image which will be directly in front of the images you wish to paste in. . select Pa!te i"age! in the conte&tual menu of the timeline.
"heCut' Cop#' Pa!te options are also available in the I"age main menu.
Cut, Copy- Paste layers

"he method employed to cut, copy and paste an image or animation layer from one pro1ect to another is the same as that used for images. "o select several layers, simply left click on these layers while pressing the C0trlD or C%hiftD keys as e&plained in lesson 5. "he layers selected then appear in yellow. "he layer?s conte&tual menu is located in the left section of the timeline, the image?s 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 La#er! main menu.
Eefore transferring the layers from one pro1ect to another, always ensure the resolution is correct, otherwise your images may be distorted.
2.;
*orking with instances : ( new F )
Working with instances " / new 5 1

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
In traditionnal paper animation, the animators are often using the following method : + :irstly 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&emple 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 1umping (the two feets are not on the floor). + :inally, the inbetween pictures are added :
6
"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 $uality of animation (in other words a smooth flow of movement) + "he subdivisions are repeated until the animator is satisfied of the rendering.
final
"his simple process needs some successive subdivisions along the animation layer of the timeline. "hat?s not always easy because the images duplication, creation or copy are not always convenient to use. d1usting the timing of the whole animation usually needs to duplicate and4or delete some frames and can be time consuming. "hat is the reason why the use of the images instances is clearly advised.
What is an Instance :
n instance is simply an image in an animation layer, an image which duration can be ad1usted. It is the new animator dedicated tool. (ach icon (or cell) of the timeline has now a small colored s$uare which allows to use this feature. "o do so, simply click on this little handle (it becomes yellow) and move it as shown opposite.
2.GH
'ou have 1ust increased the duration of the current image. ny image of an animation layer can be considered as an instance. "he use of the instances allows to save a lot of time when following the previous steps. It also allows to manage more easily the timing.
Some !ocabulary
>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 ./po!ure! cell! or ./po!ure!"he tail of our instance is the little handle ending the In!tance which you can drag to ad1ust the number of ./po!ure Cell!-
The content of the cells

*hatever the si6e 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 does not have the same function : Indeed, if a modification of the head cell has a repercussion on the e&posure cells, it?s clearly not the same if you decide to modify an e&posure cell directly.
Spliting 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 I J. -odifying the third e&posure cell by deleting the letter I J and drawing the letter IEJ will create two different instances, the first one containing the letter I J, the second containing the letter IEJ. *e will then see the following images when playing the se$uence: E E.
&ow to use the Instances for animating

9ow, let?s 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 on the left direction.
3#6 "he steps to create animated graphics
6#7
7#8 2.GG
*e can already and easily distinguish four key images from which the inbetweens will be drawn. Let?s re.use the method introduced earlier in this lesson, but with image instances : + :irstly 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.
+ Kust after this operation, you can ad1ust 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 = 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 Lightta+le option to help you during the drawing process. It will take only the head cells into account. (please read the lighttable section further in this lesson)
2.G3 "he steps to create animated graphics
+ 9ow we can break, move and resi6e again the e&isting instances in order to draw the second series of inbetweens. Eelow, you will find the begining of the resulting timeline.
t any moment of this process, you can, by only few mouse clicks, change the number of cells of your instances, and then improve the whole timing of the animation. + 0ontinue the process by breaking again the e&isting instances and by adding inbetweens. %top it once you are satisfied with your animation. .................. "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 L I M below shows where the last instance was broken (ie : splitted) into two instances.
3#6
>ere are the two key images, at the e&tremities 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 resi6ed.
"wo last instances are created for the last inbetweens.
2.G5
&ow to change the colors of a rough

'ou can use the option opposite of the tool bar in order to draw only on the opa$ue or semi.transparent pi&els of the screen. It allows, for e&ample, to change the colors of your drawings.
&ow to transform an Image layer into an Animation Layer

If you need to transform an Image layer into an nimation layer, you can use the Tran!for" into Ani"ation la#er option of the layer main menu. (it is also located in the conte&tual menu of the image layer) 9ote that an image layer with several images will be transformed into one instance with several e&posure cells.
;rawing outside the e0isting layers

,nce you try to draw outside a layer in the timeline, "#!aint nimation !ro will ask you if you want to stretch the current layer, in order to make it reach your position. If you are using an image layer, the number of images of the layer will be increased. If you are using an animation layer, a new empty instance will be created.
# <rasing the content of an image instance

Using the erase button deleted. of the main panel on the head cell of an instance makes its content
# Using the erase button of the main panel on an e&posure cell of an instance always breaks the instance into two smaller instances. # Using the erase button of the main panel on several cells and4or instances turns each cell into an empty single instance. #
2.G= "he steps to create animated graphics
,emo!e cells from an instance

,nce several images from a layer have been selected (see lesson =, if necessary), it?s possible to delete them. "o do so, 1ust select the delete option in the conte&tual menu of the layer or the appropriated button in the animator panel. (see below)
7eleting 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. # 7eleting the head cell of the first instance of the current layer will make the images of the layer move to the left and will also delete the content of the instance. # 7eleting the head cell of an instance in the middle of the layer will make its e&posure cells be linked to the previous instance. #
Split a layer
It is possible to subdivide an image or animation layer into two separated layers. "o split a layer in two parts, you first need to go on to the image in front of the point at which you wish to place the split. "hen select Split la#er in the layer?s conte&tual menu to obtain the result shown below :
$or an animation layer
$or an instance
$or an image layer
2.G@
+erging layers
*e already saw in lesson 5 how to merge the image layers. It is not really different if you decide to merge animation layers with instances. 'ou can use the "erge menu of the timeline or drag?n drop a layer on another layer. "#!aint nimation !ro will always try to create instances in the merged layer. ,pposite, four layers : , E, 0 and 7 are going to be merged. (we used the option $erge all La#er!) "he resulting layer at bottom use the instances system.
!lease note that if you merge an image layer containing more than one image, it will be transformed into an Instance with the ade$uate number of cells. %ee below : ,pposite, two image layers : and E are going to be merged. In the resulting layer, at bottom (we called it L NE M), the and E layers are replaced by two instances. "he empty space between the two original layers is replaced by an empty instance.
Stretch a layer
*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. 0lick and slide to the right on the tab encircled in black (see ne&t page) to call up the panel shown opposite. "he e&ample below gives you an idea of the effects produced by the various options. Interpolation is nothing but a fade effect calculated and applied by "#!aint nimation !ro 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.
2.G2
,riginal layer to be stretched to the right. %tretch without interpolation. %tretch with interpolation. Oepeat: Loop. Oepeat: !ing.!ong. Oepeat : >old. Oepeat : (&posure. dd empty Images. dd empty (&posures.
Shrink an Animation layer

It is also possible to reduce the number of images in a layer using an analog method. 0lick 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 i"age!. *ith interpolation, the numbers L G,3,5 M are mi&ed in the same image, the numbers L =,@,2 M in the ne&t, then L A,B,; M etc P *ithout interpolation, the intermediary images between images G, =, A and GH are deleted. It is possible to shrink a layer to the left by repeating the operation described above with the left tab.
2.GA
Pre- and Post-behavior

7id you notice the small triangles on either side of the layersQ left click on the triangles offers you access to the options regarding pre. and post.behavior of the layers. Let?s take the case of post.behavior as an e&ample (pre.behavior works in the same way). 'ou may choose between the options: 1one' 2epeat' 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 post.behavior 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 se!eral layers 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 thumb. If you want to select more than one layer, you can use the CctrlD key and select the needed layers by using the same method. ,f course, you can also use the layers conte&tual menu. ,nce a layer is selected, its main thumb is yellow encircled. (see below) Let?s imagine we have selected the two layers opposite. *e are currently located on the fourth image of the timeline. If you stretch the instance on the .dge! layer by moving its tail, the corresponding instance on the Color! layer will be stretched in the same way. If you stretch the .dge! layer by movig the right tab, the Color! layer will be stretched in the same way. (we chose here to add empty instances) If you click and slide a selected layer on the timeline, the other will follow.
2.GB
The Recompute Exposures option

"his option of the La#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 indentical images in your layer.
The *nimator )anel

*e have not yet discussed these windows which appear 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 would have noticed that many of the functions already discussed are present in the Ani"ator Panel. It was, however, important for us to start by e&plaining the fundamentals of the program before introducing you to some shortcutsF 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 (add4delete), etc. 9ow we are going to take a closer look at these functions... "he first thing you will notice is that the panel is sub.divided into several sections: 1a3igation, I"age, La#er, Pro4ect and $i!c.
(verything in relation with the creation or modification of custom panels will be discussed in lesson GB.
"he 1a3igation icons : "hese two buttons offer direct access to the first and previous frames of the current layer. : "hese two buttons allow you to move from key to key (if your pro1ect has keys) by passing respectively to the previous or ne&t keys. : "hese buttons are used to move to the last or ne&t frame. : Oun a fast preview of the current animation. : !lay the animation. : "hese buttons are workspace rotation shortcuts with respective angles of .G@R and NG@R. : Layer %haker. : %hortcut to select either the layer above the current layer or the one below it.
2.G;
"he nimator !anel
: Eookmark shortcut buttons used to go to the previous bookmark, ne&t bookmark, or to Acti3ate5,eacti3ate a +oo "ar in the current image. "he I"age section : "hese buttons are used to create an empty image in the current layer in front of the current image (first button) or after the current image (second button). : "hese shortcuts are used to duplicate the current image by placing a new image before or after the current image. : 7elete the current image. "he La#er section : Euttons used to either convert an image layer to an animation layer, or to convert the current animation layer image into a single image in an image layer (If you select an image se$uence, this button will create as many Image layers as the number of selected images). : "he first button is used to split the current layer into 3 separate layers after the current image. *orking similarly to the previous button, if you select a se$uence, the %plit action will create 5 layers : one with the images before the selection, one with the selection and a last one with the images after the selection."he second button, as you may have already guessed, is used to 1oin 3 layers to form a single layer. (nsure you select the layers to be 1oined correctly. : "hese two buttons both open the same window in which you will be asked to enter a number of empty images to be inserted. "he first button will increase the si6e of each instance of the current layer by adding e&posure cells. "he second button will insert empty instances between each instance of the layer. "he number of images or cells inserted depends on the number you enter in this window. "he Pro4ect section : "hese buttons are used to move the current layer up or down a notch in the layers window. : "he first button simply deletes the current layer whereas the second automatically selects all frames in the current layer. : "hese shortcuts are used to 1ustify all layers selected either right or left. : "he first button is used to link the previously selected layers. "he second button is useful when you wish to split your current pro1ect into 3 distinct pro1ects after the current image. "he $i!c section : "hese 3 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. 9ote, 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. : "his button opens the Tool )in panel seen in the ne&t lesson.
2.3H
"he classical tools of the animator
The classical tools of the animator

,otate workspace
*hen working with pencil and paper, you often have to rotate the page in order to touch.up the lines drawn. "his is also possible with "#!aint nimation !ro thanks to the workspace rotation function. "his is done by left clicking on the button illustrated opposite in the current pro1ect window and then moving the mouse. right click on this button offers access to predefined workspace rotation values. 'ou may also use the keyboard shortcuts C0trlN%hiftN!ageUp4!age7ownD.
bove to the right you will find all information relative to your pro1ect (including the workspace rotation angle) which is accessible by placing the cursor on the pro1ect title bar. It is possible to play your animation with a tilted workspaceF
9ote that workspace rotation always takes place from the center of your pro1ect window. If necessary, you may use the bottom and right.hand sliders of your pro1ect 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 pro1ect.
2.3G
nimation artists who prefer to use the Ani"ator field! may use the same menu to select this option.
=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 tone.down view of the images before and after the current image. It is accessible with a left click on the light bulb icon in the tool bar or via the Window! main menu. "his is the way it looks :
+ Load the animation L Ounning Sid 3 M and display only the current layer. + %tart by choosing the color option in the popup menu on the left.hand side of the Light ta+le panel to display all frames behind the current frame in the color indicated (default color red). + "hen disable all the frames in front of 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 LT icon in this layer. "he following image will appear in the current pro1ect window: "he frames in our animation layer which precede the current frame are displayed on the screen. "he frames closest to the current frame L in time M are the most visible and those furthest away L in time M 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 right.hand side of the Light Ta+le panel), the frames after the current frame Lin timeM are displayed in a colored gradient, with more or less opacity depending on their position in relation to the current frame.
2.33 "he steps to create animated graphics
9ow that you understand how this tool works, let?s go back and take a closer look at its control panel: + "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 (%ee below). + "he sliders are used to manage the opacity level of frames displayed (the Lin button avoids having to move each slider individually by linking them to one another).
+ "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 @ to the right of the 6ero 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 Front button allows to display the light table images in front of the current image. + "he buttons All and 1one allow to display all the images of the light table or no images. "he number 6ero enables or disables the light table, its slider manages the global opacity of the table. If you use instances, only the head cells are taken into account by the lighttable.
2.35
"he inking process
The inking process

The fllodfill 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: . "he color modes were discussed in lesson 3, . "he S"ooth, 6pacit#, 7radient and 6pacit# "apping options were discussed in lesson 5. . "he Wrapping +ru!h option was studied in lesson =. *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 pro1ect window and then click on it. *e refer to this pi&el as the origin pi/el. "he Fill option changes the color of neighboring pi&els until it is prevented from progressing by the LborderM pi&els. ,pposite, the LborderM 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 LbarrierM for the Floodfill function (i.e. pi&els which will not be modified after choosing this option). 7epending on your choice made in the Fill popup menu, the pi&els considered to be LbarrierM pi&els will be those with: + a different color to the original pi&el color + a different density + a different color and density + a different luminosity + a color identical to the ) color. 7epending 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
2.3= "he steps to create animated graphics
"he inking process
+ on all layers displayed on the screen It is therefore possible to color our running kid on a layer independent of its contours. Let?s 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 Lcoloring layerM located behind the LOunning SidM layer and choose the layer placed in front of the current layer to color the running kid in the Lcoloring layerM using the outline of the LOunning SidM layer. It is then possible to obtain the following result:
+ "he 2ange option enables you to numerically ad1ust 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 9 color and opacity- e0pand 9 > /in all cases below1
range 9 >
range 9 4>
range 9 3>>
range 9 6>>
range 9 644
!rogressively, it is noted that the tolerance to LborderM pi&els becomes less and less.
"he steps to create animated graphics 2.3@
"he inking process
+ "he ./pand option increases the si6e of the floodfill area to the number of pi&els of your choice. "his enables you to limit the number of border pi&els. :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 9 color and opacity- range 9 > /in all cases below1
e0pand 9 >
e0pand 9 4
e0pand 9 3>
e0pand 9 34 e0pand 9 6>
e0pand 9 64
e0pand 9 7> e0pand 9 8>
0ombine the two options ./pand and 2ange to avoid the result indicated below left and to obtain the result below right.
## + "he 7ap option allows you to avoid LoverspillsM when you try to fill a surface which is not completely closed. Low values are used in the case of Lsmall gapsM, whereas high values are used for larger gaps (it is worth noting that higher values sometimes result in a lower floodfill $uality).
Image with ?a gap@
$loodfill the character without closer
ap
2.32
"he inking process
$loodfill the character with
ap closer
The *uto )ick Color option

:inally, you have noticed that there is also a bo& called Auto pic color8 "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. 0ombined with a Light ta+le which only displays the previous frame, you may pick the color from the previous frame and place it in your current frame.
Create shadows
,nce you have finished coloring your running kid, you may add shades to the latter using the toonshading effects discussed in lesson G3.
toonshading
toonshading
;rop Shadow
2.3A
"o finish the animation
To finish the animation

Camera mo!ements
9ow 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: 9e#fra"er and $ultiplane ca"era (go to lessons G= and G@ for details of these effects).
*dd music
"he graphic design side of your pro1ect is now complete. If you wish, you may now add a sound track in order to give it that final touch. (see lesson B for more details about this sub1ect)
2.3B
Lesson 7 Other TVPaint Animation Pro 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 tool. Use cutouts and selections.
The others drawing modes

We studied in lesson 2 several drawing modes : color, behind, erase, shade, light and panto. We are now going to study the other drawing modes at our disposal. The drawing and the photography below will serve as a basis in this chapter.
The Saturate and Unsaturate drawing modes

These two modes are used to increase or decrease pi el saturation. ! highly saturated color is a very 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# '% 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 vivid. The Unsaturate mode will have little e##ect on the same pi els as they are already close to gray. The pi els o# the sun and s(y are very 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
)*2
+ther T,-aint !nimation -ro drawing tools
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 Colorize and Tint drawing modes

These two modes modi#y the color o# the pi els: . The Colorize mode adds the ! color while respecting the pi el luminosity o# the source image. . The Tint mode also adds the ! color but respects the saturation as well as the luminosity. The more a pi el is close to a gray, white or blac( color /with all the shades they contain0, the less e##ect the color change will have. This is visible in the drawing areas corresponding to the cloud : they are less a##ected by the Tint than by the Colorize mode. "ere the ! color is red : 12233, 42%, 52%.
Airbrush tool in Colorize mode
Airbrush tool in Tint mode
)*'
The Negative and Solarize drawing modes

The Negative mode inverses the value o# the pi els in the source image /the yellow o# the sun becomes blue, the blac( te t becomes white, etc.0. The Solarize mode gives a slightly di##erent result than the Negative mode. It mi es the negative 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 Grain mode adds a multi*colored grain to the current image. This creates a te ture imitating a light photographic grain. The Noise mode adds a single*colored grain, the color applied is the ! color. The Grain and Noise modes themselves also depend strongly on the power and opacity o# the drawing tool. "ere the ! 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 have more volume.
The Add and Sub drawing modes

The Add mode adds the 1,4,5,! values o# the current tool with the color ! to the 1,4,5,! values o# the source image pi els. The result is the image shown on the le#t. The Sub mode subtracts the 1,4,5 values o# the color A #rom the 1,4,5 values o# the source image pi els. The result is the image shown on the right. "ere the color A is purple: 12$28, 42%, 52$28.
Airbrush tool in Add mode
Airbrush tool in Sub mode
These last #our modes : Add, Sub, Multipl 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.
The Multiply and Screen drawing modes

The Multipl mode multiplies the individual values o# the 1,4,5 channels o# the source image pi els with the sum o# the 1,4,5 values o# the ! color pi els. The Screen mode inverses the values previously used. "ere again, the ! color is purple: 12$28, 42%, 52$28.
+ther T,-aint !nimation -ro drawing tools )*3
Airbrush tool in Multiply mode
Airbrush tool in Screen mode
The Healing drawing mode

The !ealing drawing mode is an image*editing tool. It will certainly interest some users who want to improve 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 preserve the color data.
The re#erence area can be set in the shape setting panel /we already tal(ed about it in the lesson 20" It is accessible in the #indo$s main menu or with a right clic( on one o# the seven drawing shapes /dot, #reehand, line, spline, rectangle, ellipse and #lood#ill0.
In the e amples below, two wounds o# a photographied hand have been corrected by using the !ealing mode with the airbrush tool. The pantograph mode on the right doesn9t give good results, with similar settings.
+pposite, the source picture and two #ingers that will be retouched.
>
)*:
Source picture with the reference area (red cross
Corrected picture with the Healing mode
Corrected picture with the antograph mode
With a bit o# practice, it could be easy #or you to remove the dimple o# your photographs.
>
The face with dimples The same face with the dimples 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 previous image, a paper or an image copied into the spare. It is there#ore possible to #a(e your photographs : here below, some scars have been added to the s(in by using this #issured wall picture as re#erence layer.
The same face with scars added
The reference picture for the Healing tool
)*)
;lipboard and spare
Clipboard and spare

The clipboard
The clipboard menu is located in the Edit main menu and comprises #our use#ul options which, in a way, serve as an inter#ace between T,-aint !nimation -ro and your other so#tware pac(ages. . The Cop brush to clipboard option ma(es the current brush available #or other so#tware pac(ages installed on your computer. . The Cop image to clipboard option ma(es the current image displayed in your pro<ect /including the bac(ground0 available #or other so#tware pac(ages installed on your computer.
Wordprocessors, 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 have to call up in order to use your brush or image.
When you use the =print screen> (ey on your (eyboard or when you use the Cop option /to be understood ?copy to bu##er@0 in the program, it is possible to recover the image stored in T,-aint !nimation -ro : . The Get brush %rom clipboard option ma(es the current image stored in the bu##er memory o# your computer available as current brush. . The Ne$ la er %rom clipboard option creates a new image layer #rom the clipboard.
For the latter option, ensure the si6e o# your current pro<ect 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 virtually store an image o# the current layer displayed on the screen in order to use it at a later time /mi ing options0 or to use speci#ic drawing modes /Merge or &mpressionist modes0. This image is re#erred to as spare image. The #ollowing e amples will provide a better understanding o# this notion. !bove you will #ind the options available in the Edit ' Spare main menu.
)*8
;lipboard and spare
Cave the T,-aint logo opposite as a spare image /main menu Edit ' Spare ' Cop to spare or shortcut =Chi#tDE> 0 Felete it #rom the current layer /standard delete tool: 0, then draw an ellipse with an opacity o# )3& in its place. . The option S$ap spare /shortcut =E>0 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. . Fepending on your selections in the popup menu, the Cpare mi)er option o##ers the #ollowing results:
Spare
Current image
. Finally, the option (elete spare is used to delete the spare image. I# you are wor(ing with several pro<ects at the same time, note that each pro<ect has its own spare image.
When you save a pro<ect, the spare page is also saved with this pro<ect.
The Merge drawing mode

The Merge drawing mode is only available once a spare image has been de#ined. It may only be used with theairbrush, penbrush, mechanical pencil, pencil and wetbrush tools. It is used to draw the portion o# the spare image corresponding to the area traveled 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 reAuires the use o# a spare image.
)*B
To per#ectly master the drawing tools.
To perfectl" master the drawing tools#

The two tools indicated below are very use#ul to warp the images and give the appearance that they were hand*drawn.
The "arpbrush
The #arpbrush may be used to give the impression that a drop o# water has #allen on the image. ;ombined with certain types o# paper, it gives the impression that you are loo(ing at the image through a window. There are two types o# warps: warp out and warp in /see below0.
$arp in at top $arp out at bottom
Original image
%se of this tool on an image
The Special brush

The special brush #unctions di##erently according to the drawing mode selected. It shi#ts the image pi els: . uni#ormly in Shi%t mode, . degressively in Smear mode, . by adding color in Mi) mode , . by ta(ing into account the spare image pi els in &mpressionist mode. 5elow you will see the results o# the #irst three modes #rom top to bottom. In each case, a line was drawn #rom le#t to right.
. Mi) mode /the A color is red0
. Shi%t mode
. Smear mode
)*$%
!s indicated above, the &mpressionist mode reAuires 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 traced. This creates Auite an eye*catching e##ect when wor(ing with a small tool and with ? dotted @ Pro%iles and a *atio close to %& /see Special brush panel below0. When reAuired, the current image used as spare image may also provide a very original artistic e##ect.
+pposite an illustration in impressionist mode with parameters panel together with the current image 2 Cpare image.
The Te#t tool

The Te)t tool is used, as its name implies, to generate te t brushes.
"ere you will #ind a general introduction into how to add a te t to your images: . Gnter the te t o# your choice in the te t #ield at the bottom o# the panel. . Celect the #ont o# your choice.
+ther T,-aint !nimation -ro drawing tools )*$$
. Celect +etter 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. . Hodi#y the parameters as you reAuire. !ll changes to the numeric #ields or using the mini*sliders will be ta(en into account and displayed interactively on the screen #or several seconds in order to allow you to view the result o# changes and settings made. . Iow all that is le#t is to apply the te t to the layer in the location o# your choice. 5elow you will #ind a detailed description o# the parameters at your disposal #or this tool: . The #irst popup menu is used to select the #ont best suited to your pro<ect amongst those installed on your operating system. The two arrows are used to Auic(ly scroll through the list o# #onts available. . The popup menus Script and St le are used to select the character type to be used /occidental, oriental, 4ree(, etc.0 and their style /bold, italic, underlined J0. The #onts used by T,-aint !nimation -ro are o# the ? .tt# @ /True Type Font0 #ormat #or -;. . The Size variable de#ines the #ont si6e in pi els. . The ,Scale variable manages the #ont width. . The Space variable de#ines the space between characters /a negative value overlaps the characters0. . The &talic variable modi#ies the inclination applied to characters. . The *otate variable is used to increase or decrease the angle #ormed between the te t and the hori6ontal a is. . The Trac- variable adapts the space between characters, but this time, in proportion to the si6e o# each letter in the te t #ield. . The .pacit variable de#ines the te t transparency. . The .utline variable creates an outline o# varying thic(ness around the letters, but renders the interior o# the letters transparent. . The Smooth variable applies a blur to the letters. . The /order variable creates an outline o# varying thic(ness around the letters. . The Glo$ variable creates a luminous halo around the letters. The border and glow may be o# any color o# your choice. . I# the +etter button is selected, an Anim. /!nimation0 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. . I# the #ord button is selected, a Step variable is present: this variable #unctions in the same way as #or standard drawing tools /see lesson 20. . The *eset button resets all settings. . The ?K@ button provides access to the last phrases or words entered in the te t #ield. . The / button opens a larger te t #ield in order to wor( with longer te ts. . The number in the bottom le#t hand corner o# the panel represents the te t width in number o# pi els /a width which is dependent on your settings0. . The Create 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 via the mini*sliders, do not #orget to tic( the bo es to ta(e these variables into account.
)*$2
The connections
Throughout this lesson, we have modi#ied the si6e, power, opacity, etc. o# our tools and you have certainly noticed the letters located in a bo le#t o# the corresponding numeric value. These are the Connection parameters. The corresponding conte tual menu is accessible by clic(ing on the bo . Host graphic tablets available on the mar(et are sensitive to pressure, stylus travel speed and inclination, etc J T,-aint !nimation -ro ta(es all these advantages into account and it is there#ore possible to imitate the speci#ic aspects o# drawing by hand.
"ere are some e amples: . I# you connect the Size o# the pen tool with the stylus Travel Speed, the thic(ness o# the line drawn will be thic(er the #aster you move your stylus /to do this, select Speed in the Size connection menu0. . I# you connect the stylus Pressure to the airbrush tool Po$er, the more you push down on the tablet with the stylus, the brighter the color will be on the screen. . I# you connect the .pacit o# the wetbrush tool to the Altitude o# the st lus, inclining the stylus will render the aAuarelle almost transparent. ! wide variety o# setting combinations are available. 5elow we will describe each o# them. It is then up to you to ma(e the connections according to your needs and creative spirit, don9t hesitate to e perimentL The #irst set o# connections applies to pointing peripherals /mouse, trac(ball, stylus0 : & None0 no connections. 1 pro%ile Editor0 it will be e plained in the ne t chapter. & &nvert0 invert the e##ect o# the connection chosen. & Speed: the parameter connected to the Speed will change at a speed proportional to the stylus travel speed. & (irection0 the parameter connected to the (irection will change according to the direction o# the stylus. & .rientation0 the parameter connected to the .rientation will change according to the stylus orientation. & 2ade0 the parameter connected to 2ade will decrease its values as the line drawn progresses. & *andom: the parameter connected to *andom will vary randomly. The second set o# connections applies only to stylus and graphic tablets: & Pressure0 the parameter connected to Pressure o# the parameter connected will vary proportionally to the pressure applied to the stylus on the tablet. & Altitude0 the parameter connected to !ltitude will vary proportionally to the angle #ormed by the stylus inclination on the tablet. & Azimuth0 the parameter connected to !6imuth will vary proportionally to the angle #ormed between the stylus pro<ection on the tablet and the vertical plane. & *otation0 the parameter connected to 1otation will vary when you roll the stylus between your #ingers. /you need a :F !rt pen #rom Wacom to use this connection0 1 2inger#heel0 the parameter connected to 2inger#heel will vary according to these options when using the Wacom airbrush #ingerwheels.
+ther T,-aint !nimation -ro drawing tools )*$'
+pposite you will #ind a summary diagram o# the connections indicated above. Iote that some tablets do not o##er all these options. For optimum results, T,-aint recommends the use o# Wacom Intuos ' tablets L
The speed, #ade, orientation and direction connections are ad<ustable. +rientation angle, direction angle, speed curve and #ade speed may be modi#ied in the Connection Settings window /select .ption in the connections conte tual menu shown on the previous page0.
5elow you will #ind some e amples to illustrate the e##ects: Size connected to 2ade #or various #ade values.
Size connected to .rientation /right drawing0. Size connected to (irection /le#t drawing0.
Size connected to Speed using various curves. !ll three lines were obtained by increasing the stylus travel speed /i.e. with progressive acceleration0.
The Te)t tool with *otation connected to the stylus (irection.
)*$7
The connections Profiles

! Pro%ile Editor option is also available in the connection menu. +nce selected, it opens a new window with a pro#ile curve. This pro#ile curve allows to ad<ust the interaction between the parameters /si6e, power, opacity, ...0 and the connection you have <ust chosen /#ade, pressure, random, ...0 ! lot o# pro#ile curves are then available. For instance, the airbrush tool has 7 parameters which can use up to $% connections. There are then 7 $% 2 7% potential pro#ile curves. The applications o# the pro#ile curves are numerous, and we will only study here the most important e amples.
M Si'e and Pressure
I# you connect the stylus Pressure to the Po$er 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 '% pi els. /In this e emple, we want to #ocus on the si6e parameter behavior, so we will choose connection 3 none #or the power parameter.0 Iow i# we change the pro#ile curve as shown below on the right, the minimal si6e value #or your tool will be $3 pi els.
M Si'e and (ade
Let9s admit that we draw a straight line on the current picture, #rom right to le#t with the oilbrush tool. I# the pro#ile curve stays unchanged, the line thic(ness is smaller and smaller. In our e ample : The hori6ontal a is o# the Connection pro%ile panel shows the chosen connection #rom the ma imal value to the minimal value. The vertical a is o# the Connection pro%ile panel shows the values o# the Ci6e parameter. !s a conseAuence, i# we change the pro#ile curve as shown below, you will obtain the #ollowing results :
)*$3
M Angle and )andom
Let9s admit that you are using an animbrush with #our images in order to add some colored #lags on a picture. /see below, the handle o# the animbrush is on the red cross or red line and the anim behavior is set to *andom0
handle
"ere is the result i# you draw a straight line with the settings opposite : /Fon9t hesitate to modi#y the Step parameter i# you need to change the distance between the #lags0
I# we choose an angle o# B%N, the result is monotonous ...
)*$:
I# we connect the animbrush Angle parameter to *andom, the #lags will be arranged in every directions. It is completely disordered ...
Iow let9s modi#y the pro#ile curve as shown herea#ter : The angle o# the animbrush will be randomly chosen between 8%N and $%%N compared to the hori6ontal a is. The general aspect will be less monotonous. /each gradation represents B%N0
The minimal and ma imal angular values on the vertical a is o# te pro#ile curve are the same as the one you have chosen in the tool panel o# the current custom brush. For instance, i# you select an angle o# *3%N, the gradations will then be :
>>>
M Si'e and )andom
We will now continue to wor( on the same e ample : The purpose is now to ma(e all the #lags have a di##erent si6e. +# course, we can connect the Size parameter o# the brush to *andom"
Ievertheless a problem persist : we can have too small #lags. To remedy this, we only have to select a minimal si6e #or our animbrush in the pro#ile connection window. +pposite and below, some randomly selected values between )3& and $%%& o# the original si6e will be used.
)*$)
%se of the brush as a drawing tool

The use o# prede#ined brushes and the connection parameters described above may produce spectacular results: . Tree leaves /+uma stamp mode with green A color and blac( / color and a randomly selected brush angle0. . We used the same brush with the same mode but with red colors to draw the blood below. . ;louds /Alpha stamp mode with blue A color, Angle randomly selected and .pacit o# the animated brush connected to the stylus pressure0. . Cmo(e /Size o# the brush chosen in *andom mode, .pacit connected to 2ade ...0. . In( /+uma stamp mode with A and / colors o# your choice, Size connected to stylus Azimuth, Angle chosen in 1andom mode0.
. !n animbrush using the Add mode can be applied directly on an empty layer and can be also shi#ted than(s to the shi%t option /see lesson 70. It could give very good result i# you need to use some +ilbrush or Watercolor :
.ow to use the brush modes

!s e plained in lesson 7, it is possible to use the brush modes to modi#y their colors. This is very use#ul to create your own drawing tools. In the e ample below, the ! color is red and the 5 color is Oellow.
Color mode
Alpha Stamp mode
$uma Stamp mode
!nvert $uma /ode
Hue Stamp mode
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The brush modes Stamp Alpha and Stamp Alpha Ma#

Than(s to the simple brush below, it is possible to create a power#ul drawing tool. /We used the <itter and rotation parameters and connections to obtain better results0 "owever, some overlappings can become visible during your drawings. For e ample, i# you go several time on the same place with your stylus. The Stamp Alpha Ma) mode records the ma imum opacity value o# your brush pi els and uses it as a limit not to be e ceeded during the drawing. In other words, it remedies our overlapping problem.
/our brush0
Color mode
Alpha mode
Stamp Alpha /a0 mode
The Shi%t parameter does not wor( with the Alpha et Alpha Ma) modes.
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The drawing tool panel 1 %in tab

Two tabs are available #or each drawing tool: The .ptions tab you have already seen and the /in tab. 1egardless o# the tool you are using, you may save the settings applied /Size, Po$er, .pacit , Angle, Pro%ile, Connections, Gradient, Mode, etc.0 in order to use them again later. 1ight clic( on the /in tab window to chec( whether any prede#ined settings e ist and to use them or create new settings i# you #eel they are reAuired. !t this point we will study the /in tab o# the custom brush /the same applies to all other tools0. 1ight clic( on the empty area o# the /in tab to: . either Add the current brush to save it. . or Get a brush o# your choice to be saved. In both cases, a miniature o# your brush appears under the tab.
The numbers ne t to the brushes indicate the number o# animated brush images or si6e o# the brush. 1ight clic( on the brush in the tab to: . Add the current brush to the bin . Get the brush you <ust clic(ed on as current brush . S$ap the current brush with the one you <ust clic(ed on . E)port the brush . (elete the brush #rom the bin Oour settings will be saved i# you clic( on Save this con%iguration when you leave the program. I# you reset T,-aint !nimation -ro9s con#iguration, your settings will be lost.
+pposite you will #ind an e ample o# the prede#ined animated brushes available in T,-aint !nimation -ro.
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The Tool %in panel

The Tool /in panel is the third custom panel present when you start the program #or the #irst time. Located under the Animator Panel, it has the #ollowing #orm: !lthough relatively basic at #irst sight, this panel is also very use#ul to store your brushes than(s to the #irst 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 / colors active when the tool was grabbed. Iow all you have to do is clic( on the icon o# the tool grabbed in order to use it again. This proves e tremely practical when you have speci#ic drawing habits L -lease re#er to the end o# lesson 7, in order to learn how to cut your own animbrushes, and as a conseAuence create your own drawing tools. +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. Furthermore, you are also #ree to create new panels #or each type o# tool and to save your #avorite brushes which are easily identi#iable L
Load and sa!e the custom panel

! right clic( on the icon opposite o# the Tool /ar allows to choose the custom panels which you want to be displayed. It also allows to display and load new custom panels. ! lot o# thematic custom panels /manga, pi el art, chinese brush, ...0 are available in the Contents4 Sharing section o# our online #orum. http:PPwww.tvpaint.comP#orumP 5e carre#ul : when you save a custom panel, the papers lin(ed to your tools are not saved. In other words, i# you decide to save a custom panel, only the brushes and their settings will be saved on your harddrive. This doesn9t matter i# you used the papers that are given by de#ault with the so#tware. "owever, i# you have created and used your own papers, you will have to save and load them separately. Oour custom papers are located in the Papers sub*directory o# your con#iguration. "ere is the path #or Hac and -; users : C123ocuments and Settings2"our4name2Application 3ata2TVpaint2"our4config4name 5 .ome 3irector"6Librar"6t!paint animation6"our4config4name The options relative to the custom panels are numerous : ;reate a new panel, a new button, grab a tool with colors, call a 4eorge script, import and e port a panel, use a -lug*in, use the T,-aint commands, etc ... They are all described in lesson $8 o# this manual.
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Celections and cutbrushes
Selections and cutbrushes

%se the magic wand cutbrush
In lesson 7 we saw that it is possible to cut a rectangular, polygonal or #reehand brush. It is also possible to use the Magic $and cutbrush.
Let9s ta(e a closer loo( at this #unction: don9t worry, it9s no sorceryL When using the 2lood%ill tool, the boundary points /not #illed in0 are de#ined and the other points are colored /see lesson :: ad<ustment o# shape settings0. The same applies to our magic wand e cept that the ?#lood#ill@ area o# the image becomes the current brush. The current brush may there#ore ta(e all (inds o# shapes. For e ample, by adding the E)pand and *ange parameters, it is easy to obtain the #ollowing two brushes.
Original image
>>
7rush cutout
$or8ing on a specific area on the screen

Celecting an area o# the screen will allow you to wor( without changing anything in the area o# the screen not selected. For e ample, in the image below we have selected the cloud. !ny drawing with your stylus will a##ect only the cloud.
Original image
9mages with selection
Oou may also select an area o# a layer and then ma(e the modi#ications in another layer, #or added sa#ety.
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Celections and cutbrushes
I# you have selected an area, using the (elete image icon in the main panel will only delete the selection. The choice o# a color channel #or wor(ing also a##ects only your selection.
The !arious t"pes of selections

Five icons in the main panel are used to enable these selections. From le#t to right: . 1ectangle select . ;ircle select . Freehand select . Cpline select /re#er to lesson 2 #or #urther details about this type o# spline0 . Celect with Magic $and
1egarding the #unction o# the magic wand, re#er to the section &n-ing Process in lesson :. In the present case, we create selections instead o# #illing sur#aces, otherwise the mode remains identicalJ
Comple0 selections and brush creation

That9s not all, the Selection tool window opposite e tends the range o# possible actions. From the popup menu: . The Add and Sub options may be used to create comple selections: the Add option allows you to add a new selection to the previous selection while the Sub option, as the name implies, will remove the new selection #rom the previous selection. Oou may obviously combine various Selection tools with each other in order to obtain the reAuired selection. . The e##ect o# the *eplace option is that drawing a new selection will automatically replace the previous selection. . The Smooth option wor(s in the same way as that presented in lesson ' to draw a #illed rectangle. . When chec(ed, the Anti4Aliasing bo smoothes the contours o# the #uture selection. . The &nvert button inverts the current selection. . The Clear button deletes it. . The #our buttons which #ollow are used to copy or cut the pi els contained in the selection and incorporate them in a new layer or new brush /animated brush or animation layer, i# several images were selected previously0. . The Crop button is used to create a new pro<ect containing only the contents o# the selection. Oour new pro<ect will contain an image or animation layer depending on whether you have selected one or several images in the current layer. I# your current pro<ect contains several layers you will #ind the same number o# layers in the new pro<ect.
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The trans#ormation tools
The transformation tools

It is possible to trans#orm all or part o# several images using the three tools shown opposite: Panning, Trans%orm and #rap"
The anning tool in the main panel

The Panning tool is used to shi#t an image or a selection on the screen with a le#t clic( D slide o# the mouse. The #rap option enables you to ? wrap @ the image /see below0. . I# you chec( the Appl to image bo , the current image will be ta(en into consideration when shi#ting /see below0.
Original image
Shi&t option
"rap option
. I# you chec( the Appl to selection bo as well as the Appl to image bo , the current selection will be ta(en into consideration when shi#ting /see below0,
Original image with selection
"rap option without selection
"rap option with selection
Shi&t option with selection
. I# only the Appl to selection bo is chec(ed, the image will not change but only the selection.
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Original image
"rap option
Shi&t option
. I# the AAliasing bo is chec(ed, the image contours are smoothed.
The Trans&orm tool in the main panel
The Trans%orm tool in the main panel is used to shi#t, increase or reduce the image. 5elow you #ind a detailed description o# the options proposed in this panel: . The popup menu allows you to either Shi%t the image or to 2ill the screen with the current image. . !s with the Panning tool, it is possible to shi#t the image andPor the selection /see e amples below0.
. The Panning , and Panning 5 variables are used to translate the image on the screen. The Center button is used to re*center it. . The Scale variable is used to modi#y the si6e o# the image /increase or decrease0. . The Angle variable is used to rotate the image. . The *eset button resets the settings. . The Previe$ bo enables interactive viewing o# the previous parameters on the screen. . +nce satis#ied with the settings, the Appl button is pressed to #inish the operation.
Original image
The Trans&orm tool in Shi&t mode
The Trans&orm tool in 'ill mode
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Oou may also wor( directly on the screen using the mouse: . le#t clic( and slide to modi#y panning. . right clic( and slide to modi#y si6e.
anning tool applied to image and selection#
To shi#t all images o# a layer, #irst select them all. Use the (eyboard shortcut =;trlDC> or the conte tual menu in the timeline.
The "rap tool on the main panel

!s the name implies, this tool is used to put the image or current selection into perspective. ! modi#ication o# the #our corner coordinates o# the image is su##icient to obtain a convincing e##ect. Oou may or may not #ill the screen with the current image /see e amples below0. "ere again, the same system as above is used /Previe$ then Appl 0. Use the *eset button to reset the settings.
Original image with selection
"rap tool in Shi&t mode
"rap tool in 'ill mode
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The blue line that appears on the screen during setting is the hori6on line. Oou may move the two vanishing points as you wish to set the perspective.
"rap tool applied to the image and the selection
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Lesson 8 The XSheet panel and layers

Add a sound track to your project. Learn to use the XSheet layers. Learn to use the Spreadsheet panel. Make a Lip-Sync.
How to add an sound track to your project
How to add an sound track to your project

The audio options are availa le in the Project !ain !enu or in the Sounds !enu o" the ti!eline #encircled cursor elow on the ri$ht%.
&ote that the utton in the current project window is used to play a sound track when the project is viewed.
Here are the various "unctions proposed y T'(aint Ani!ation (ro : ) Load a sound track to e included in your project. *n the le"t o" the ti!eline+ the na!e o" the loaded sound "ile will appear and another trian$le will allow you to chan$e the si,e o" the track display : Optimised display Reduced display ) Delete a sound track "ro! your current project ) It is possi le to !ove the audio track alon$ the ti!eline with a click and slide on the "or!er. This "unction allows you to adjust synchroni,ation o" your ani!ation and sound track. ) The Offset option ena les synchroni,ation usin$ a nu!eric value ) The Lock option prevents all !ove!ent o" your sound track with a click and slide. *nce you have co!pleted your settin$s+ this option will allow you to avoid any risk o" handlin$ !istakes. ) I" the jo$ audio is in None position+ no sounds will e e!itted when you !ove alon$ the ti!eline. ) I" the jo$ audio is in Scrub position+ the sounds will only e e!itted i" your !ove!ents alon$ the ti!eline is carried out with a !ouse or stylus. ) I" the jo$ audio is in Always position+ the sounds will always e e!itted when you !ove alon$ the ti!eline+ re$ardless o" whether you use the !ouse+ stylus or key oard arrow keys. ) I" a sound is e!itted each ti!e you chan$e the current i!a$e in the ti!eline+ the option Enter the scrub audio duration allows you to de"ine the duration o" this sound. ) The Notes option is availa le when usin$ the -M. on the sound area. It allows to add te/t in the Ti!eLine. 0ach cell o" the Ti!eline can receive a note.
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The XSheet Layers and (anel
The XSheet Layers and XSheet (anel
The XSheet Layers and XSheet Panel

Introduction and principle
May e are you not "a!iliar with XSheet layers and Lip-Sync notions. Here are so!e in"or!ations re$ardin$ their ori$in : The word XSheet co!es "ro! eXposure-Sheet or dope-Sheet. It co!es "ro! the days o" traditional ani!ation when the XSheet was a paper list that nu! ered all "ra!es o" a scene and in which the ani!ator could write down his drawin$ nu! ers with the ri$ht ti!in$. #see elow% It helped the ani!ators to plan their ani!ations and also "unctionned as a $uide "or the ca!era!an to know how to shoot the scene. 3or instance+ synchronisin$ the lips o" a character with a recorded soundtrack #in other words doin$ a Lip-Sync% was possi le with the XSheet.
The XSheet panel+ co!!only called XSheet tab in T'(aint Ani!ation (ro #see ne/t pa$es% is the nu!eric transposition o" the classical paper XSheet. The reason XSheet panels were included in T'(aint Ani!ation (ro is to !ake easier to ti!e and synchronise the ani!ations+ thanks to the XSheet layers. It is also a very use"ull tool "or people who uses to scan their drawin$s. The !ain advanta$e o" the XSheet layer is that a "ra!e that is used !ultiple ti!es in a scene need only to e adjusted or colored once and all instances o" this i!a$e in the XSheet layer will chan$e accordin$ly. It saves a lot o" ti!e since the process o" copyin$ and editin$ "ra!es is !uch si!pler and easier to control throu$h the XSheet panel. #This is !uch si!pler than the old way in which you4d have to !anually copy and paste "ra!es in the layers o" the ti!eline.% 3or e/a!ple+ let4s assu!e that the colorin$ and the shadows o" a character are on separate layers: I" you need to re-arran$e your ani!ation in ti!e+ it is always very tedious to edit a layer in the sa!e way twice or !ore ... 3ortunately+ with the XSheet panel this can e done really easily and 5uickly.
1-6
All those notions !ay see! a stract at "irst+ ut you can rela/. 7e will 5uickly study so!e concrete situations and e/a!ples.
The projects used in this chapter

To !ake the XSheet layers easier to understand+ we will need to load the project "ile #-unnin$-8id .tvp% "ro! your T'(aint Ani!ation (ro 9:--o!. Those who have downloaded the #6; days trial% de!o version o" the so"tware will "ind this "ile in the content sharin section o" the T'(aint "oru! #www.T'(aint.co!<"oru!<% *nce the project is loaded+ you should o tain the "ollowin$ ani!ation and ti!eline.
3ive layers are visi le: an i!a$e layer called = ack$round > and "our ani!ation layers called = shadow >+ = colors >+ = -unnin$ 8id > and = Toonshadin$ >. 0ach layer has its own assi$ned color. (lease note that your project does not have any XSheet layer at this ti!e.
irst approach o! the XSheet panel

To swap etween the Ti!eline and the XSheet panels+ you only have to click on the correspondin$ ta #see elow%
"" Let?s study "irstly the le"t part o" the XSheet panel. #the ri$ht part will e the su ject o" a "urther chapter%. The le"t part o" the XSheet panel is in a way the !irror o" the !i"eline. #see ne/t pa$e "or the screenshots% : ) 0ach colu!n o" the XSheet Panel corresponds to a layer o" the !i"eline+ with its colour. The title o" a colu!n is the na!e o" the correspondin$ layer. ) 0ach line o" the XSheet panel is nu! ered. This nu! erin$ is the sa!e as the one you can "ind on the top o" the correspondin$ ti!eline #see elow% ) The i!a$e layers contain an uni5ue i!a$e repeated throu$h the ti!e+ so they are not su divided in the XSheet panel. ) As the ani!ation layers contain di""erents i!a$es+ they are su divided. ) The ook!ark located here and there on your ti!eline are also visi le and !odi"ia le in the XSheet panel. The thu! utton allows to swap etween the classical XSheet display and the thu! nails display. #see ne/t pa$e on the ri$ht% Aou can also use the sliders or the arrow keys o" your key oard to navi$ate throu$h the XSheet panel.
1-@
1-B
The project ta a ove allows to !ana$e the opened project. It is discussed in lesson B.
# !ew simple options o! the XSheet panel

A lot o" option re$ardin$ the layers are oth availa le in the Ti!eline ta and the XSheet ta . A ri$ht click with your !ouse utton on a layer inside the XSheet panel opens a conte/tual !enu co!para le to the one encountered via the ti!eline. Aou will "ind in this !enu so!e options already encountered in the lessons 6 and @: ) Insert+ :uplicate+ :elete+ -ena!e+ 9opy+ (asteEone or !ore i!a$es. ) Set (ost or (re ehavior. ) Set *pacity+ etc ... C C C C C C C C C C C C C ) The #$reen or red% coloured s5uare+ once you click on it+ allows to display or hide the correspondin$ layer. ) The s!all lock utton allows to !ana$e the lockin$ o" a layer. ) The #LT% utton !ana$e the activation o" the li$ht ta le. ) The lack trian$les allows to reduce or increase the si,e o" the colu!ns in the Xheet panel. ) The current layer is li$hter than the other layers. *pposite and elow : - The = ack$round > layer is hidden - The = Toonshadin$ > layer is locked - The Li$hta le o" the = 9olors > layer is activated - The = Shadow > layer is reduced - The = -unnin$-8id > layer is the current layer In the XSheet ta opposite : ) The letter = A > indicates that the colu!n represents an ani!ation layer. ) The letter = I > indicates that the colu!n represents an i!a$e layer.
Timeline ta$
XSheet ta$
.e"ore ena lin$ the li$hta le "or the layer o" your choice+ :on?t "or$et to ena le the $lo al li$hta le y clickin$ on the utton :
1-D
At the ends o" the colu!n+ it is still possi le to set the pre and post ehaviour o" your layers. #see elow% In the e/a!ple elow+ a "ew pictures "ro! the thrid layer are selected. They are enli$hted in yellow in the Ti!eline and also in the XSheet ta .
%"
Timeline ta$ XSheet ta$
A"ter selectin$ several layers+ the option Ali n left and the option Ali n ri ht allows to ali$n your layers on either side o" the current i!a$e in each ta #Ti!eline or XSheet%
How to create a XSheet layer

Let4s now open a new project and co!e ack to the Ti!eline ta : Aou already know how to create an #"a e or an A"ination layer$ 9reatin$ an XSheet layer can e done usin$ the sa!e way+ usin$ the New popup !enu o" your Ti!eline or usin$ the Layer !ain !enu.
" XSheet Layer " #nimation Layer
At this state+ the %ena"e& Duplicate& Delete& 'opy& (ide and other classic options o" the so"tware are still availa le. .ut you certainly noticed that you can4t shrink or stretch this new layer. There are no thu! nail icons too. The & and ' uttons o" the XSheet ta can also e used to create or delete a XSheet layer. The letter = X > indicates that the colu!n represents an XSheet layer.
1-F
Mana$in$ the content o" an i!a$e o" the XSheet layer or !ana$in$ the position in ti!e o" its i!a$es have to e done in the XSheet panel. *nce your XSheet layer is created+ you have to speci"y in the XSheet ta one or !ore sources. *therwise+ it will e not possi le to use it+ ecause you can?t draw on a XSheet layer. The i!a$es o" the choosen sources will constitute the ele!ents o" the XSheet layer.
How to create and mana(e the sources

The source !ana$e!ent can e done in the ri$ht part o" the XSheet panel. In order to add a source colu!n+ you have to use the G& srcH utton encircled elow. The G) srcH utton allows to re!ove a source colu!n "ro! the ri$ht part o" the XSheet ta . The choice o" a source "or your colu!n can e easily done thanks to the popup !enu located at the otto! ri$ht o" the XSheet ta le. Aour source can e : ) an ani!ation layer in the current project ) another opened project It?s also possi le to chan$e the na!es o" your source layers+ "or a etter reada ility. Aou only have to use the popup !enu na"e opposite. I" !ore than one project or layer is open+ a new !enu will allow you to choose which one you want as source. #see opposite% I!a$e layers are not availa le as source.
The width o" oth sides o" the XSheet ta can e adjusted y dra$$in$ the !iddle separator. The thu! nails options and the position o" the separator are also saved with your project. :o not con"use the source colu!ns on the ri$ht part o" the XSheet ta and the layers colu!ns on the le"t part o" the XSheet ta . The source colu!ns are used to !ana$e the content o" the XSheet layers and are not visi le in the ti!eline whereas the layers colu!ns are also visi le in the ti!eline. #see elow%
1-1
# concrete e*ample
I" you have "ollowed this lesson "ro! the e$innin$+ you should have two projects on the T'(aint Ani!ation (ro screen. The project %unnin -)id$t*p and a new project called +ntilted-,- containin$ an XSheet layer. Aou can take a look at the Project tab to check it. The project +ntitled-,- has an XSheet layer. #see elow%
In the project called +ntilted-,- we added the project %unnin -)id$t*p as source+ as shown elow. &ow we only have to add so!e i!a$es "ro! our source into the XSheet layer.
Here a$ain+ the thu! thu! nails display.
utton allows to swap etween the XSheet display and the
I" you selected a project as source+ its layers are considered as i" they were !er$ed.
How to mana(e the content o! a XSheet layer

7e are now $oin$ to !odi"y the content o" our XSheet layer. ).e"ore e$innin$+ you !ust know that it is possi le to stretch a XSheet layer y doin$ a dra$4n drop at one o" its e/tre!ities. So you can o tain several cells+ as shown ne/t pa$e. )A"ter this operation+ you have to enter in the cells the re"erences "ro! a source i!a$e. To do so+ you have to use the "ollowin$ synta/ : Source +olumn , Source Line #The cells containin$ the character = ) > doesn4t have any re"erence.% ) The cells !anually "illed have their re"erence i!a$e written in lack.
1-I
) .y de"ault+ all the cells "ollowin$ a !anually "illed cell are written in pink color and have the sa!e re"erence i!a$e. Those i!a$es are also called key"ra!es. ) *nce "inished+ each cell "ro! the XSheet layer correspond to an i!a$e choosen into the Source colu!ns. #3or a etter reada ility+ you can use the thu! nail view in order to replace each cells y its correpondin$ i!a$e% *pposite+ here is how to stretch an XSheet layer.
*pposite : ) The "irst three cells o" the e/position layer are e!pty. ) The "ourth cell o" the XSheet layer is the 2Dth i!a$e "ro! the source colu!n called )id$ ) The "our last cells have the sa!e re"erence as the "ourth cell.
-ith thum$nails -ithout thum$nails
XSheet Layer with its cells
Source ima(es and columns
I" you selected an opened project as source+ the source project will e stretched to "it the XSheet layer.
In order to "ill in the cells o" an XSheet layer #in other words+ to add i!a$es in a XSheet layer%+ you can also dra$?n drop thu! nails and cells "ro! the source colu!ns into a XSheet layer.
Select se.eral ima(es in a XSheet layer/

I" you want to select several i!a$es in a XSheet layer+ hold the Kshi"tL key pressed and do a dra$4n drop with the LM. on the cells or thu! nails o" the XSheet layer. Mse the !ouse utton to cancel the selection.
1-J;
The icons o! the XSheet ta$

0ach icons elow has a speci"ic action re$ardin$ the XSheet layer or the XSheet ta . 7e will now e/plain each o" the! separately in the ne/t pa$e.
This utton creates a new XSheet Layer. This utton deletes the current XSheet Layer. This utton to$$le the thu! nails < cells view. 3or a etter reada ility+ the icon opposite allows to display < hide the colu!ns o" the i!a$e and ani!ation layers in the XSheet panel. This option is only workin$ with the XSheet ta and does not interact with the ti!eline or the project display. This utton allows to add a source into the XSheet ta . This utton allows to delete a source "ro! the XSheet ta . This utton allows to add one tween to each selected "ra!es. This utton allows to delete one tween "ro! each selected "ra!es. This utton allows to add !ultiple tweens to each selected "ra!es. A popup panel will appear to set the nu! er o" tweens to add. This utton allows to delete !ultiple tweens "ro! each selected "ra!e. A popup panel will appear to set the nu! er o" tweens to delete. This utton allows to invert the order o" the selected "ra!es. This utton allows to copy the selected i!a$es < cells. It can e either source i!a$es or i!a$es < cells "ro! a XSheet layer. This utton allows to cut the selected i!a$es < cells "ro! a XSheet layer. This utton allows to shu""le the selected i!a$es o" a XSheet layer. This utton allows to paste the cut or copied i!a$es < cells "ro! a XSheet layer into e/istin$ i!a$es < cells. This action delete the selected i!a$es and insert the new ones.
The XSheet Layers and (anel 1-JJ
Aou can also use : the LM. and dra$ to = !ove > #cut and paste% a selected ran$e o" "ra!e. 9trl N LM. to = !ove > #copy and paste% a selected ran$e o" "ra!e Here is a s!all recapitulative dia$ra! :
The options that allows to cut+ copy+ or paste the cells can e applied "ro! an XSheet layer into itsel" or into another one. #however+ it is not possi le to cut source i!a$es%
Select a de!ault source/

7hen you click on the na!e o" your XSheet layer+ a popup !enu called default source appears at the otto! o" the XSheet ta . It is then possi le to assi$n a source colu!n y de"ault to your XSheet layer : all the re"erences o" the cells will only need a nu! er o" picture in order to e taken into account. This is very convenient to create new XSheet layers synchronised with the current one. Aou only have to duplicate the current XSheet layer and chan$e the de"ault source o" the duplicated XSheet layers.
#$out the projects

7hen a project needs so!e i!a$es to e repeated several ti!es+ it?s advised to use XSheet layers. It allows to decrease the si,e o" the project when you save it on your harddrive+ ecause each repeated i!a$e is saved only one ti!e. 7hen you save a project in T'(aint Ani!ation (ro+ the related XSheet ta and layers are saved too. #Aour project will still e availa le < usa le with previous so"twares "ro! T'(aint. .ut+ the XSheet and sound 5uotes layers will not e viewa le nor usa le.%
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The steps to create a lip-sync
The steps to create a lip)sync

In this section+ we will learn how to synchroni,e the "acial !ove!ents o" a character #especially his !outh% with a preloaded audio track. The !ain idea is o" course to $ive the i!pression that the words co!e "ro! our ani!ated character and not "ro! a recordin$ that has een added over an ani!ated se5uence.
The !iles used in this chapter

The project Lipsync$t*p and the audio track *oice$"p. will e taken as a asis to study the lipsync steps. Aou can "ind the! on the so"tware 9: ro!. Those who downloaded the evaluation version o" T'(aint Ani!ation (ro can "ind those "iles in the Gcontent sharin$H section o" our online "oru!. #http:<<www.tvpaint.co!<"oru!% Here is the ti!eline o" the project Lipsync.tvp
Layer GeyesH Layer GpupilsH Layer G rowsH Layer G"ace hairH Layer Ghair colorH Layer G!outh @H Layer G!outh 6H Layer G!outh 2H Layer G!outh JH Layer GjawH Layer G"ace-colorH
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7e have choosen the "ollowin$ colors to have a etter reada ility throu$h the ti!eline: -the layers relative to the !outh !ove!ents are in red. -the layers relative to the jaw and "ace are in lue. -the layers relative to the eyes !ove!ents are in purple. I" you play now this project+ the result will not e really interestin$. .ut we will 5uickly re!edy this situation.
+ali$rate the options relati.e to the audio track

&ow that the project is loaded in T'(aint Ani!ation (ro+ let?s i!port the audio track called voice.!p6. *nce your audio track is loaded: ) .e$in y settin$ the o""set para!eter with accuracy ) Lock your audio track in order to prevent unwanted chan$es ) Select G!ove!entH or GalwaysH as para!eter "or the audio jo$+ with a duration o" 2 or 6 seconds. #see "irst chapter "or !ore details% The option called: H0nter audio scru durationH allows to speci"y the duration o" the sound that you will hear a"ter each !ove!ent throu$hout the ti!eline. #This option is "unctional only i" the Gjo$ audioH para!eter is not in GnoneH !ode.% At this state o" the process+ your !ove!ents throu$hout the ti!eline should e "ollowed y one or several sounds.
Positionin( sylla$les and phonemes

It is now advised to display the XSheet panel in order to continue our work. #Althou$h all the ne/t co!in$ steps can e done directly in the ti!eline.% 7hen you !ove your cursor #ie: chan$e the current i!a$e% throu$h the ti!eline+ try to "ind sylla les and phone!es. Then+ add an annotation on the correspondin$ place. To do so+ use the option Notes which appears in the audio track conte/tual !enuor in the #"a es !ain !enu. Aou should o tain a XSheet panel like the one elow :
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I" the te/t that you want to synchroni,e with our character is lon$+ try to add ook!arks to the i!a$es "ro! which a sylla le or phone!e starts. It will e easier to "ind a$ain those i!a$es later. Aou can already hide the ani!ation layers. Those layers will not e visi le when the project will e "inished. They are only here in order to e selected as source "or the XSheet layers. However+ you can set hold as postehavior "or the I!a$e layers. #they will stay visi le until the end o" the lip sync process% Aou should o tain the i!a$e elow :
+reate some source columns

As e/plained on pa$e 1+ you have now to set your sources i!a$es and colu!ns in the ri$ht part o" the XSheet ta . Here elow+ the source colu!ns are created "ro! the e/istin$ ani!ation layers o" our project. #the colu!n fcolor is linked to the layer face color%
1-JB
+reate some XSheet layers

&ow+ let4s create so!e XSheet layers. 3or each sound o" the audio track+ the jaw and the "ace skin should !ove accordin$ly+ as our character is talkin$. #see elow% The !ove!ent o" the character4s jaw " " " The !ove!ent o" the "ace4s skin " " " Two synchronised XSheet layers will e needed here to do the jo . *nly their de"ault source colu!n will e di""erent. #"color and jaw% 0ach sound o" the audio track can e roken down into separated se5uences : opposite+ the = * > sound " " "
Here the = A > sound " " " The = I > sound " " "
The = 0 > sound " " " 0ach ti!e that the = * > = A > = I > or = 0 > sound will e encountered on the ti!eline+ you will then have to reproduce the correpondin$ con"i$uration. A XSheet layer derivated "ro! the two last descri ed XSheet layers will e used here. However+ it will not have a de"ault source+ ecause it will use the "our source colu!ns #!outhJ !outh2 !outh6 !outh@% 3inally+ you will have to !ake the character link periodically in another XSheet Layer.
"
"
"
"
The !ove!ent o" the rows will depend on the conte/t o" the scene. It can e/press astonishe!ent+ neutrality+ "ati$ue+ etc ... It will also need an XSheet layer.
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Here is the result with the XSheet ta :
Let?s assu!e that our character co!es "ro! an ani!ated T' serie. It will e possi le to re-use the sa!e i!a$es "or the "ace+ XSheet layers constructed with the !ethod+EetcE
-----------
Aou can always trans"or! an XSheet layer into an Ani!ation layer with Instances y usin$ the!ransfor" into Ani"ation Layer option #use the layer conte/tual !enu in the Ti!eline%.
1-JF
Lesson 9 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 (ro rawin" tools an iscovere the timeline an its functions. *ou are now a+le to pro uce , frame +y frame rawin"s. &'(aint )nimation (ro 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 9see opposite:. &hey are arran"e accor in" to cate"ories. !e will stu y them pro"ressively in the su+se;uent lessons.
&he effects cate"ories comprise: . /lur : to alter the e0istin" pi0els of the animation. . Colors : to rework the colors of an animate foota"e. . Distortion : to istort the ima"es of a foota"e. . 1eyin" : to cut out a part of the current animation. . 2otion : to mana"e camera movement. . (aint : to repeat a line on the screen. . 3en erin" : to create li"htin" an particles effects. . Styli4e : to rework the pi0els 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 9for e0ample : the power of a +lur% the luminosity of the animate foota"e% the spee of a fa e <:% 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 popup Add FX menu contains all the effects in icate a+ove: the menu is i entical to the Effects main menu.
Initial study of the FX stack

5oa the pro6ect name , house - which you have create in lesson 7. 2er"e it an sprea the layer over thirty ima"es. &he resultin" layer will +e name , house -.
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&he effect stack or FX stack
!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 looks like the one shown opposite. >ow mo ify the parameters Width an Height +y settin" the values to #? an @?.
&he result is imme iately visi+le on the current ima"e: the ima"e is cut in +locks of #? pi0els in wi th an @? pi0els in hei"ht 9the color of a +lock is e;ual to the avera"e of the pi0els makin" up the +lock in the ori"inal ima"e:. &he Smooth +utton ena+les +len in" +etween a 6acent +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 9 isa+lin" the Pre 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 A!!ly 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 9if re;uire % use the "ndo option to un o the mo ification<:. Don't for"et that all ima"es of the layer must +e selecte if re;uire .
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 (ro 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 Pre iew +o0 is checke % it is possi+le to play your complete animation usin" the Play +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 si4e an full resolution whether your pro6ect 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.
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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 9see opposite:. *ou may view the effect on the entire ima"e% its left half% its ri"ht half% the top or +ottom< you may even mo ify the viewin" area to your convenience +y sli in" the +or er line on the screen 9to o this% left click on the line an sli e it:.
Fere a"ain% the Play re"ion of the screen.
+utton is presse to preview your effect in real time +ut only on a "iven
Some operations
. If you have applie the Stylize > Mosaic effect% click "ndo to cancel the effect an return to the unmo ifie animation. . Go into the #!tions popup menu of the FX stack an choose $elete all. *our stack is empty a"ain. . Select the %olors > Fade effect from the availa+le menu. . ) a secon layer +ehin the current layer an name it , Flowers -. . Import the pro6ect , Flowers -% mer"e it an sprea it over @? ima"es. . Copy all the ima"es of the layer o+taine into the layer name , Flowers - in your pro6ect. . Finally% "o to the first ima"e on the timeline% on the layer name , house - 9see timeline +elow:. . 2o ify the value of the position parameter to H?I then apply the FX&Stack'
The Flowers ! "ro#ect
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*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 9the first: an not to all the ima"es of the layer% < 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 H?I of its pro"ress for all ima"es of the layer< 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 : ?I for the first ima"e% JI for the secon % #I for the thir < an so on all the way to the last ima"e< 9assumin" that our animate foota"e has a total len"th of J?? ima"es< If not% complicate a 6ustment calculations must +e ma eA:. )t first si"ht this seems like a lon" an complicate process. Fortunately% &'(aint )nimation (ro offers tools which re uce this fasti ious process to a few secon s: the Animation keys.
Working with animation keys

It is possi+le to set the parameters for our fa e effect to ?I for the first ima"e in our layer% then to J?? I for the last. In this way &'(aint )nimation (ro 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 pro6ect: . Go onto the first ima"e of the , house - animation layer. Set the effect to ?I then click on the +utton shown opposite.
. ) sym+ol appears in the timeline 9see opposite: un er the first ima"e.
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!orkin" with animation keys
&he name of the Fade effect is written to the left of the timeline. . &he Fade effect is now set to a value of ?I 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. . 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 J??I. 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:
. >ote that +y sli in" alon" the timeline usin" the BD an BD keys of the key+oar or pressin" the Play +utton allows you to view the pro"ress of the chosen effect from the first to the last frame. . >ow select all frames of the layer an apply the FX stack. &his time% application of the effect stack will mo ify pro"ression of the fa e effect in time 9see followin" ima"es:.
&'(aint )nimation (ro has calculate an effect with a pro"ressin" position parameter for the interme iate frames. &o sum up% an animation key is a sort of a 6usta+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 pro6ect an may therefore not +e assimilate to animation keys.
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%anage the effect&s progress

*ou have pro+a+ly notice the Progress +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 Progress +utton an then on the small +lack section appearin" on the screen 9see 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 File an S!line menus% the Fli! X% Fli! ( 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: . &he a+scissa in the "raph represents time% . &he or inate in the "raph represents the pro"ress of the chosen effect. 5et's "o +ack to the fa e effect in the , house - layer: . Use the "ndo option to recover the layers intact. . Choose the same keys as those in icate in the chapter a+ove. . Draw the spline a+ove +efore applyin" the FX stack. )fter playin" the pro6ect you will note that the effect is first carrie out slowly an then at top spee 9see 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 .
Choosin" a hori4ontal 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:
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%anaging effects with several parameters

>ow close the , house - pro6ect an loa the , prehistoric - pro6ect. . 2er"e the layers of this pro6ect. . Stretch them over thirty frames. . Delete the content of the FX stack' . 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. Mverythin" that follows also applies to an animation layer. *ou will see that there are three parameters which may +e locke with an animation key: . the position of the center% . the !ower of the +lur% . 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 9see ima"e a+ove: Some parameters may +e a 6uste irectly on the screen +y clickin" an sli in" the mouse on the color handles 9shown opposite:. !hen the effect is applie % circle an han les will% of course% have isappeare . &he parameters irectly a 6usta+le on the screen 9han les% circles% spline: are referre to as H"$ 9H"$ stan s for Head "! $is!lay:. &he Hide H"$ of the FX stack is use to hi e the latter. >ow let's take a look at the timeline: . )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. . &o the ri"ht of the parameter names% correspon in" key lines will +e isplaye as you create your keys. It is possi+le to create animation keys for each parameter% for the ima"e of your choice alon" the timeline.
8-$
) separate set of keys may +e create for each parameter 9%enter of circle% Power' +adi*s:. &his means that the parameters may pro"ress in time in epen ently of each other. For e0ample: the power of the centere +lur may ecrease slowly while its ra ius may increase rapi ly% all at ifferent times < &hanks to several keys% the parameters can +e a 6uste 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. /elow% 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.
The path
!hen position parameters pro"ress in time% there must +e a path taken +y the parameter in ;uestion. For e0ample% three animation keys were create at the ima"es J% K an @? for the %enter parameter a+ove. &he center of the %enter bl*r effect conse;uently follows a path as time pro"resses. In our e0ample% 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 9the ,ools menu will +e stu ie later in lesson J7:.
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&he path
Linear
Spline
Smooth
!hen usin" S!line% it is possi+le to use han les. &he BCtrlD key N 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 pro6ect contains many ima"es. &he , trian"le - +uttons in the effect stack or in the current pro6ect win ow 9see opposite: are use to move rapi ly from one key to another without havin" to use the BD an BD keys or the mouse. If they are in +lack% they in icates that there is an animation 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 - 9see opposite:% calls up a conte0tual menu. *ou may : . create or elete keys 9which re;uires confirmation:% . select one or all keys 9they will then +e isplaye in yellow...:% . cut% copy% paste keys 9a process alrea y use for ima"es an layers: see lesson K:. !hen usin" animation keys: . &he layer conte0tual menu offers the possi+ility to select the frames correspon in" to the keyline. . &he A*to Fit menu is use to a 6ust the 4oom of the timeline in or er to view the keys.
)ontract' stretch a key line

In the previous lessons we learne how to contract or stretch an animation layer. &his is also possi+le for key lines 9see +elow:.
Stretch )ontract
If re;uire % it is possi+le to move a key from one place to another in the timeline 9click an sli e with the left mouse +utton:.
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&he path
*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 9whether 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 se;uence of your choice as if usin" an e0terior li"ht source 9li"ht% pro6ector<:. /y 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: S!ot. #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. Fere an overview of the ifferent li"htin" types: . Ambient li"htin" li"hts up the scene "lo+ally in the color of your choice. 'alues un er J??I will arken the ima"e% values hi"her than J??I will +ri"hten it. . #mni li"htin" li"hts up a circular area of your choice similar to a pro6ector locate on an a0is 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 pro6ector.
!orkin" with the FX stack 8-JJ
2ore etails a+out the FX stack
Omni pro#ector diagram
Omni .*/
Omni lighting
. S!ot li"htin" li"hts up the ima"e similar to a tilte pro6ector. &wo position parameters are availa+le for this mo e% which allow you to a 6ust the position of the li"ht source as well as its irection.
Spot pro#ector diagram
Spot .*/
Spot lighting
For many of the parameters escri+e a+ove% the settin"s may +e ma e irectly on the screen 9 on't for"et to isplay the H"$:. S!ot an #mni li"htin" have a profile e itor which works similarly to that of the rawin" tools 9see lesson # for more etails:.
Omni
Spot
"rofile
!ith the -ight popup menu it is possi+le to use several li"ht sources 9re"ar less of type:% as well as to rename% d*!licate or delete them. &his is how our cave may +e lit up in various ways A
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&his -ighting effect only applies to the opa;ue pi0els of the current layer. &o o+tain the e0amples a+ove it is therefore necessary to first mer"e the layers of our pro6ect.
Single effects' multiple effects

Up to now we have only use a sin"le effect in our stack. &'(aint )nimation (ro 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 - pro6ect 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:
2ay +e you notice the options M*lti!le FX an Sim!le 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: . !hen M*lti!le FX is checke % the chosen effect is a e to the present effect. . !hen Sim!le FX is checke % the chosen effect will replace the present effect. Check M*lti!le FX in the menu an choose the +endering > -ighting effect e0plaine a+ove: this effect will automatically position itself over the current effect.
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Set the parameters for the two effects as shown opposite. &o simplify our e0ample% there is only one type of li"htin" use an our effect applies only to one frame 9so no key is re;uire <:. &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 , a+ove - 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. 2o 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.
0esult of the FX stack a+ove 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 3emem+er the Play +utton to view the effect on the animation layers <
)urrent effect' preview and collapsing of effects

. =ne of the effects in your multiple FX stack is always selecte . &his effect is referre to as , current effect - 9the 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. . !hen several effects are use % it is possi+le to collapse them usin" the +uttons top left. . &he +o0es close to the arrows in icate a+ove are use to ena+le or isa+le the effect they +elon" to.
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=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.
Swap two effects
&he effects containe in the stack are e0ecute from +ottom to top urin" preview or application. &here is a kin of chronolo"ical or er for the effects < &he results may therefore vary if two effects are swappe : . In the left ima"e +elow% the FX stack applie is the one illustrate opposite. &he center +lur is applie after li"htin". . 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
8-JH
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 @.
0eset and rename effects
) left click on the ri"ht trian"le a+ove calls up a conte0tual 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% $*!licate or $elete the effect from your FX stack.
&he #!tions menu of the effect stack may +e use to elete or reset the values of all your effects.
Saving 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 )in FX menu for each effect offers several options: . &he Add option allows you to store your effect for later use 9you will first +e aske to name this effect:. . &he E/!ort option saves the current effect to a stora"e support. . &he 0m!ort option recovers an effect from a stora"e support. . &he $elete option eletes an effect. &he effects a e may only +e re-use when re-openin" the pro"ram if you save the confi"uration when ;uittin". 3esettin" the latter will elete all the effects of the user. &he )in FX menu for the entire stack works in the same way% +ut may +e use to a e0port 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 T1"aint ,nimation "ro pro#ects

!e may +e repeatin" ourselves% +ut it is important to remem+er that it is in ispensa+le to A!!ly the FX stack so your effect is taken into consi eration an affects the current layer 9if not% all you o is preview it<:.
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)lso note that% when you save a pro6ect% as well as savin" the layers% their position an the associate parameters 9Position. $*ration. Pre&Post& )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 itO !hen you work with several pro6ects at the same time% note that each pro6ect 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 JJ to lesson JL. In this section% we will create a small openin" se;uence for a weather report . Do to so% we have several vi eo se;uences at our isposal : &he first one with a forest% another one with a sunset an the last one with some clou s
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. /e"in +y importin" those se;uences in your pro6ect. 3esi4e them if it is necessary. 9note that the se;uences can +e irectly importe from your camera into the software +y usin" the 1ideo 2rabber panel:. DonPt for"et to use a pro6ect with fiel s if your vi eo se;uences are fiel e . . 2ove them insi e your timeline as shown +elow an import the music. ) color has +een a the layers to make them more reco"ni4a+le. e to
*ou shoul have three overlappe layers 9look 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 4oom factor of the timeline has +een increase to make it more visi+le.
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Intro uction to the vi eo effects
Fere is the resultin" transition :
. &o a a personal touch to our weather report% it is possi+le to use several effects : /elow% the )l*r > +adial )l*r effect was use . &herefore% the animate se;uence appear pro"ressively on screen.
. *ou can easily make +utterflies fly in front of the trees an make them follow the paths of your choice% as e0plaine in the lesson J7 : !e use the +utterfly animate +rush 9supplie on the &'(aint )nimation (ro CD-3om: with the Motion > 3eyframer 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 ,trees4 animate layer unchan"e . /y 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 a0is of the timeline.
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. !e will now work on the QS*nset5 animation layer : It is possi+le to istort the pictures to stay close to the weather report thema. &his can +e one +y usin" the +endered > Wa es stu ie in lesson J@. /elow we imitate two water waves% as if two rocks were thrown into water.
. !e have afterwar s to mana"e the transition +etween the 6S*nset4 an the 6%lo*ds4 animation layers. /elow% the ,ransition > %lassic effect with the circle option has +een use . Fere is the timeline an the ren erin" :
It is possi+le to mo ify the timeline scale thanks to the 2 +utton of the timeline. 9see lesson 7: *ou can also use +ookmarks to navi"ate easily throu"h the timeline. 9see lesson 7:
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a raim+ow in the clou y sky : &o o so : . Create a new layer 9the clo*ds animation layer will remain intact: . Draw a rectan"le fille with the spectrum "ra ient% as shown opposite.
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)fter this% you have to use a multiple FX-stack with these effects : 9in or er% from the first to the last: . %olors > %olor Ad7*st 8 the re area shoul +e on the outsi e of the arc an the violet area on the insi e. . )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 9out of the viewa+le area% to +e e0act:. . )l*r > 2a*ssian )l*r will mer"e the colors a little. . ,ransition > Fade will make the rain+ow fa e in as time pro"resses.
Fere is the result :
$ . >ow% you only have to a
a title to this se;uence% thanks to the +endered > Sim!le&te/t effect. !e use here the effect +endered > Sim!le&,e/t 9you can fill in the te0t% a 6ust 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 te0t line ... 9for e0emple if you nee to o a translation :
. For the final touch% we nee the +endered > -ens&flare effect :
Lens3Flare effect on the check +ackground
.ere on a new animation layer
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Fere is the resultin" timeline with the te0t% the rain+ow an the 5ens-Flare on separate animation layers.
)n the animation itself :
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Lesson 10 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 gradualy blurred in ti!e.
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The effects of the Blur and Transition groups
"o!e details regarding the Blur effects of T*+aint (ni!ation +ro :
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 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 effects of the Blur and Transition group
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The Blur > Center Blur effect

4e studied the Center Blur in detail in lesson 5 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.
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.
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The Blur > Median Blur effect

4hen using the Median Blur# the color of the pi1els obtained after application of the blur depends on the colors of the ad8acent pi1els in the initial i!age. The 9edian Blur co!prises all inds of !odes# the effects of which you !ay ad!ire below :
Median Blur in Smooth mode effect
Median Blur in Light halo mode effect
Median Blur in Dark halo mode effect
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Median Blur in Light mark mode effect
Median Blur in Dark mark mode effect
Median Blur in Double edge mode effect
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Median Blur in Impressionist mode effect
The Transition group effects

(ll transition effects in T*+aint (ni!ation +ro have a position para!eter which re)uires the use of the ani!ation ey syste! -as described in lesson 5.. (s well# we chose to !a e this para!eter vary between %< and $%%< for each transition effect in order to show you their specifications. ( setting of %< will leave the picture intact and a setting of $%%< clears the picture -$%%< 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.
The Transition > Block effect

In this effect# you can ad8ust the nu!ber of rows and colu!ns which will create bloc s. To set the nu!ber of bloc s# you 8ust 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.
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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 : crop, 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 ad8ust the position of the center of the shape. The linear and tools !enu will be e1plained in the lesson introducing the Motion group effects.
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The Transition > Fade 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 5.
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The Transition > Slide effect

The "lide transition !oves your video in a predefined direction you have to select. 6ou 8ust have to select the direction in the Direction !enu.
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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 transiton 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.
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There are three !odes : image, color and gradient as shown below :
Increasing the transition possibilities by using the FX-stack

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 :
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Increasing the transition possibilities by using the FX-stac
Below# the Classic Transition# the Blind Transition and the Gaussian Blur effects were used in the sa!e stac :
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2f course# we can't show you here all the possible co!binaisons because they are too !uch ... But we guess you will certainly try so!e of the!.
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Lesson 11 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.
T%&aint 'nimation &ro ena!les the independent modification of each of the components descri!ed a!ove, for all pi els on the screen. Clic# on the icon shown opposite in the Tool bar to modify only the red component of the pi els : The !lue and green pi els are not affected !y your wor#. The yellow and purple pi els, which are partly composed of red, are partially affected. This is what we refer to as (na!ling the Red channel of the image. )ou may proceed in the same way to ena!le the Green and Blue channels. The left icon is the toggle to ena!le the 'lpha channel. *hen it is ena!led all pi els are loc#ed in their current opacity, while the other channels can still !e changed for these pi els, this ma#es it an ideal tool for recoloring the lines of a drawing.
The effects in the Color menu

/et0s 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 &ro. To do this, load the pro1ect 2 palette 3.
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$. The same principle applies to the Green and Blue parameters.
,,-. The effects of the Color and Keying groups
Default settings
Parameter Red at value 0
Parameter Red at value 255
Below, a 4oom on the red area of the image :
Default settings
Parameter Red (value 0)
riginal image
Parameter Red (value 255)
The Color > Color Adjust effect
*e0ll #eep the image from the !eginning of this chapter and study the Color Adjust effect shown opposite in detail. This effect uses the traditional notions of color modification for drawing and photo touch-up software pac#ages:
5 The Brightness parameter is used to increase or decrease the glo!al !rightness of the current image or video "use negative values to decrease lighting$. 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$
The effects of the Color and Keying groups
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5 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 ,778 will only ma#e the primary colors appear, as well as !lac# and white. ' setting close to ,778 will ma#e the image or footage almost entirely gray.
Contrast " #5$
riginal image
Contrast & #5$
5 The Saturation parameter accentuates or reduces color vivacity. ' setting close to ,778 will reduce the num!er of pi els close to the gray colors while reviving the colors, a setting close to ,778 will produce a gray drawing.
'aturation " #5$
riginal image
'aturation & #5$
5 The Ga a 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 7.7, and 9.
(amma ) 2
riginal image ((amma )1)
(amma ) 0*5
't first sight, the Ga a 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 Ga a parameter affects the light and dar# pi els only marginally.
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Below you will find an e ample of the difference !etween a gamma reduction and a reduction of the !rightness : +educing the Ga a !y half only slightly affects the pi els ma#ing up the paint and the !ac#ground: the latter remain !right and clear. ;odifying the !u inosity to 978 gives the same pi els a dar#er hue.
riginal image ((amma )1)
(amma ) 0*5
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5 The Angle parameter ena!les rotation of colors at the angle of your choice around the color wheel "see !elow$. <or e ample: going from angle 7= to the angle >7= will transform the orange colors in the image to green, !lue to purple,?etc.
riginal image
Rotation of colors of ,0-
The color .heel
5 The Rotation parameter reflects the num!er of turns around the color wheel !efore arriving at the chosen angle. This allows you to ma#e the colors vary in a time cycle, which is sometimes useful for colored logos. In the e ample !elow, we start with a !lue T%&aint logo "+@7, A@7, B@.99$, placed on each image of an animation layer comprising forty-eight.
'n animation #ey is placed at the first image of the layer, loc#ing the value 2 7 3 for the Rotation parameter. ' second #ey is placed at the last image of the layer, loc#ing the value 2 . 3 for the Rotation parameter. *hen the <B 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.
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The Color > Color eraser effect

/et0s assume that we want to delete the green and !lue colors in our image. This is easily done using the Color eraser 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
Ctart !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 > Color Replacer effect
The Color Replacer effect is !ased on the same principle as the effect Color $raser, with the difference that you do not unsaturate the colors. Indeed, using Shi%ting values ena!les progressive modification of the hue, saturation and luminosity of the chosen color range. )ou may thus easily toggle one color range to another. The Shi%ting values are calculated as !eing 2 gap 3 in the H.C./ system !etween the two colors of the panel "!lue and yellow in this e ample$.
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riginal image
1ello. colors changed to 0lue
The Color > Curves effect

(ach pi el on the screen is defined !y its components: 5 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 7 and .99. 5 The '&S&!&( 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 7 and .99, the hue may have a value !etween 7 and 69> "thus the previously used concepts of angle and color wheel$. Inversely, any pi el on the screen may !e !ro#en down in each of the two coordinate systems. ;odifying the color of a pi el therefore means you modify the values of its components. The Curves effect ena!les precise management of these modifications: the )ode popup menu offers a choice !etween the two systems descri!ed a!ove. /et0s go, for e ample, into the '&S&!&( system and ta#e a loo# at our image. Ee t to the name of each component we find a miniature profile, compara!le to those we encountered when studying the drawing tools and acceleration of an effect. Clic# on the luminosity miniature profile to call up the edit profile window.
The options proposed are traditional: flip the curve along the 2 B 3 or 2 ) 3 a es, use pre-defined curves, save the settings, modify interpolation of the points?
Eow we 1ust have to study the meaning of the curve: 5 The hori4ontal a is represents all luminosity values that may !e contained in a pi el on the screen "values !etween 7 and .99$ 5 The vertical a is "also #nown as !*T: /oo# Up Ta!le$ represents all luminosity values of the pi els once the Curve effect has !een applied.
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/et0s ta#e the curves !elow as e amples: 5 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 97 changes to .9 after application of the effect$. 5 In this e ample, the luminosity of every pi el remains unchanged. 5 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 1ust studied the luminosity curve in detail. Eow it0s up to you to wor# with the other curves and use them to the advantage of your pro1ects.
The Color > Histogram effect

*e have 1ust seen that it is possi!le to wor# on pi els using curves. T%&aint 'nimation &ro also offers the possi!ility to wor# on the colors on a more 2statistic level3 than#s to the 'istogra effect. The first function of the histogram is to provide information a!out the distri!ution of colors on the screen. /et0s ta#e for e ample the images !elow and select the )aster tab in the first row of ta!s and !u inosity in the second. *e will o!tain the following graphs :
The !og !o ena!les use of a logarithmic scale instead of a proportional scale. <or the moment, pay attention that this !o is not chec#ed ? 5 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$. 5 The more light pi els the image on the screen contains, the more the graph is concentrated on the right "this is the case for the image of the tree$. <or 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$.
,,-G The effects of the Color and Keying groups
To do this, we have to use the slider system of the histogram. )ou may use two, three or four of them. The latter ena!le re-cali!ration of the histogram !y stretching or contracting it. /et0s 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 .9 and ,.G will !e contracted to fit !etween the a!scissas 7 and 9,. The section of the histogram !etween ,.> and .99 will !e stretched to fit !etween a!scissas 9. and .99. 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. (ach 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. Inly the num!er of contracted or stretched intervals changes.. The first row of ta!s contains four ta!s: ;aster, Chadows, ;idTones and High/ights. 5 Clic#ing the Shado+s ta! limits the impact of the slider modifications to the dar# colors, gradually. 5 Clic#ing the )idTones 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. 5 Clic#ing the 'igh!ights ta! limits the effects of the histogram modifications to light tones, the latter waning progressively then cancelling out for the medium and dar# tones. 5 The )aster ta! affects all color ranges in the same way. /oo# at the following graphs for a !etter understanding:
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Three curves are represented: 5 The !lac# curve represents the impact of the modifications in the histogram on the dar# tones "Shado+s ta!$ 5 The gray curve represents the impact of the modifications on the medium tones ")idTones ta!$ 5 The white curve represents the impact of the modifications on the light tones "'igh!ights 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 > Sliders effect

In addition to the effects affecting the color on a 2 geometric 3 and 2 statistic 3 level, there is a last color correction effect which is more complete and is applied using sliders "as the name implies ?$. 5 It also has four ta!s: )aster, Shado+s, )idTones and 'igh!ights which have the same tas# as those in the Histogram tool: used to choose whether you wish to wor# on lighter or dar#er color ranges. 5 The following four ta!s: Ga a, Contrast, Gain, Brightness control how the /UT curves will !e modified when a slider is moved. 5 The seven lines correspond to seven !*T curves "see a!ove$ which may !e modified: Te perature, )agenta, !u inosity, Red, Green, Blue and Alpha.
*hen the Ga a ta! is selected, moving the slider to the right increases the height of the /.U.T curve "and therefore increases the values of Te perature, )agenta, Red, Green, ...$ for the range selected "Shado+s, )idTones, 'igh!ights$. The ends of the curve are less affected !y the slider modifications "the modifications ta#e place progressively$. *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 "Te perature, )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$. The Gain ta! functions in roughly the same way as the Contrast ta!, !ut the ends of the curve are gradually less affected !y the slider modifications "the modifications of the values of Te perature, )agenta, Red,? are the same as with the ta! Contrast !ut wor# in a more su!tle and progressive manner$. The effects of the Brightness ta! are similar to the Ga a 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.
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The Color > Scan Cleaner effect

This effect is used to clean up a scanned image drawn !y hand. /et0s ta#e a loo# at the s#etch !elow to the left. 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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22 The diagram !elow illustrates the role of the profile curve present in this effect :
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The Colors > mage Source effect

It is necessary to #now a few effects of the Styli-e group "li#e #rop Shado+, Add Border or !u i., ...$ in order to master the " age Source effect perfectly. Co it will !e studied at the end of lesson ,..
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The effects of the Jeying 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 > !uma Keyer effect

The !u a 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 !u a Keyer effect is is therefore possi!le to ma#e the white pi els of this image transparent:
2 /et0s ta#e a loo# at the drawing on real paper a!ove. 'pplication of the !u a Keyer effect set with correct parameters will render the light pi els transparent "independent of their hue and saturation$, progressively increase the opacity of the medium tone pi els and leave the dar# pi els intact. This gives us the image shown to the right. 't this point, it is possi!le to re-color the image, if desired : simply place a layer under the image o!tained and spread the colors of your choice on it "see e ample opposite$. )ou may also use the shape floodfill tools studied in lesson D.
These are the functions of the Jeying K !u a Keyer effect: 5 The #isplay popup menu is used to choose !etween viewing the source image and viewing the result. 5 The color !o is used to choose the color the luminosity of which you wish to render transparent directly on the screen. 5 The !uttons / and L are used to ad1ust the tolerance and softness of pi el cut-out. 5 The mini-sliders allow ad1ustment 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 !u a Keyer effect in a multiple <B stac# with the Colors 0 'istogra or the Colors 0 Slider effects to !e a!le to precisely ad1ust 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 0 !u a Keyer and Colors 0 Scan Cleaner change the opacity of the pi els differently : the !u a Keyer doesn0t remove the unwanted pencil mar#s. The Ccan Cleaner change the color of the pi els, and the !u a Keyer doesn0t.
The Keying > Color Keyer effect
The Color Keyer effect uses the same principle as the !u a 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: Tolerance and S ooth. In the <B stac# a!ove we see: the higher the value of the Tolerance parameter, the more colors close to 2 !lue 3 will !e deleted. The higher the value of the S ooth parameter, the less a!rupt the transition !etween opaque and transparent pi els will !e.
Ipposite, 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.
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. /et0s ta#e another concrete situation :
The character near!y was shot on 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. It0s 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.
The effects of the Color and Keying groups ,,-,6
/et0s 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, let0s 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 "that0s why the effect is called #eying$. )ou should have a timeline loo#ing li#e this :
Eow select the Color Keyer effect in the <B Ctac#. Choose a !lue pi el from the !ac#ground and ad1ust the tolerance and so%tness parameters. 'pply the effect to the whole image sequence, and here it goes, the !lue !ac#ground has disappeared and is replaced !y the landscape. The same method is also used to create a weather report "see !elow$
There are other #eying effects, more comple , which have to !e used in some specific situations.
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The Keying > Chroma Keyer effect

The Keying 0 Chro a Keyer effect is used to ma#e pi el 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 K Color $raser& That0s why we will not e plain each parameters in details... /et0s ta#e for e ample the video sequence a!ove with orange and red flowers. The !ac#ground of this sequence is a !lue-gray shutter "more or less dar# !lue-gray tints$. If you use the Keying 0 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 flower0s stal# too. "see !elow ",$$ If you use the Keying 0 Color Keyer effect !y selecting one of the light shutter colors, it will remove all the pi els of the shutter !ut it will remove the light pi els of the flower0s too. "see !elow ".$$
",$ The Keying 0 Chro a 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 0 Color Keyer effect, are imperfect.
5 The Tint parameter !ar will ma#e transparent the !lue pi els in a wide range : light !lue or dar# !lue will not change 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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5 The Caturation 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 the pi els of the flowers visi!le and made 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$
22
/et0s go !ac# to our !lue-screened character : 'lthough we used the Keying 0 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 0 Chro a Keyer effect& *hen characters are shot with !lue screen, there are sometimes some undesired light effects, especially little !lue reflections colori4ing 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. That0s the function of sliders and !uttons from the Spill Re oval section of the panel.
KK
The Keying > Alpha Control effect

/et0s ta#e !ac# the e ample of our flowers. The Keying 0 Chro a 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
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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.
K
Here is how the effect appears in the <B Ctac# : 5 )ou 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$. 5 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 $rode parameter erase progressively the opaque pi els of the image !y starting from its !orders. It permits to soften the transition !etween transparent pi els and opaque ones, and even to improve the superimposition effect. Both Blur parameters can reduce and soften the shapes !orders !etween opaque pi els and transparent ones. The Gain parameter permits to turn opaque and to dar#en pi els which are almost transparent. This is very useful to stand out the little imperfections, especially the ones that have not !een fully removed when using some Keying effects. In the opposite, the !i%t parameter can turn opaque the pi els which are almost transparent.
8se of the "rode parameter
8se of the Shrink parameter
8se of the (ain parameter set to 1000$
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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 &ro. ( 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 "+AB', HC/I, )U%$ while each system defines color channels. "the )U% system is used !y the ETCC 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$
5 The Key ta! lets you ad1ust the #eyer in the different color systems. 5 The ;atte ta! has the same function as the previously descri!ed Keying 0 Alpha Control effect so you can 1ust ad1ust the cutout process !etter. 5 <inally, the Spill Re oval ta! is also availa!le and wor#s the same as the Jeying K Chro a Keyer one.
*or#ing with the 'ue and Saturation component of the HC/I system is the same than wor#ing with the Keying 0 Chro a Keyer effect. *or#ing with the !u a component of the HC/I system is the same as wor#ing with the Keying 0 !u a Keyer effect.
,,-,G The effects of the Color and Keying groups
The Keying > Cross Keyer effect
The Keying 0 Cross Keyer effect wor#s in a different way than the other #eying effects : It doesn0t require to select a range of colors in a color system li#e +AB, TC/, )U%, 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. Celecting those two regions can !e easily done than#s to the two dedicated Region !uttons : 5 To select the colors you want to #eep after applying the <B, 1ust use the left mouse !utton on the Keep !utton. 'fter this you will !e a!le to select an area directly on the HUM. "your cursor will !e changed into a lasso$ 5 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 HUM : 5 Use the left mouse !utton to add it to the previously selected area. 5 Use the right mouse !utton to su!stract it from the previously selected area. To visuali4e the render of this effect, use the right mouse !utton on the current activated !utton "Keep or #rop$. If course, the result depends on the two areas you have 1ust selected. In the e ample !elow : In the left image : there are two areas located on the s#y and on the pathway. They indicate the colors "red and cyan$ that will !e #ept on the whole picture. In 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
9eep region Drop region 3inal result
5 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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5 The )i. parameter allows to e tend or restrict the num!er of colors located in the transparent area of the resulting image.
:i; ) 0$
:i; ) 50$
:i; ) 100$
5 The $dge parameter allows to ad1ust the mi ing level !etween the transparent and opaque pi els. The lower the value will !e, the less the two regions will differentiate. The higher the value will !e, the sharper the edges will appear.
<dge ) 0$
<dge ) 50$
<dge ) 100$
5 The Spill Re oval parameter has the same function as the Spill Re oval parameters encountered in the effect Keying 0 Chro a Keyer : it unsaturates the undesired light reflections. In the e ample !elow, we 4oomed on the frontier !etween the grass and the pathway.
'ource /mage
'pill Removal ) 0$
'pill Removal ) 100$
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Lesson 12 The effects of the Stylize group
In this lesson, you will :

Discover some effects of the Stylize group dedicated to the animation. Discover some effects of the Stylize group dedicated to the 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
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The effects of the Stylize group
The -tyli$e . /rain effect
Original image
Blue polychromatic noise
Noise with larger grain size
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. 0ou 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 Be!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$tance and Opacity are parameters that may be set using keys at your disposal. In this way you can make the shadow of your logo move as if a light source were moving above it.
!arious shadow distances and directions
Traditional shadow and lurred shadow "the ac#ground and the running #id are located on different layers$
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The -tyli$e . Drop shadow effect
The Shado" only option of the %oon$hading and rop Shado" effects will be studied later in the chapter called ' the Color & '#age Source effect (
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 -tyli$e . Toon -hading effect
- The 'nten$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 "see ne t page#.
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The -tyli$e . Toon -hading effect
9sing the H) shadow.
is very practical to ad%ust the angle, si$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#.
Original image
Border option not ena led
Border option ena led
7nce 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$hading and rop Shado" effects will be studied later in the chapter called ' the Color & '#age Source effect (
)*-8 The effects of the Stylize group
The -tyli$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+,aint ;nimation ,ro works with sub-pi el precision, it is possible to increment this thickness in steps of <.6 pi el using the associated minislider. 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 und 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 effects of the Stylize group )*-?
The -tyli$e . @loom effect
The parameters Width and Height are the same as those for the Glo" effect. If you wish, you may apply the bloom effect to the channel of your choice "Red, Green or Blue# and control Blur, Saturation and Lu#ino$ity of this aura.
The 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 A. 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.
)*-B The effects of the Stylize group
The -tyli$e . Coise effect
The Stylize > Noise effect
This effect moves the pi els of the original image at a distance corresponding to your parameter setting. 0ou 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 glassD The color areas are made up of superposed round points of different si$es and colors. The !rint effect reproduces e actly this aspect. 0ou 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. 7pposite and on the page above you see the print effect applied with the Color channel and with the Blac- . White channel.
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The -tyli$e . Cegative 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 1 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(. E 0ou may set the parameters for the hori$ontal and vertical cells "H cell$ and V cell$#, irection, Opacity of the grid as well as their type "Line, ot, Cro$$, Chec-$, Bloc-$, etc.#. E There are also several application modes: Color on ,lac-, Color on "hite, Saturation, etc. E Finally, you may use the /itter parameters which will slightly modify the shape of the grid.
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+,aint ;nimation ,ro 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-.
E The choice F2 $tac- will use the current image with the effects of the F2 $tac- applied as Source '#age before applying the parameters set for the Source '#age. E The choice Current layer allows you to apply the effect from the current layer. E The choice i$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#. E 0ou may also choose to use the Spare '#age or !aper if they are available. E When choosing another pro%ect, layer or brush, you may ad%ust the ,re- and ,ost-@ehavior, the position and the animation mode: the number ' n ( of the !o$ition parameter corresponds to the image ' n ( of your pro%ect, animation layer or animated brush. The Ani#ation mode controls the ' behavior ( of your brush, layer or pro%ect: random animation, ping-pong, animation reduced to the image indicated in the position parameter, etc. If the number of source images is lower than the number of images to which your effects are applied, you may ad%ust the ,re- and ,ost-@ehavior for your source "random, pingpong, loop, etc.#.
)*-)* The effects of the Stylize group
The -ource Image notion
;s re&uired, you may choose to flip your source vertically, hori$ontally or both, before using this source.
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. E The Source menu use all notions encoutered in the last paragraph. ;s a conse&uence, you can choose to display the current layer, another layer, a paper, the spare image, an other pro%ect, the current custombrush, etc. E 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, @ehind, :rase, ...# E 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 : 7n 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 FG-stack opposite : )# The first effect that will be applyed is the Stylize & Glo" effect. *# The >olors . Image -ource effect is the second effect that will be applied. The Source selected is Current layer and the Blending Mode is the *ra$e Mode. In this way, the 'T+,aint( logo will be removed %ust after the rendering of the glow on the screen.
This process works with other effects of the Stylize group like Add Border or Be4el "with Outer option selected#. "For the rop Shado" and %oon$hading effects, please study the ne t e ample#
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Original image +fter applying the effect Stylise > Glow only
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+fter applying all the ,-'stac#
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The >olors . Image -ource effect
*nd e ample : In this e ample, we will create a shadow for the running kid thanks to the Stylize & %oon$hading effect. This shadow will be rendered on an empty animation layer. In the FG-stack opposite, the Styli$e & %oon$hading effect will be applied on the animated layer called HToon -hadingI. "see the timeline below# The effect Color$ & '#age Source allows you to specify the reference layer used to render the shadow. =ere, the Source is the animation layer called HcolorI. If we use the *ra$e blending mode as we did in the first e ample, the shadow will disappear. "the toonshadow is inside the running kid# That3s the reason why we will keep the Color blending mode and use the Shado" Only option of the Styli$e & %oon$hading effect5 It allows to create the shadow of the running kid without re-drawing it. It is then possible to generate a shadow for our running kid on a separate animated layer. ;s a conse&uence, the character is not altered by the rendering of the shadow.
In this e ample, the Color$ & '#age Source effect allows you to define an image or an animation se&uence as reference for the HfollowingI toonshading effect in your FG-stack.
In this e ample, it is also possible to replace the effect Styli$e & %oonShading by the effect Stylize & rop Shado". "the Shado" Only option is also present in this effect# In that case, you will obtain a classical shadow. 7f course, the character layers "color$ and Running 1id# will stay unchanged.
)*-)4 The effects of the Stylize group
The >olors . Image -ource effect
=ere is the 1D view of the layers you can obtain after using the effects Color$ & '#age $ource, Styli$e & rop Shado" and Styli$e & %oon$hading5
Toonshading Layer
Borders Layer
.olors Layer
&rop %hadow Layer
Bac#groung Layer
The resulting image
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The -tyli$e . >onvolve :ffect
The Stylize >
onvolve /ffect
The effect Styli$e & Con4ol4e allows to modiffy the pi els of an image or an animated se&uence by using a matri "here above on the right#. For the neophyte, a matri is an ordered set of numbers listed in a rectangular form. For 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 )1 rows and )1 columns, and as a conse&uence )8A 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. For e ample, the Slider tab of the Color !ic-er panel gives the numerical values of the ; color in the J,/,@ and T,-,2 color systems. The Styli$e & 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 J,/,@ color system will be calculated by taking the average of itself and the pi els surrounding it. It 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 D The e amples below should help you in this task. )st e ample : =ow to create a @lur 2et3s take a look at the matri opposite : each coefficient is e&ual to 1, e cept the central coefficient which is e&ual to ). ;ll the other coefficients are e&ual to $ero "and not visible here# 9sing this 1 1 matri "1 rows, 1 columns# will make each pi el modify itself according to its neighboring pi els. 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 : E 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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E 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. E For 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 :
@elow, two $ooms on the ' T ( letter of the T+,aint logo : From the result above, it is possible to deduce the result of the Styli$e & 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 D 2et3s take a look at the matri opposite : each coefficient is e&ual to 1, e cept the central coefficient which is e&ual to ). ;ll the other coefficients are e&ual to $ero "and not visible here# 9sing 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 1 1 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 1 1 matri . "see ne t page#
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@elow, two $ooms on the ' T ( letter of the T+,aint logo :
*
*
*
It is easy to understand that the bigger your matri will be "the more coeficients e&ual to 1 in our e ample#, the more pi els will be used to calculate the resulting colors. "the larger will be the blur in our e ample# =ere is what you can e pect by using bigger matri , constructed in the same model than the one above.
;bove the source image. @elow the blurs that you can obtain by using a :
010 matri1
212 matri1
313 matri1
414 matri1
11111 matri1
10110 matri1
The e ecution speed of the Styli$e & Con4ol4e effect depends on the number of coefficients which are different from $ero inside the matri . In oher words, the more $ero coefficients you will have in the matri , the faster the effect will be applied.
1rd e ample : =ow to have a sharper image : 7btaining 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. Cow we can apply this effect to our logo :
*
Before applying the effect )*-)B +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 is not always the case, as we will see later. For 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#
*
Cow, let3s study a few notions : E 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
)*-)A
In this case, the calculation of the weighted averages is applied to the alpha component of the pi els too. E 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 ...# 0ou can choose to use as neighboring pi els : - @lack pi els "none option# - ,i els resulting from a symetry 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# E The #ultiplying coe((icient allows to multiply all the coefficients of the mati by the same value. It does not change anything to your picture if all non-$ero coefficients of your matri are the same. 7therwise your convolution effect will be more or less pronounced. -ome preset e amples : Cow 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. ;bove, you will find the results obtained with the matri :
Blurred Image
%plitted Image
Only the edges
/m ossed Image
%pecial lightning
Other 5esults
)*-*<
Lesson 13 The effects of the Distortion group

Manage the symmetry effects: Flip, Mirror, Kaleidoscope, ... Manage the Wrapping effects: Bump, Waves, Tornado, ... 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 pacit! 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.
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The effects of the "istortion 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
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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 :
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The Distortion
2aleidoscope effect
The #ource 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 "estination 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 "istortion 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.
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The Distortion
7erspective : 3 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 ta$ allow you to manage the coordinates of the four points used for this effect $the four corners of the ,.-.D' * The Render ta$ 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 Trac&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 ( #ource )mage and #t!li*e ( "rop #+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 succed to imitate the pro+ection of a shadow on the floor.
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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 Amplitude 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 "istortion ( Tornado effect. ,ave you ever noticed how a whirlpool &ehaves in a wash&asin for e%ample < The "istortion ( Tornado 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
>>
>>
* 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 Bump 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
Source image 1 TV2aint logo The effects of the "istortion group
Source image 1 paper ./0@
The Distortion
5ump effect
* Aou can ad+ust the depth of the relief and soften the &orders using the numeric fields "ept+ and #moot+. * A relief re(uires a lighting to &e visi&le : than)s to the Appl! ,it+ menu, you can define a centered lighting than)s to the 'enter option, or a directionnal lighting $"irection option' whose angle will have to &e ad+usted.
The Distortion > Displacement Mapping +ffect

The "isplacement Mapping effect wor)s the same way as the "istortion ( Bump effect : the panel and settings are the same. Begarding the "isplacement Mapping : 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 "isplacement Mapping is.
Source image 1 paper
./0.C
The Distortion
Wrapping Drid effect
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, /D rotation of faces, movement of hair &lowing in the wind, etc... $&elow, you will find a summary overview of the possi&ilities proposed'.
1st image
>>
Movement
>>
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 #ource and "estination grids. The "ispla! popup menu is used to select on which of the two grids you intend to wor). Depending on your choice, the -." will &e modified accordingly: the letter # appears when the source grid is displayed and the letter " appears if the destination grid is displayed.
Intersections in the Source grid
Intersections in the Destination grid
In the -.", 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 $see ne%t page'.
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The Distortion
3ispla of Source and Destination grids (the current grid is green, the other is 4lue)
* Modification of an intersection in the #ource and#or "estination 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 $#ource and "estination grids have the same num&er of intersections'. Aou may increase or decrease the height and#or width of these grids.
5 ' 5 grid
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6 ' 5 grid
6 ' 17 grid
The Distortion
* The five &uttons present in this panel are used respectively to: 0 Edit 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. Edit 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.
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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 #pline, use of the G8hiftH )ey when moving the handles ena&les movement of one handle at a time. Edit 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
8rid &ith 3"9 rotation
8rid &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 #ource point of the grid and the arrow tip corresponds to the "estination point.
3istortion:
Source 1> destination
3istortion:
3estination 1> Source
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The Distortion
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 Is)ull.tvpJ 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 #ource. * 7ay attention to place intersections of the #ource Grid at all strategic points on the image : eyes, teeth, etc > and ensure the grid covers the lines of your drawing. * Copy the #ource Grid to the "estination Grid. * Beactivate the previsualisation of the effect. * 8et the display option on "estination. * Ma)e the "estination Grid slightly different from the #ource 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 >
ptical Flo! effect
The purpose of this effect is also to distort the current image or animation, &ut in a different way than the "istorsion ( 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. This effect comprises four ta&s :
; The "dit ta4
L<image source
* The first &utton allows to set the si"e of the vector field. More e%actly it allows to set the num&er of vector that you will use on &oth the hori"ontal and vertical a%is.
The effects of the "istortion group ./0.4
The Distortion
;ptical !low effect
;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 to increase the tension of the vectors in a chosen direction. The right mouse &utton allows to decrease the tension of the vectors in a chosen direction. The red points are the source points of your vectors, $they canKt &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. * The Reset 'urrent Ke! &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 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.
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The Distortion
;ptical !low 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. =etKs 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.
; 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 #elect All and 'lear #election allows to reset the selections. As in the main panel, you can use one of the three selections icons : or 'ircle selection. #/uare, 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 0dit 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 Ldrawing on the ,.-.DM It allows to have source points only selected in part and thus to have nice effects when editing the vectors. Note 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 to choose : * The calculation algorithm of the distortions $Blac&man or $! de1ault' * The distortion mode of the image &orders $The e%ample &elow illustrates the three modes at your disposal.'
Source Image
Vector *ield
=one Image Mode
Mirror Image Mode
Loop Image Mode
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The Distortion ; The Displa$ ta4
;ptical !low effect
The three &uttons: #+o, #rc, #+o, "st and #+o, 2ector 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 #+o, nl! #election allows to see only the vectors located inside the current selection.
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Lesson 14 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 Stabilization effects.
The Paint > AutoPaint effect
Have you ever watched a weather report !hen the pro"ra# is over, you often see the si"nature of the spea$er%s& displayed on the screen. It is possi'le to reproduce this effect in T(Paint Ani#ation Pro, usin" the effect Paint > AutoPaint. This is the perfect way to dyna#ically si"n your future ani#ated wor$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. * !hen 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 $eys is visi'le in the ti#eline %see 'elow&.
* 0elete the current i#a"e on the screen %i.e. the si"nature&. * Select the tool of your choice and ad1ust its para#eters for the future stro$e of the si"nature. * Stretch your ani#ation layer so that it covers all $eys of the ti#eline. * Select all its i#a"es and then apply the +2 stac$. !hen you play the pro1ect you will note that the si"nature is 3drawn4 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'e: * /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$e.
5678
The effects of the Motion and Paint "roups, #ana"e#ent of the paths
Let9s now study the AutoPaint effect in detail: * :ecordin" the stro$e "enerates a lar"e nu#'er of $ey points on the ti#eline each of which stores the position of your stylus at a "iven #o#ent. !hen the stro$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 2 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 $ey %e.". this is the case if you lifted the stylus durin" recordin"&. * :ecordin" a stro$e with the AutoPaint effect allows for other recordin"s, too : in particular the data relative to Pressure, Altitude, Azimuth and in!erwheel availa'le on the ta'let. It is also possi'le to choose whether this data will 'e restored or not when applyin" the +2 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: 7 The "ormal #ode pro"ressively reproduces your stro$e on the screen. This is the one we have 'een usin" since the 'e"innin" of this lesson. 7 The Size #odes re<uires ad1ust#ent of the para#eter with the sa#e na#e and will erase the stro$e pro"ressively in ti#e.
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>
>
7 The #ast #ode is a $ind of Size #ode para#eter set to value = 5 >, which only draws one = point > of the stro$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 1ust 'efore application of the +2 stac$. Here, two interestin" e;a#ples : ?pposite, after recordin" a si#ple stro$e in the shape of a se#i7 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.
567@
Mana"e#ent of Paths
Management of Paths
In lesson A, 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. !e will now discuss this Path notion in #ore detail.
!hen an effect authoriBes 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$e on the screen, to create a path. * The third option of the &ools #enu allows you to re7use a path you have already created previously in your effects stac$ 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#iBed palettes, #i;ers, tools ..... &. * The $opy from path bin allows you to re7use 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 option Reset 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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Csin" 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, aBi#uth and altitude.
5676
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&. !hen 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 $ey of the path chosen %the hi"her the nu#eric value, the #ore the paths will 'e s#oothed after application&.
Basic path
>>
Smoothed path
567D
The Path #ana"er
* The Size ta' allows you to #odify the siBe of the co#plete path on each of the three a;es %horiBontal, vertical or depth&. This #ay 'e useful if you wish to transfer a path fro# one pro1ect to another with a different siBe.
Basic path
Path reduced by !" on the hori#onta$ a%is
Csin" a value of 75EEF on one of the a;es allows 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$7slide usin" the #ouse.
Save paths
!e e;plained a'ove that it is possi'le to save paths to 'e used later for an effect of your choice %option Add to (in&. However, a path saved in this #anner #ay not 'e recovered after closin" and re7openin" T(Paint Ani#ation Pro. Three #ethods are availa'le to solve this pro'le#: * Save your confi"uration 'efore <uittin" the pro"ra#. * The effects of the +2 stac$ and their para#eters #ay 'e saved in a (in , #enu %see lesson A&. 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 re7startin" T(Paint Ani#ation Pro.
* /ou #ay also save your paths 'efore closin" T(Paint Ani#ation Pro, then reload the# after re7 start 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&. !e will now try to create a path fro# an eye #ove#ent of the :unnin" Hid or the 'lue7screened character. %see 'elow& !hen a path is created, we #ay, for e;a#ple, re7use 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" effect to create a lu#inous spot followin" the #ove#ent of :unnin" Hid, etc.
Pi%e$ Trac&er 'ith the (unning )id
Pi%e$ Trac&er 'ith the b$ue*screened character
origina$ animation
>>
path created from pi%e$ trac&ing at eye $eve$
?pposite, the path of the eye was re7used 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&.
!hen the pi'el tracker tool passes fro# one i#a"e to another, it will #e#oriBe 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 our 'lue7screened 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$in" is then fairly rou"h. If you choose 1%23, the pi;els deter#ined 'y the 1%1 test will 'e #oved G6 ti#es 'y a G6th of a pi;el in order to fine7tune trac$in". * The fourth section is a Boo# 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 Motion > Heyfra#er effect
The Motion > Keyframer effect

The Keyframer is dou'tlessly one of the #ost used effects in T(Paint Ani#ation Pro. It is found in the 4ffect > Motion #ain #enu. It is used to #ove all $inds of drawin"s on the screen. To use the Keyframer, you #ust define the followin" : * The o'1ect to 'e #oved on the screen: 'rush, layer, spare i#a"e, paperM * The path ta$en 'y the o'1ect on the screen usin" ani#ation $eys or pre7defined paths. * The rotations to 'e applied to this o'1ect usin" $eys. * The #otion 'lurs and, if re<uired, pre7 and post7'ehavior. To start our study of the Keyframer, we have created a =T(Paint> 'rush %@8E*5EE pi;els& as shown opposite. The word T(Paint is written in 'lac$ 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

!e 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 pro1ect to the left usin" the HC0 %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 pro1ect as 'efore 'ut this ti#e to the ri"ht. * As needed, you #ay ad1ust the position of the #ove#ent $ey points usin" the nu#eric fields and #ini7sliders %use the values shown opposite&. The 2 and / fields represent the position of the 'rush center on the screen. Playin" your pro1ect in Pre)iew #ode allows you to chec$ 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 area Bone: the 'rush then appears hidden and only its outline is visi'le as *+D %see opposite M&.
0o not i##ediately apply the , stack. 0id you notice the 5 position nu#eric field This is used to set the depth of the o'1ect #oved on the screen. Let9s now #odify the second $ey we created: enter the para#eters for the followin" positions : 2P D6E, /P 86E, QP *LEE A fast slide alon" the ti#eline allows you to see that our lo"o #oves fro# left to ri"ht 'ut, in addition to that, Boo#s towards the viewer ) %see 'elow&
A positive value in the Q nu#eric field would have resulted in the lo"o #ovin" away. It is possi'le to "enerate even #ore su'tle #ove#ents as our lo"o #ay follow the pre7defined path of our choice than$s to the Path Recorder or Pi'el &racker. /ou #ay also curve the paths than$s to the *+D and the $eys of your choice %#inear, Spline or Smooth&. +or e;a#ple, in the tra1ectory 'elow, the lo"o follows a spline on the screen while Boo#in" li"htly towards the fore"round.
>> Oow we will #a$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 tra1ectory. No to the Render ta' : the (lur step value defines the nu#'er of lo"os which will #a$e up the = trail >. The (lur Size is used to set the para#eters of the trail len"th %see opposite&.
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Oote that a low value "enerates a sli"ht 'lur in the #ove#ent direction which is ideal for creatin" 'lurs "enerated 'y fast o'1ect #ove#ent. A Bero value will eli#inate the trail.
The settin"s of the pro"ress profile %lesson A& co#e into their own here: the #ove#ent is accelerated or slowed at your discretion )
+ 2nd e%amp$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.
:eset the values of the Keyframer effect to Bero, 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&.
:eset the values of the Keyframer effect to Bero 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#.
!ith 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.
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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 @GER. 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. Modifyin" the pivot 2 coordinate 'y increasin" it 'y 5EE pi;els and decreasin" the / coordinate 'y 5EE 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.
Modifyin" the 5 coordinate of the pivot allows even #ore co#plicated @0 #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 tra1ectory.
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 ad1ust 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 $nown in ca#eras 'y usin" the para#eters for Pitch andTor (ank.
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> A'ove, the pitch para#eter was set to 6D- for our #er"ed i#a"e of the tree. The i#a"e at the top was o'tained with a 5%$amera e<ual to 5EEE, the one 'elow with a value of 85E.
>
+ .rd e%amp$e
This third e;a#ple will allow us to wor$ with different sources %Renderin! ta'& in the Keyframer effect. Let9s "o 'ac$ to our = planet > i#a"e used in previous lessons. !e9ll assu#e that your cartoon is finished. Oow you want to scroll the list of participants in the for# of end credits
!e9ll assu#e that this list is contained in another pro1ect #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 pro1ect.
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 pro1ect containin" the list of participants, * Place two $eys at the 'e"innin" and the end of the ani#ation layer with the position para#eters close to the illustration on the followin" pa"e.
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>>
>>
* Apply the , stack. It9s done ) M The list #oves fro# the 'otto# to the top as intended. Than$s to the Keyframer anythin" #ay 'e #oved on the screen: a 'rush, another pro1ect, 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 pre7recorded paths.
Selow, our 'utterfly lands on the tree 'efore flyin" off a"ain and leavin" the screen.
!hen 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$in" on %application of the 'rush or ani#ation layer i#a"es with #oop, Pin!pon!, Random, etc.&. +or our 'utterfly we have chosen the #oop #ode.
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Please note that the H.C.0 displays the splines followed 'y the four corners of the source and also the ed"es of the first and last fra#es. %see 'elow&
+ 4th e%amp$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 1ust in front. /ou should then see the followin" ti#eline:
Jreate any type of #ove#ent for the o'1ect of your choice usin" the Keyframer tool. Here, we are ta$in" a red = T(Paint > lo"o 'rush. Its tra1ectory is of no i#portance. ?ur red lo"o will, after application of the +2 stac$, 'e placed on each 'lac$ i#a"e. So far, nothin" new.
If, 'efore applyin" the +2 stac$, you select the 4rase #ode %descri'ed in lesson 8& in the (lend popup #enu %Renderin! ta'& you o'tain the result shown opposite. ?ur = 'lac$ > 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 effects of the Motion and Paint "roups, #ana"e#ent of the paths 5675D
The Motion > Sta'iliBation effects
The Motion > Sta ili!ation effects

I#a"ine that the video se<uence you 1ust have loaded is sli"htly sha$in". It9s a co##on situation when you9re usin" ca#eras fi;ed to a #o'ile support, for e;a#ples hand7held video foota"es, video se<uences shot on a 'oat, etc...
>
Source /mage S$ight sha&es
It is possi'le to avoid these undesired sha$es 'y ad1ustin" each i#a"es as the se<uence "oes alon". If you proceed i#a"e after i#a"e it can 'e <uic$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'iliBe the se<uence. Oow let9s ta$e an e;a#ple : Let9s ta$e the 'ac$"round 'elow : the ca#era#an has sha$ed a little 'it while shootin" the se<uence. !e 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$ed. As soon as these points are defined, the Sta'iliBation effect will do a pannin" that will 'rin" the /ri!in point onto the Destination point. The foota"e will not sha$e any#ore.
0rigin point
1ori#onta$ and 2ertica$ camera movements
3estination point
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The Motion > Sta'iliBation 5 point effect
/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. That9s 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... As soon as the effect is applied and that the i#a"e is sta'iliBed, you could have to crop it to re#ove the white 'orders due to possi'le pannin"s. /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$in". However it re<uires two /ri!in points and two Destination points. The Stabilization 1 point per#itted to ad1ust horiBontal and vertical ca#era sha$es. Csin" the Stabilization 8 points tends to fi; not only the sha$es on 2 and / a;is, 'ut also the sli"ht rotation or Boo# #ove#ents there can 'e on Q a;is %The effect considers the distance and the an"le 'etween the /ri!in points which i#prove the process and #a$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 > Stabilisation 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$es the Source and Destination points coincide. %see 'elow at the e;tre#ity of the arrows&
2 0rigin points
(otation moves of the camera
2 3estination points
If the ca#era has Boo#ed a little 'it while the se<uence was recorded, you will have to use the sa#e process and chec$ the Scale 'utton. As we did for the effect Motion > Stabilisation 1 point, you can chec$ the fill 'utton to re#ove the 'orders 'y tilin" the i#a"e.
The effects of the Motion and Paint "roups, #ana"e#ent of the paths 5675I
Lesson 15 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 > Multi plane 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.
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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 (>?<, @?<, A?<) which will e used as our reference point when positionin" our camera and o 'ects (mountain, forest, etc.). % The indications >9, @9 and A9 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 superimposed planes ma!in" up the final animation.
The coordinates >, @ and A 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. If, for example, you chan"e the A coordinate from (<<< to ()<< 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.
The Rendering > Multi plane Camera #ffect ()*)
The Biew ta
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 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.
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The 0lanes ta
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 % Eo to the 3multi plane camera4 layer % -pen the F> 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 (>?<, @?<, A?(<<<) and leave the an"le at <G % Select a field of view of 5<G, a Dept of Field effect < and fo!using distan!e (<<<. In the Planes ta : % 1reate a new plane and name it 3character4. 7 panel similar to that indicated 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 $e%framer effect, ut donHt worry, we will e ta!in" another close loo! at them.
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The 0osition, 0ivot and Si.e parameters
The Position$ Pivot and Size parameters

% When the Pivot parameter is .ero, the Position parameter represents the distance etween the coordinate point (>?<, @?< and A?<) 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. LetHs "o ac! to our 3runnin" !id4 plane and apply the aforementioned procedure usin" the followin" settin"s: % Position parameters : >? <, @? +=D, A? < % Pivot parameters : >? < ,@? (5< % #i&e parameters: I)J 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, etcK). For our 3runnin" !id4 plane, we have chosen Angle .ero, #i&e I)J, Opa!it% (<<J and 'lur (<<J. 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 AM< (as our 3runnin" !id4 plane also has the position value A?<). 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 (>?<, @?L)<). The plane must then e 3stuc! to the "round4 % 7ll that is left is to choose the #i&e (5<<J). The 3 forest 4 layer was created with the Panning tool in the main panel (refer to lesson I for further details). @ou may therefore duplicate it hori.ontally to avoid havin" to create too many planes. To do this K % Nse 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 F> 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: % Peturn to the View ta + % Eo to the first frame of the 3multiplane camera4 layer in the timeline, % 1reate an animation !ey for the Camera value with > ? *I<<, % Eo to the last frame of the 3multi plane camera4 layer in the timeline, % 1reate an animation !ey for the Camera value with > ? 9I<<, % Nse the Pla% utton in your pro'ect window to view the result. ThatHs itQ
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
6urin" our animation, all the planes seen in the 56 view on the previous pa"e are in focus.
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1reate and mana"e focusin" lurs
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, treesK), 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 3Punnin"RSidR(.tvp4 se$uence studied in lesson D 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 3Punnin"RSidR+.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 $e%framer effect with the 3Punnin"RSidR(.tvp4 se$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
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The multiplane camera wi.ard
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. 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 pro'ects 1hoosin" option ( implies that you have first opened the pro'ects you wish to use for the planes of your animation. #nsure the pro'ects you intend to use are open efore validatin" this window. -nce validated, each pro'ect 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 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$uire and then validate your choice. 7ll your planes will then e incorporated into the effect with the Z values defined a ove and all that remains is for you to animate them. 1reate planes from the layers of your current pro'ect 7ssumin" the pro'ect /01.tvp supplied on the 16 is open, chec! the 3layers from current pro'ect4 ox and then validate your choice. The -i&ard will then ta!e each of the layers of the current pro'ect and incorporate them in each layer as a plane. The planes sta"in" window, correspondin" to sta"e +, appears and displays each layer with the associated Z value:
In this window, you have the possi ility to define whether or not each plane is to e ena led to"ether with the customi.ed A axis position value (or not) for each plane. @ou may also modify the 2N6 color. Cow all that remains is to clic! on O$ and the Wi.ard will automatically create all your planes usin" the layers.
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-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 A axis. % Eo 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 A axis, % 7pply the F>*Stac! to the whole layer. % Nse the Pla% utton in your pro'ect window to view the result : the first planes should disappear smoothly as shown in the exemple elow.
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TT Cow you try itQ
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Lesson 16 The effects of the Rendering group
Study the rendering effects relative to the light : Lens-Flare, Volumetric Light, Healing Tracker, ... Study the rendering effects relative to the text : Simple text, Multiline text, Time Code Generator, ...
Note : The article Generator effect will be the main subject of the 1 th lesson.
The !endering " #ens $lare effect
The Rendering > Lens Flare effect
The Lens Flare is an over%illumination effect seen through an o&tical lens. 'enerally 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.
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The effects of the !endering grou&
.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. 7nce 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.
1 Lens Flares of the generic t!pe
8ere are the various Lens Flare &arameters of the generic ty&e.
9ou may: % 2hange 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,. % 2hange 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. 3n offset of 4 &laces your Lens Flare at the same level as the light source. 3n offset of 1 &laces the effect at the same level as the lens center. 3n offset of 4.5 &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 1. % 2hoose single%color or gradient color artifacts +see below,.
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% :odify the &rofile of your artifact using the &rofile curve. This effect is constructed in the same way as we have already seen in lesson 0. 2orrectly 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 0 of this lesson,. It is very im&ortant to set its &arameters correctly if realistic results are to be obtained. 9ou may choose a )lade mode of the Circle ty&e +images above, or a user defined )lade mode +see next &age,.
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% 9ou may choose the )lade count for your virtual camera lens +see exam&les below, based on the various &rofiles described above,. $rom left to right: The lens dia&hragm of your camera is circular, with three blades, five blades and seven blades.
% 9ou may modify the Form &actor: .ith a factor of 4, the &oints are lin)ed to form a circle. .ith a factor of 1, the &oints are lin)ed by straight segments. .ith a factor of 0, the &oints are lin)ed by incoming arcs.
$rom left to right: $orm factors 0, 1, 4.5 and 4.
% 9ou may modify the *ngle of your lens flares:
$rom left to right: 3ngles 4<, %15<, %64<, %;5<, %/4<, % 5<.
.hen re(uired, each Lens Flare of the generic ty&e may be given its own )lades mode different from the Glo+al blades mode described above. The latter is located at the bottom of the generic Lens Flare &arameters and offers the same o&tions.
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1 Streak t!pe Lens Flares =ven if the Lens Flares of the Streaks ty&e offer a com&letely different effect than the Generic lens Flares +see exam&les below,, the &arameters are nonetheless (uite similar. 9ou may therefore set the Si$e, %&&set, Color-s. and 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 044, 54, and 04,
% The Minimum &arameter is used to adjust the contrast between the s&o)es. If this &arameter is set to 4, maximum contrast is obtained. If this &arameter is set to 1, minimum contrast is obtained . +o&&osite from left to right with contrast values 1, 4.5 and 4,
% The ,oise &arameter is used to adjust the shar&ness of the s&o)es: If this &arameter is set to 4, the s&o)es are less shar&. If this &arameter is set to 1, the s&o)es are more shar&. +o&&osite from left to right with noise values 1, 4.5 and 4,
% The Seed &arameter is used to randomly vary the strea)s layout.
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2ombined 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. 7&&osite you will see two generic lens flares and one strea)ed lens flare to create a sun surrounded by a light halo.
1 Lens Flares of the Image t!pe
Lens Flares of the #mage ty&e allow, 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. > 9ou may set the Si$e, %&&set and *ngle &arameters as indicated for the lens flares discussed &reviously. > 9our 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. 1 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.
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8ere 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
1 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 &arameters above allow 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 !endering " #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. 3s 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. 8ere an overview of the different lighting ty&es:
> *m+ient lighting lights u& the scene globally in the color of your choice. Dalues under 144E will dar)en the image, values higher than 144E 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
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The !endering " #ighting effect
> 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.
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 0 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 our &roject.
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The !endering " 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.
8ere is an exam&le : 2reate 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 *nimation ro logo in 3rase mode on this Image layer with the Text)rush tool, then change this layer to an 3nim layer with about twenty images. :a)e the Center setting move along a &ath from left to right. 9ou 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. > 9ou 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. 9ou can select one of these o&tions in the Color Source menu.
> 9ou can also define one of the various blend mode 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. 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.,
The effects of the !endering grou& 1/%11
The !endering " Dolumetric #ight effect
)ource $mage
Luma channel
$n%ert *lpha channel
+lue channel
> The Shimmer section &ermits to generate interferences in the Dolumetric light : The Si$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 :as) section allows you to limit the lighting in a circle whose radius has to be defined.
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The !endering " !otoTrac)ing effect
The Rendering > RotoTracking effect

1 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 way com&arable to those you can encounter in vector based animation softwares. 8ere is the &rinci&le of this effect : the !otoTracking use one or several closed s&lines +called @% s&lines, and allow you to change their sha&e in time, than)s to the )ey system of the $G%stac). 7nce the effect is a&&lied, the area inside or outside the s&line becomes trans&arent.
1 Two examples
This effect is very usefull when the other )eying effects are unable to cut%out a &icture or a movie se(uence &ro&erly. 7n the &icture below, we see a red s(uirrel wal)ing on red and brown leaves. 3s 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
>
.otoTrac/ing spline *pplied result
The !otoTracking allows also to draw and animate (uic)ly. The control &oints of the s&line can evolve softly from a &osition to another one. 3s a conse(uence, the sha&e of the whole s&line will evolve in time too. In the exam&le above, 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. 8e can for exam&le move his tail to swim.
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.otoTrac/ing +-splines created for the first and the last image of the animation la!er0
.esulting pictures once the effect is applied0
.esulting animation once the effect is pla!ed0
8ere is the main difference between the rototrac)ing and a sim&le selection created with the main &anel tools : 7ur @%s&lines can evolve and change their sha&e in time.
1 The control panel
#etAs now study the control &anel in detail : 8ere is the control &anel as it a&&ears when you add the !ototracking effect in the $G%stac). +see below,
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3t the to& of the &anel, the Spline &o&u& menu is used to create, rename, du&licate or delete @%s&lines. 7nce 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). 7nce 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 0 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.
1 2anaging the opacit!
7nce 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.
3ormal
,ith the in%ert button chec/ed
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4irst opacit! parameters set to 567
)econd opacit! parameters set to 567
1 Let8s now stud! the icons under the spline popup menu0
$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. 9ou only have to use the left mouse button on the &roject window to lay your control &oints. 7nce 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 to move a control &oint interactively on the &roject window. +donAt forget to dis&lay the 8MH,. 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 N2trlO )ey. 9ou 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 third icon allows to add new control &oints on the @%s&line. 7nce 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 to delete the control &oints of your @%s&line. 9ou only need to use the left mouse button on the &oint of your choice to do so. The fifth icon allows 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. 9ou can also use the numerical field of the edge &arameter. +see below,
:odifying the edge &arameter for a control &oint allows to change the frontier that the @%s&line define. 3n 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 e9ual to 6
Edge parameter negati%e
Edge parameter positi%e
7n the o&&osite screenshot, the edge &arameters was used to cut out the tail of the s(uirrel.
7nce the edge &arameter is changed, the 8MH 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 8MH, :odify the shar&ness is li)e changing the distance between the s&line and the selected control &oint. 3 value of 144 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
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7n the left &icture, the shar&ness &arameter of the right%to& &oint of the s&line is set to 4. 7n the right &icture, the shar&ness &arameter of the right%to& &oint of the s&line is set to 144.
The seventh and last icon turn on the dis&lay of a control box which allows to do a lot of modifications directly on the &roject window +see below, 9ou may contract, stretch, rotate or translate the current @%s&line as a whole by using the handle of the box. +donAt forget to activate the 8MH,
Mse the NShiftO )ey with a drag action to translate the whole @%S&line
1 The master controllers
9ou 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 64 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).
1 ,or/ing 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 8MH and chec) the &review box add 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 !endering " !otoTrac)ing effect 1 The blending modes
The last &o&u& menu of the !otoTracking effect &anel is called +lending mode.It is usefull 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 substract 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.
1 )ome ideas to ma/e !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. 9ou should of course use the pixel recorder, pixel tracker, etc ... which constitute an excellent way to manage the movement of control &oints in time. 7nce the effect is a&&lied, its sha&e and &arameters will go from a location to another one.
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The Rendering > Healing Tracker effect

:aybe 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. 3ny modifications to the video%se(uence re(uire a lot of wor) : each frame has to be corrected se&arately. :ost 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 8ealing 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 Pre% and Post%@ehavior, the &osition and the animation mode +random animation, &ing%&ong, animation reduced to the image indicated in the &osition &arameter, etc., 3s re(uired, you may choose to fli& your source vertically, hori-ontally or both, before using this source. +see lesson 10 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.
8ere 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 8MH 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. Thoses two areas have always the same sha&e for a given image of the footage.
1/%04 The effects of the !endering grou&
Ta)e a loo) now at the video footage below : a &lane is flying slowly in the s)y, over the sea.
>>
1st 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. > $irstly, begin by selecting F5-stack as source se(uence of the Healing Tracker effect. > 7n the first frame of the footage, create a @%s&line surrounding the va&or trail. > Mse 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. > 7n 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. > Mse again the animation ke" controllers on your modified @%s&line. > :ove carrefully the healing source area by using the 8MH : 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.
>>
1st image of the footage (4:-stac/ pre%iew enabled last image of the footage
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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 used0
'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.
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The !endering " @ac)ground 'enerator 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 0. 9ou 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
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The !endering " Plasma effect
The Rendering > $lasma effect

The !endering " lasma effect is similar to the .ave effect because they &roduce both circles. 8owever, this effect &roduces multicolored waves and can be adjusted with several &arameters : > The Linear 6, Linear 7 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,.
> 9ou can choose the way these waves will mix together. @elow you can find the modes :
*dd
Su+
Multipl"
(i1ide
Maximum
Minimum
*1erage
(i&&8rence
(istance > $inally, some settings related to color channels are also available : Glo+al &hase, !ed &hase, Green &hase, )lue &hase and *lpha &hase.
1/%0; The effects of the !endering grou&
The !endering " Plasma effect
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.
9ou can : > adjust 9idth 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 > 5
The Rendering > Te&t effect

.e saw in lesson 5 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, > 9ou already )now the various settings li)e Si$e, Si$e 5, Spacing, #talic, Tracking and *ngle. 8owever, 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 : > 9ou can ma)e the text follow a &ath than)s to the osition settings +with a stored &ath or gra&hically through the 8MH,.
The effects of the !endering grou& 1/%05
The !endering " Text effect
> 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 6/4, > The *lign menu allows you to change the &osition of the 8MH text handle : right, left, centered. There are still 6 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,.
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...,.
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The !endering " Text effect
TDPaint 3nimation Pro 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 TDPaint 3nimation Pro. 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,
3fter this choice, your text is dis&layed on the screen. Two )ind of 8.M.H are available for this effect. The &arameters directly adjustable on the screen de&ends on the 8.M.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
Several )inds of 8MH handle alignments are available by using the nine buttons below :
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The !endering " :ultiline Text effect
9our text lines may be hori-ontally centered, left justified or right justified.
9our text lines may be vertically centered, to& or bottom justified. +here below the text was firstly rotated at C4<,
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 $G%stac) below shows the font, &osition, border, shadow ... &arameters discussed in the &revious cha&ter. 3t the to& of the &anel, the line &o&u& menu is used to create, rename, du&licate or delete lines. The header of the menu contains the name of the line for which the o&tions are dis&layed in the &anel.
1/%0B
The !endering " :ultiline Text effect
It is &ossible to create animation )eys for all &arameters of every line by using the control )ey located next to the line &o&u& menu. #etAs now study the animation &o&u& menu : > The roll o&tion allows you to move your text lines from the bottom to the to& of the &roject window. > The crawl o&tion allows you to move your text lines from the left to the right of the &roject window. The &rogress of those o&tions can be set by using the position &arameter. The extreme values : 4E and 144E ma)es the text lines disa&&ear from the screen. 3 value of 54E corres&onds to the initial &osition of the text lines on the the &roject window.
The Rendering > Time !ode
enerator effect
This effect dis&lays the time code of the current image in the current layer at the &osition of your choice. Three modes are available: > Current &roject mode du&licates the timeline data in number of frames or time code de&ending on the selections made +Frame or Time Code refer to lesson ;,. > Free run mode is used to define the &arameters to be ta)en into account for the entire current layer inde&endent of the timeline: 9ou must therefore s&ecify the &osition of the first frame, the number of frames &er second and the dis&lay +frame or time code in hours, minutes, seconds and frame number,. The #n1ert o&tion is used to create a count%down effect. > 'ser de&ined mode wor)s in the same way as Free run mode with the sim&le difference that all frames of the layer have inde&endently set &arameters than)s to the use of the animation )ey system. !egardless of the mode chosen, the second section of the &anel enables: > selection of the Font of your choice, > Si$e variation, > setting of osition &arameters for the current &roject, > modification of font and bac)ground Color and *lpha.
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The !endering " Time 2ode 'enerator effect
7&&osite, an exam&le of an a&&lication with the current frame number in blac) with a gray bac)ground.
The Rendering > $attern
enerator effect
The !endering 4 attern Generator effect allows to dis&lay the classical video &atterns on screen :
+ar 166
+ar @5
+ar A pluge
+ar A red
+ar )2TPE
=re! step 16
=re! step 5
=re! ramp
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Lesson 17 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.
Presentation and concept

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*Paint 'nimation Pro 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. $or this reason and for didactic purposes, numerous pre#defined e!amples have been included in this program to help you master this powerful drawing tool. 1any users use them as a model to introduce the particles into their own creations. These pre# defined e!amples, sometimes referred to as presets, are accessible via the Bin FX menu.
23#4 The Rendering > Particles Generator effect
The Bin FX menu appears as illustrated opposite: .ou are already familiar with the functions Add, &oad and Sa'e: they are present for each effect available in T*Paint 'nimation Pro. =owever, the functions Browse and Presets are new.
5hoosing Browse opens a window that is specific to the particles generator +see below-. In the popup menu you may choose a pre#defined e!ample from the following categories: cartoon, isc, nature, o!"ects, party, pyrotechnic, sci#$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.
23#?
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. 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*Paint 'nimation Pro 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.
23#B
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. 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 2? 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#3
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#H
'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.
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&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.
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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: HB, 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.
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The pre#defined e!ample +o!"ects > dice* also provides an interesting case: by increasing the Friction parameter to 2H@, 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-.
' 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. $or e!ample, if the particles Si4e parameter is set at B@, a 3ariation with a value of 4B means that each particle emitted will have a random siCe ranging from 4B to 3B. In the e!ample given above + isc > plu e$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
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The tab Emitters > Particles > Shape

This tab is used to define the type of particles to be used.
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 3-. 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. $urthermore, if you need to calculate a collision, it may be wise to place the handle elsewhere than in the center of the particles in order to obtain better results +see diagrams below-.
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7hen the Source chosen is an animated brush, the Ani ation popup menu is used to set the order in which the source images appear on the screen: # The 2one option authoriCes display of the 'nim8rush's first frame only. # The -nce option is applied to each frame of the animated brush one after the other and stops at the last. # The &oop option is also applied to each frame of the animated source one after the other, but starts a new cycle each time it reaches the last frame and so on until the particle dies +see predefined e!ample: o!"ects > coin$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. # 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 3 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 2H-.
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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*Paint 'nimation Pro +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.
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.
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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:
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.
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=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 18 The advanced functions of TVPaint Animation Pro
In this lesson, you will learn to :

Create customised windows. Use the plug-ins at your disposal. Use the macro scripting language George .
Customized windows
Customized windows
It is possible to create your own customized panels and icons in !"aint #nimation "ro to adapt the inter$ace to your needs. o access the customized windows o$ !"aint #nimation "ro, clic% on the button encircled in the Tool bar below.
he customized windows are similar to those shown opposite: numerous icons are represented and each o$ them has a speci$ic $unction. &y de$ault, when you create a new customized window, the latter is empty but we will e'plain how to $ill it later on.
# newly created panel is as shown in the image opposite and will be re$erred to as Tool Bar by de$ault.
# ()& clic% in an empty area o$ a customized window will open the menu shown opposite.
he $ollowing options are a*ailable : + Grab Current tool allows you to sa*e your current tool with all its settings and connections: airbrush, penbrush, custombrush, etc ... his action creates a button in the current panel. he icon o$ this button is the one o$ the tool grabbed and it pro*ides $ast access to the pre*iously grabbed tool. ,ote that the option to grab the current tool is also accessible by simply pressing the button o$ the Tool Bin panel which is present by de$ault. + Grab 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. his option is also accessible *ia the button o$ the Tool Bin panel. + Add Action or series o$ actions. + Add new line of icons to be $illed. + Add vertical and/or horizontal separators between your icons -clic% with the right button on the latter to remo*e them ....
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he ad*anced $unctions o$ ! "aint #nimation "ro
Customized windows
Adding an action
#dding an action is done using the panel at the bottom le$t o$ this page : + Using the $irst two te't $ields you may de$ine a name and in-line help comment $or your $uture customized $unction . + he buttons and menus List, Tool and A color allow you to choose the icon corresponding to the action you will create.
2pposite you $ind the list o$ icons supplied with !"aint #nimation "ro. 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 a$ter the other when you clic% on the icon corresponding to your $unction.
#bo*e you $ind the e'ample o$ an action which selects all images o$ the current layer, $lips them and copies them all to a new layer.
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Customized windows
The actions at your disposal.

4e*eral possibilities are a*ailable i$ you decide to create an action. 5ou can : + 4elect a shortcut in the numerous program $unctions. -see pre*ious page. + 4elect an 67-&in $ile stored in the 67-stac% to re-use it. + Open Plug in allows you to place a button to $ast-start plugins. -they will be introduced and e'plained in the ne't section o$ this lesson. + Open panel allows you to create dependencies between your panels, i.e. you may display secondary panels $rom the main panel, $or e'ample. his may be use$ul $or organizing your custom brushes or the contents o$ your *arious Bins. 6or e'ample, the button at the bottom o$ the Ani!ator Panel is used to open the Tool Bin panel which is a de$ault &in in which your tools are sa*ed. ,e*ertheless, it is possible to create a &in $or each type o$ drawing tool -#irbrush, "enbrush, etc.. which may be opened $rom the Ani!ator Panel using other buttons o$ this type. + Grab the # color. + Grab the & color. + Grab the current tool, with the # color, with the & color or with those two colors.
+ 5ou may call up a George automation script. + 4elect a script command -$or e'ample : !89ayer#nim, !8Circle, !8#irbrush, etc .... George "cripts and commands will be discussed $urther in this lesson.
ow to manage the created actions.

2nce your buttons are created in the custom window, other options become a*ailable: + :ith a simple selection in your custom window you may cut or copy the icons;actions that you ha*e <ust created. 5ou simply use the menu described abo*e to paste your icons;actions later. + :ith a right clic% on an icon;action in the custom window, you may edit, duplicate or delete it.
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Customized windows
ow to manage the panels.

,ow 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 window, you may : + #ena!e the current custom window . + "how icon onl$ -without te't.. + %oc& your window under the tool bar -%oc&.. + %elete the current window. + %uplicate the entire window. + '!port / ()port the current window.
In the second sub-menu you may : + *ew tool bar -you may create an unlimited number.. + Load a new tool bar $rom its .bin $ile. + +iew the name o$ the custom windows *isible on the screen.
his last sub-menu is used to: + "ave a customized window in order to re-use it later. + %elete one o$ the customized windows that you ha*e <ust sa*ed.
I$ you sa*e the con$iguration, your custom windows sa*ed under the Bin menu will still be present when re-starting !"aint #nimation "ro. his being the case, a reset will delete these settings. (emember to e'port the custom window you need the most.
5ou may also de$ine a %eyboard shortcut $or each action created using the %eyboard shortcuts panel >
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@ow to use the plug-ins
ow to use the plug"ins

o use the plug-ins at your disposal, you ha*e to : + 2pen a custom panel + Create a new button in this panel + 4elect the plug-in you need as action to do $or this button he panel relati*e to the plug-in will then be *isible once you clic% on the corresponding button. he Canon "lug-in is a*ailable only i$ you ha*e selected it during the installation process o$ the so$tware. It is a*ailable only on "C computers at this time.
The Color Factory plug"in

he Color ,actor$ plug-in allows you to modi$y the *alues o$ the (,G,& and #lpha channels the selected images, than%s to mathematical $ormulas. -ie : (,G,& and #lpha *alues o$ the pi'els o$ your images. &ased on the additi*e color principle, all colors are mi'ture o$ red, green and blue -more or less dar%. in e'act proportions. Aach color can be bro%en up in *arious ways depending on the color system. 6or e'ample, the "lider tab o$ the Color Pic&er panel gi*es the numerical *alues o$ the # color in the (,G,& and @,4,9 color systems.
Aach te't $ield o$ the Color ,actor$ panel describes one component -(,G,& or #lpha. and can contain a mathematical $ormula. he new *alues o$ those components will be calculated regarding the $ormulas you ha*e entered -the #lpha component indicates the opacity o$ the pi'els.. he *ariables that you can use in your $ormulas are listed in the table below -all in low case. : The varia#les $ r !alue o$ the #ed component o$ the pi'el g !alue o$ the Green component o$ the pi'el # !alue o$ the Blue component o$ the pi'el a !alue o$ the Alpha component o$ the pi'el % ' coordinate o$ the pi'el y y coordinate o$ the pi'el w :idth o$ the current pro<ect h @eight o$ the current pro<ect #nd here are listed the arithmetic operators : Arithmetic &perators ( add ) substract * multiply + di*ide '%amples $ /0 ( 3 B 1/ /0 ) C B /1 /0 + 3 B ?= /0 + 3 B C
It is possible to use parentheses , - in order to set priorities in your calculations. I$ you donDt use them, the Color ,actor$ plug-in will e*aluate the operations $rom the le$t to the right. 6or instance : /E1+3 B F /E-1+3. B G
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@ere are a $ew e'amples using the Color ,actor$ plug-in. + 9etDs begin with a classic image without any modi$ication :
+ @ere is a negati*e o$ the pre*ious landscape :
+ &elow, the red and blue components o$ the landscape ha*e been in*erted : the s%y turned into orange and the road turned $rom red to blue. he green component stay unchanged.
+ he Color ,actor$ plug-in can also be used to create nice color gradients. here$ore, the $ormulas on the right panel below are more complicated.
+ &elow, simple additions ha*e been done with the red and green color channels in*erted.
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+ @ere is the last e'emple : #n opacity gradient $rom the top right to the bottom le$t o$ the image.
The Canon plug"in ,PC onlyhe Canon plug-in allows the user to retrie*e photos $rom a Canon digital camera and to put them directly into a !"aint #nimation "ro layer. his plug-in is *ery con*enient $or the animator who want wor% in stop-motion directly with the so$tware. @ere are the steps to use the Canon Plugin with !"aint #nimation "ro : + :hat is reHuired : - he Canon dri*er o$ your camera must be correctly installed in your system. -)icroso$t :indows only at this time. - 5ou should ha*e a compatible Canon camera -see the list in #ppendi'. powered and plugged to an U4& port o$ your computer. - 5ou ha*e to set your camera in pla$bac& mode. IonDt use the shooting mode as it does not allow to manage your camera *ia the computer.
@ow to ma%e it wor% : - 9aunch !"aint #nimation "ro - 2pen the +ideo Grabber panel. -It is accessible in the -indows main menu . - In the de*ice list, choose your Canon camera - i$ other de*ices are listed . - @it the settings button to access the second panel, in which you ha*e to ad<ust your grab settings. - Choose Appl$ in current La$er in the menu : so it will append the new image <ust a$ter the current one in the current layer. - :hen you thin% it loo%s $ine in the little pre*iew, hit the Grab 'nput button.
/0-0 he ad*anced $unctions o$ ! "aint #nimation "ro
- # sound should ring out as soon as the picture as been transmitted. -see pre*ious page. @ere are some use$ul tips : + o pre*iew the ne't-to-shoot image -low-res. $inder pre*iew. o*er your last grabbed $rame : - Anable the J!K button o$ the pro<ect window, - Change the !i) parameter *alue. It is a percentage o$ *isibility between the *ideo and current$rame. -see below.
It is ad*ised to use the e$$ects : Ley M ChromaLeyer to delete the colored bac%ground behind your characters. (endered M @ealing rac%er to remo*e all the small imper$ections o$ your images. 5ou can also shoot an empty bac%ground and put it as image layer behind the current animation layer. #$ter this operation, you should be able, than%s to the erase drawing mode, to remo*e all the crutches, wedges, wires ... that you used. + I$ you want to grab a picture inside an e'isting seHuence o$ images : - &egin by selecting the image that you want to change in the timeline. - Anable the displa$ with video parameter. - Change the .i) parameter *alue in order to compare the e'isting image with the camera pre*iew. - 2nce you are satis$ied, clic% on the Grab 'nput button. - he grabbed image is then replacing the selected image.
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+ o pre*iew your animation using the LightTable, set the 9ayer opacity to hal$ -or a bit less., set the pre*ious $rame color to none, and twea% the le*el sliders o$ the /, 1, 3, ...?, C pre*ious $rames to ma%e them *isible. -see below. 2$ course, you can ha*e a display with the *ideo and the 9ight able enabled simultaneously.
It is ad*ised always to close your !ideo Grabber and !ideo Canon panels be$ore Huitting the so$tware.
The Direct Show plug"in

Iirect4how is an application programming inter$ace $rom )icroso$t which contains a set o$ so$tware librairies. It is a component o$ Iirect7 and allows to manage multimedia $iles. he Iirect4how "lug-in pro*ides support $or U4&, 4C4I, 6ire:ire, ... compatible hardwares. -in theory all :indows Iri*er )ode -:I). compatible hardwares.
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The WaveForm plug"in

Generally spea%ing, an oscilloscope is an electrical eHuipement which allows to control and measure periodic signal *oltages. I$ it is calibrated in order to recei*e *ideo signals, it is also called :a*e6orm monitor. In the audio*isual en*ironment, they are o$ten used to chec% i$ the transmitted *ideo signal has its characteristics in con$ormity with the applicable broadcasting rules.
2ur :a*e6orm "lug-in allows the audio*isual pro$essionals to use their classical tools. han%s to this "lug-in, it is now easy to chec% the integrity o$ a signal, manage calibration and colorimetric ad<ustments, control the *alidity o$ numerical signals, ... he popup menu alllows you either to select : + # Composite :a*e6orm monitor + # Componant :a*e6orm monitor + # !ector4cope he monitors at you disposal in this :a*e6orm "lug-in act as i$ all layers o$ the current picture where merged.
@ere are some options relati*e to the di$$erent displays at your disposal : + he !ector4cope can use two calibration sets : G? O and /NN O + he component :a*e6orm monitor can use the (,G,& or 5,U,! systems. + he composite :a*e6orm monitor can use luminance and;or chrominance signal-s.. 9etDs now e'plain the other options : + It is possible to set the lu!inosit$ o$ the display than%s to a mini-slider. + he reticule button allows to show or hide the di$$erent a'is and channels. + he appl$ button allows to copy on the current image the results obtained in the :a*e6orm "lugin panel. + I$ the transparency button is chec%ed, the blac% bac%ground will not appear when using the appl$ button.
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@ow to use the George scripting language
ow to use the . /eorge 0 scripting language

1ntroduction$ what is /eorge 2
George is a programming language which allows to use the numerous tools o$ !"aint #nimation "ro. A*ery program written in this language is called PGeorge "criptQ. 2ther so$twares use sometimes the word P)acroQ instead o$ P4criptQ. # George "cript allows to e'ecute speci$ic !"aint #nimation "ro command such as : Create a new layer, draw a circle on this area, sa*e the current pro<ect, add a boo%mar%, etcR hose "cripts are usually created to sa*e some time when e'ecuting a repetiti*e tas% is needed. A'perienced programmers use !"aint commands in order to create P.dll Q plug-ins 4ome George "cripts are a*ailable as e'ample with the so$tware, but you can also create your own scripts and;or e'change them with some members o$ the !"aint Community. -5ou can access to the !"aint $orum here: http:;;www.t*paint.com;$orum;inde'.php..
3inding4 'diting and 5sing George Scripts

#$ter installing !"aint #nimation "ro on your computer, George "cripts are located in the directory: C:/program files/TVPaint Animation Pro/George Application/TVPaint Animation Pro/George 6or )icroso$t :indows users 6or #pple 24-7 users
hose George "cripts are in $act usual #4CII te't $iles and ha*e a P.grgQ e'tension. It is possible to edit or create them with any te't editor li%e *otepad $rom .icrosoft -indows or Te)t (dit $rom )ac O" / he scripts are in theory wor%ing on the both standards "C and )acintosh, whate*er the computer was used to create them. o use one o$ the George "cripts at your disposal, <ust $ollow the steps below: open a custom panel create a new button on this panel select the action: -select a script- $or this button select a $ile with a P.grgQ e'tension in the $ile reHuester 2nce $inished, i$ you clic% on the <ust created button, the George "cript will then be launched.
#t e*ery moment, you can stop the e'ecution o$ a George "cript by using the JAscK %ey. # window, indicating on which line the e'ecution o$ the script was stopped, should popup. 2nce a George "cript has $inished its programmed tas%s, the 0ndo option o$ the !"aint #nimation "ro main panel allows to cancel all the changes it has generated.
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A few e%amples of George Scripts

2$ten, George "cripts need an action $rom the user in order to be launched. 6or instance : he George "cript named Plong.grgQ waits $or a segment to be drawn on screen and $inally returns its length. he George "cript called Pcloc&.grgQ waits $or a circle to be drawn on screen and $inally draws a cloc% inside this one. he George "cript called Pbutton 1.grgQ waits $or a rectangle to be drawn on screen and returns a be*elled button inside it # $ew George "cripts donSt need any action $rom the user to be started: itSs the case with the George "cript called Q1surface.grgQ.
A#ove$ the results of the scripts$ #utton 64 Long4 Cloc74 6surface and Polystar
# $ew George "cript are more complicated and some reHuesters may appear. It is the case with the George "cript called Pol$star.grg : during its e'ecution, a $irst reHuester as%s you to speci$y how many *ertices should be drawn. I$ you apply your script on an animated layer -a$ter selecting all its $rames., a second and third reHuesters will as% you more in$ormations -see below.
Programming in /eorge language

George is a scripting language which can do the basics: - 9oops -do the same thing n times., - Conditional testing -i$ this is true then do that., - Calculations -aEb, sin-a.,..... he George language is not particularly $ast, but it is $le'ible and *ery easy to use. 2n many points, George is comparable to the "ascal language or other well %nown programmation language. @owe*er itSs not aimed at de*eloping hea*yweight applications as are $or e'ample the C or CEE languages. George is $irst and $oremost a scripting language.
1nstructions and Commands

George needs classical instruction to structure the scripts: tests, loops, calculation, conditionals e*ents, etcR 6or a better readability,all the instructions will be written in green in this manual. 6or e'ample : 1f4 'lse4 'nd4 3or4 8o4 5ntil4 9hile4 : $or conditionals tests Cos4 ;in4 Tan4 <nd4 : $or calculations 5ou can also call in your scripts !"aint #nimation "ro commands, which call speci$ic tools o$ the so$tware. hey can be di$$erentiated $rom the classical George instruction because they all begin with the tv= pre$i'. - hey will be written in blue color.
he ad*anced $unctions o$ ! "aint #nimation "ro /0-/3
6or instance : + he command tv=layerCreate allows to create a new layer. + he command tv=;ave>rushAnim sa*es the current brush on the hard dri*e. + It is possible to change the colors o$ the bin tab than%s to the tv=;etPalette command + AtcR -5ou will $ind in appendi' the complete instruction and command listings o$ the George 9anguage.. #ll !"aint commands need their own arguments and return some *alues as answer. 6or e'ample, the !-9ayerCreate command needs a name $or the layer that you want to create. his command returns some in$ormation regarding your layer: opacity, number o$ pictures, place o$ the timeline,R 4o you can reuse or modi$y them. It would be too long to enumerate here the arguments and the return *alues o$ each George command. #ll those parameters are $ully e'plained in the de*elopper %it -4IL. o$ !"aint #nimation "ro. he 4IL is a*ailable on demand at the email address: t*paintTt*paint.$r
)a%e sure to di$$erentiate George instructions -which o$ten start with a sharp : ?. and George commands $or !"aint #nimation "ro -which allways start with the tv = pre$i'.. he commands act on the so$tware itsel$ and on your current display whereas George instructions are used to write the structure o$ the program -conditionnals, calculations, loops, ....
4ince appro'imati*ely /N years, all the so$twares using the !"aint technology o$$ers a scripting language. @ere are some in$ormations regarding the compatibility between those scripting language : I$ you upgraded to !"aint #nimation "ro, your old scripts should still wor%. @owe*er, some recent commands -$or instance: TV=Add>oo7mar7s. are not a*ailable in older products using the !"aint echnology. -#ura, )irage,R.
An e%ample of program written in /eorge.

he program on the ne't page comes $rom the $ile cloc%.grg. It allows to draw a cloc% displaying the current time on the pro<ect window. :e suggest you to create a button assigned to this script in a custom panel, as e'plained below. #$ter this operation, it should be easy $or you to test this George "cript in the pro<ect window. 2nce this stage is passed, you can try to edit the George "cript, to modi$y it and to test it again in !"aint #nimation "ro. his should help you to learn the basics o$ the George 9anguage.
he best way to get used to George scripts is probably to try the e'ample programs that come with !"aint #nimation "ro. 4tudy them and ma%e small alterations to them, then run them and see the e$$ects o$ your changes.
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he cloc&.grg script : Param Circle ;; !"aint should wait $or the coordinates o$ a circle be$ore running the ;; program. he user must there$ore draw a circle to start the program. Parse result command ' y r button ;; 6etches the coordinates o$ the userSs circle. if cmp-command,UCircleU.BBN tv=9arn U his program needs the coordinates o$ a circle >U e%it ;; I$ there are no coordinates $or a circle, warn the user and end the program. 'nd tBtime parse t h m s ;; 6etches the hours -h., minutes -m. and seconds -s. o$ the current time. mBmEs;CN ;; he seconds can slightly alter the minutes arm o$ the cloc%. tv=Pen r;3N ;; 4elects a pen proportional to the cloc% size. tv=Circle ' y r ;; Iraws the outline o$ the cloc%. angB3CN;/1 dBr--r;/N. ?for iBN to 3CN-ang step ang ;; 9oop to draw the /1 hour mar%ers on the cloc% VaBcos-i.+d VbBsin-i.+d tv=8ot 'Ea y-b N ?end iBh+3CN;/1 dBr;1 aBsin -i.+d bBcos -i.+d tv=Line ' y 'Ea y-b iBm+3CN;CN dBr--r;0. aBsin-i.+d bBcos-i.+d tv=Line ' y 'Ea y-b ;; Iraw in the hours
;; Iraw in the minutes
;; And o$ the e'ample
#nd below, a $ew cloc%s which were drawn with the script
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Commands 8escription
@ere are some in$ormation regarding the commands that you can $ind on the pre*ious page : &elow, each command will be $ollowed by the synta' o$ the *ariables it reHuires. 6or e'ample, to draw a straight line $rom one point to another, you must gi*e the coordinates o$ the start point then the end point. 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 le$t ABC or the right A1C mouse button. his is optionalW by de$ault, itSs always the le$t button that will be used. o summarize : J K !ariables inside sHuare brac%ets are optional. ; he P;Q symbol separates se*eral options o$ which only one is used. 6or instance, N;/ means either N or /. tv=Circle % y r AB+1C his command allows to draw a circle with a radius r and a center located on the pi'el with -',y. coordinates. he AB+1C parameter indicates that you can use either the le$t ABC or the right A1C mouse button. 2$ course, the circle will be drawn on the current image on the current layer. tv=8ot % y AB+1C this command allows to use the current tool -airbrush, pen, custombrush,R. on the pi'el with -',y. coordinates, in the current image on the current layer. he AB+1C parameter indicates that you can use either the le$t ABC or the right A1C mouse button. tv=9arn te%t his command displays a popup dialog bo' containing the caracter string te%t and an Po%Q button. he character string must be surrounded by Huotation mar%s. tv=Pen size his command allows to select the pen tool with its current parameters -drawing mode, opacity, power, .... and change its size.
5ou should always remember that a George 4cript will use !"aint #nimation "ro as it $inds it, i.e. with the $unctions and options that are currently set. 6or instance, i$ you want to draw a red line with a George 4cript, 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. 4imilarly, i$ when you run the script it is in the Behind or Colorize drawing mode, you wonSt e'actly be getting the clean line you were hoping $or.
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A few useful options

It is now time to e'plain some programming con*entions: /X. # sharp caracter V at the beginning o$ a line will not a$$ect the e'ecution o$ the script. 6or instance, the line : Pause 1N will pause the e'ecution o$ your script during 1N seconds. #nd the $ollowing script line will ha*e the same result : ?Pause 1N
1X. 5ou can use only one instruction or command on the same line. 6or instance, i$ you use the $ollowing line in a script : Print Dwait a littleU Pause 1N #n error message will be returned. he two lines below will not return any error messages : Print Uwait a littleU Pause 1N 3X. A*erything on a line that is a$ter a double slash ;; is ignored. hey are only comments that ha*e been put into the script to ma%e it more understandable and readable by humans. 6or instance, the line : Pause 1N ;; wait 1N seconds ma%es !"aint #nimation "ro wait during 1N seconds. @owe*er, the line : ++ Pause 1N will not pause the e'ecution o$ your script. !"aint #nimation "ro sees no di$$erence between uppercase and lowercase letters. 6or instance, TV=layercreate4 tV=LaEe<c<eAt'4 tv=LAE'<C<'AT' are all e'actly the same command.
ow to use the varia#les

It is not necessary to declare the types o$ your *ariables in a George 4cript. 6or instance, you can write the two lines below in a script without declaring that the *ariable .$*u!ber is numeric or the *ariable Answer boolean. .$*u!berB/N AnswerB$alse
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#s $or commands and instructions, the George language sees no di$$erence between uppercase and lowercase letters. 6or instance, .$*u!ber2 !$nu!ber2 .3*0.B(#2 .$*u.b(r are all e'actly the same *ariable. he George language use a $ew reser*ed *ariables in order to wor% correctly. 5ou can use them as you wish, but it is not ad*ised to modi$y them. hat is the case with the two *ariables Ti!e and #esult -encountered in the cloc%.grg script abo*e. which contains respecti*ely the current time and the control results o$ the last used George command.
The operators at your disposal

&pFrateurs ArithmFtiGues " negati*e ** e'ponent * multiplication + di*ision ( addition " subtraction &pFrateurs LogiGues HH et 11 ou e'clusi$ &pFrateurs ApparentFs II eHual JI not eHual to ! greather than !I greather or eHual than K less than KI less or eHual than '%amples $ /0 -M -/0 /0++3B/0+/0+/0B?031 /0+3B?= /0;3BC /0E3B1/ /0)CB/1 '%amples $ aYYb aIIb '%amples $ 'BBC '>B? 'M= 'MB3 'Z0 'ZBG
'BB'E1 '>By-3 'My-z 'MBz;y 'Z-y 'ZB'E?
he B operator is an assignment operator and allows to assign a gi*en *alue to the *ariable o$ your choice. 6or e'ample : )y,umber2$9ayersB?
he BB operator is an comparison operator between two *ariables, usually used during conditionnal tests. 6or e'ample : if aBB?
he comparison operator is not appropriated i$ want to %now i$ two *ariables are eHual. 6or this, you need to use the instruction cmp, as shown in the cloc&.grg script abo*e : if cmp-command,UCircleU.BBN
The Param and Parse instructions4 the launching modes.

/0-/0 he ad*anced $unctions o$ ! "aint #nimation "ro
he instruction Parse allows to split up a character string into smaller character strings (ainbowBUred orange yellow green blue indigo *ioletU Parse (ainbow color/ color1 color3 tv=warn color/ ;; displays red tv=warn color1 ;; displays orange tv=warn color3 ;; displays yellow green blue indigo *iolet Usually, each George "cript begins with the Param instruction. It allows to choose which action will ha*e to be done by the user in order to start the script e'cecution : drawing a circle, a segment, a rectangle ... + he script line : Param ,one allows the George "cript to be e'ecuted without waiting $or an user action. + he two script lines : Param 4ingle Parse result command ' y button allows to e'ecute a George "cript a$ter a simple mouse clic% on the pro<ect window. - he character string 4 single5 will be assigned to the *ariable called co!!and i$ 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 place the point will be assigned to the *ariable called button. -/ $or ()&, N $or 9)&.. + :ith the $ollowing script lines : Param 9ine Parse result command '/ y/ '1 y1 button he George "cript will be launched only i$ a segment is drawn on the pro<ect window. - he character string 4 Line 5 will be assigned to the *ariable called co!!and i$ a line is drawn on the screen. - he coordinates o$ the points at the ends o$ the segment will be assigned to the *ariables '/ y/ and '1 y1 - see opposite . - he button selected by the user to place the point will be assigned to the *ariable called button. -/ $or ()&, N $or 9)&.. + :ith the two script lines below : Param Circle Parse result command ' y r button he George "cript will be launched only i$ a circle is drawn on the pro<ect window.
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- he character string 4 Circle 5 will be assigned to the *ariable called co!!and i$ a circle is drawn on the screen. - he coordinates o$ the circle center will be assigned to the *ariables ' and y. - he radius o$ 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 button. -/ $or ()&, N $or 9)&.. + :ith the $ollowing script lines : Param (ectangle Parse result command '/ y/ '1 y1 button he George "cript will be launched only i$ a rectangle is drawn on the pro<ect window. - he character string 4 #ectangle 5 will be assigned to the *ariable called co!!and i$ a point is drawn on the screen. - he coordinates o$ the points at the ends o$ the rectangle will be assigned to the *ariables '/ y/ and '1 y1 - see opposite . - he button selected by the user to draw the rectangle will be assigned to the *ariable called button. -/ $or ()&, N $or 9)&.. + :ith the two script lines below : Param 6reehand Parse result command ' y button he George "cript will be launched only i$ a $reehand cur*e is drawn on the pro<ect window. - he character string 4 ,reehand 5 will be assigned to the *ariable called co!!and i$ 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 button. -/ $or ()&, N $or 9)&..
The character strings

It is important to %now how to use the character strings because they usually plays a part in numerous situations. 6or e'ample, in the $ollowing script lines, a loop allows to load the pro<ects : I:[cartoon3.t*p, I:[cartoon=.t*p, ... ... ... I:[cartoon/?.t*p, I:[cartoon/C.t*p. 3or numberB3 to /C ,ame2$ he6ileBUI:[cartoonUnumberD.t*pD tv=loadproLect ,ame2$ he6ile 'nd #s shown abo*e, you will ha*e to use simple Huotation mar%s -D...D. or double Huotation mar%s -DD...DD. in order to di$$erenciate *ariables $rom character strings. In the e'ample abo*e : n m!er and "ame#fTheFile D:$cartoon and %tvp
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are *ariables are character strings

he *ariable "ame#fTheFile recei*e the concatenation o$ 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 $ollowing lines ha*e the same e$$ect : ,ame2$ he6ileBnumberD.<pgD ,ame2$ he6ileBConcat-number,.<pg. I$ you need to use simple Huotation mar%s -D...D. or double Huotation mar%s -DD...DD. in your character strings, you must surround them with the other Huotation mar%s at your disposal, as shown in the e'ample below : Print D )y pre$ered animation program is U !"aint #nimation "ro U D ;; will surround the name o$ the so$tware with double Huotation mar%s. Print U )y pre$ered animation program is D !"aint #nimation "ro D U ;; will surround the name o$ the so$tware with single Huotation mar%s.
The arrays
#s in other programmation languages, George can create and use arrays with one, two or more dimensions. o create an array, you only need to add parentheses or sHuare brac%ets a$ter the name o$ a *ariable. 5ou can use either parentheses or sHuare brac%ets. 6or instance, )y#rray-i. ou )y#rrayJiK represent the same array with one dimension. )y#rray-i,<. ou )y#rrayJi,<K represent the same array with two dimensions. )y#rray-i,<,%. ou )y#rrayJi,<,%K 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 o$ elements be$ore using an array. In the e'emple below, an array called color with one dimension was created. It contains $our elements : U)agentaU, UCyanU, U5ellowU and U&lac%U :e used a loop to display its content. colorJ/KBU)agentaU colorJ1KBUCyanU colorJ3KBU5ellowU colorJ=KBU&lac%U 3or iB/ To = tv=warn colorJiK 'nd // displa$s each color 6 7.agenta72 7C$an72 73ellow7 // and 7Blac&72 in a dialog bo).
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3unctions and procedures

9etDs assume that you are writing a script which needs some instructions, conditionnal tests, etc ... to be e'ecuted se*eral times. -6or instance, a script which tests the pi'elDs colors se*eral time and acts di$$erently depending on the obtained results. . (eccopying the same lines se*eral time in a George 4cript can Huic%ly become $astidious. It doesnDt ma%e the things easier when you need to chec% or modi$y your script. hatDs the reason why writing procedures and $unctions is *ery con*enient : + # $unction is a set o$ instructions and commands which allows to e'ecute a precise tas% inside a George 4cript. he $unctions are independent $rom the the remainder o$ the George 4cript and are located at the end o$ the script. he part o$ a George 4cript which distincts itsel$ $rom the $unction-s. will be called Pmain part o$ the scriptQ. #ll the $unctions are a*ailable at any moment in order to be used by the )ain part o$ the script. # $unction can recei*e parameters and always returns a result. + # procedure is a $unction which does not return results. @ere is an e'emple o$ a script using a $unction : -2$ course, using $unctions is really use$ull when you ha*e to create bigger and more sophisticated scripts .
Param 4ingle Parse result command abscissa ordinate button tv=warn Test>lac7Color-abscissa,ordinate. ;; )ain part o$ the script \ ;; - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ;; 6unction ] 3unction Test>lac7Color-',y. Local r g b alpha sum tv=getpi%el ' y Parse result r g b alpha 1f alphaZMN sumBrEgEb 1f sumBBN <eturn U the pi'elDs color is blac% U 'lse <eturn U the pi'elDs color is ,2 blac% U 'nd 'lse <eturn U the pi'el is transparent U 'nd 'nd
he line : tv=warn Test>lac7Color,a#scissa4ordinateCan be replaced by the two $ollowing lines : #nswerBTest>lac7Color,a#scissa4ordinatetv=warn #nswer
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@ere is the synta' o$ the instructions relati*e to the procedures and $unctions : 3unction Mame&fThe3unction ,Varia#le14 Varia#le@4 Varia#leN4 etc ... his instruction declares the e'istence o$ a $unction or a procedure in a George 4cript. -there is no instruction called procedure . his instruction is $ollowed by the procedure or $unction name, and then by the name o$ the *ariables -$rom the main part. that are needed. 6unctions and procedures must always be located a$ter the main part o$ your script. Calling a $unction or a procedure in the main part o$ your script can be done by writing its name and the needed *ariables between brac%ets, separated by comas. Local LocalVaria#le14 LocalVaria#le@4 LocalVaria#leN4 etc ... his instruction allows to speci$y the *ariables which will be used solely inside your $unction or procedure. <eturn <esult his instruction allows to speci$y the result o$ your $unction and to ma%e it a*ailable in the main part o$ the script. It could be a character string, a numerical *alue, a boolean *alue, etc ... In the main part o$ your script, it is possible to sa*e it into a *ariable, and a$ter to re-use it. his instruction is optional. I$ you donDt use it, you ha*e created a procedure instead o$ a $unction. 'nd his instruction is needed to $inish your $unction or procedure. he $unctions and procedures written in George language can be recursi*e. In other words, a $unction can call itsel$. It allows to create more sophisticated scripts. 6or instance, drawing a $ractal cur*e can be done than%s to a recursi*e script -see below.
ow 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 $unctions and procedures. his may be ta%en e*en $urther as you can store your $unctions and procedures in .grg $iles and you can re-use them in other scripts written in George. In other words, you can create your own libraries. o insert one o$ your libraries in a George 4cript, you only ha*e to write the $ollowing line in your script : ?1nclude U)y9ibrary.grgU he instruction V(ncl 'e will search the $ile called .$Librar$.grg in the directory containing the current George 4cript or in the root directory o$ !"aint #nimation "ro he $ollowing line allows to speci$y a more precise access path, $rom the basis directories : ?1nclude U)y6older2$9ibraries;)y9ibrary.grgU
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"lease read the (nitiali)ation File section in the appendi' o$ this user-manual i$ you want to change the root directory o$ !"aint #nimation "ro. wo e'amples o$ libraries are a*ailables in the directory : C:/program files/TVPaint Animation Pro/George/(ncl 'e Applications/TVPaint Animation Pro/George/(ncl 'e $or .icrosoft -indows. $or Apple O" /.
hey are called Basic.grg and Advanced.grg and are related to character strings management. o ma%e them a*ailable in the George 4cripts gi*en with the so$tware, you only need to add the $ollowing lines at the end o$ those scripts : ? 1nclude Uinclude;basic.grgU ? 1nclude Uinclude;ad*anced.grgU
The Start p%grg file

#t startup, the $irst thing that !"aint #nimation "ro does -a$ter displaying the main toolbo', but be$ore gi*ing control to the user. is to run the "tartup.grg script -which should be in the same directory as the other scripts.. :hen there is no "tartup.grg $ile, nothing will happen. 2therwise, you ha*e at your disposal a startup $ile that gets run e*ery time you load !"aint #nimation "ro. I$, $or e'ample, you rename the Logo.grg $ile to "tartup.grg, it will load the !"aint I^*eloppement logo to screen e*ery time you run !"aint #nimation "ro. 5ou could also, than%s to a simple George script, de$ine all your pre$erred parameters. 6or instance : load a pro<ect $rom your harddri*e, change the current colors, add some layers to your pro<ect, etcR
The TVPaint Animation Pro Plug"in developpement

#s e'plained be$ore, George is not the only program that can send commands to !"aint #nima-tion "ro. #ny other program could theoretically do so. A'amples using an A'cel script, a C program or other languages are certainly concei*able. &esides, it is possible $or e'perienced users or third-party companies to create Plug ins that can be used with !"aint #nimation "ro. hose Plug ins allows to add customized tools to the so$tware li%e e$$ects on pictures, new drawing modes, new tools or new $unctions. he "lug-in may be in the .dll -%$na!ic Lin& Librar$8 $ile $ormat, which can be obtained than%s to a compiler. .dll $iles are not readable in a te't editor, unli%e the classical George 4cripts. 6or more details about this sub<ect, please *isit the !"aint Ie*eloppement $orum. 5ou can also as% us the de*elopment %it -also called 4IL. at the email address : t*paintTt*paint.$r his %it contains source codes $or inter$ace $unctions, documentation and some detailled plug-in e'amples.
Adding arguments
5ou can add arguments to the e'ecution o$ !" #nimation "ro. hese arguments are : - images -<ust write the path and $ile name., - scripts -synta': scriptB"ath#nd6ile,ame.grg., - commandes george -synta': cmdBGeorgeCommand.. 6or e'ample : !" #nimation.e'e U)yImageU UscriptB)y4cript"ath#nd,ame.grgU UcmdB)yGeorgeCommandU
/0-1= he ad*anced $unctions o$ ! "aint #nimation "ro
Appendix
The video cards compatible with TVPaint Animation Pro. The digital camera working with the Canon Plug-in. The George commands and instructions. The export file formats. The available ke board shorcuts. The initiali!ation file. The technical support and "esources.
The video cards compatible with TVPaint Animation Pro
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 features detailled (onl for PC at this time) &
Video Output Hardware Model Native file format

*eeds a The current Possibilit to rendered pro+ect view our work preview window (with on TVPaint before being opacit Animation Pro available on values) can and the video the video be ke ed over hardware hardware a live video
Video Input
Possibilit to displa the current video in the pro+ect window
,mage grabber option
Leitch
Velocit -
dps
/hould be added in the next updates of TVPaint Animation Pro
Leitch
Velocit '.
!P"
PA" PV" 'oll wood
Matrox
.igi/uite .igi/uite 01 .igi/uite .TV
avi
Newte#
VT*T VT234 VT254
rtv
!V
compatible with 6'C, 7589
rtv
$!M
:eb Cam .igital Camera
%luefish &&& %luefish &&& H!
'uic#time avi cineon
/hould be added in the next updates of TVPaint Animation Pro
( Available
( Not available
The hardware native file formats% if the are available% are used b TVPaint Animation Pro and our video card during the video import and$or export process.
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Appendix
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 find below the list of theoricall supported models regarding the canon /.; we used for this plugin (PC onl at this time)
Power/hot A7<% Power/hot A3<% 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 A3<<% Power/hot A5<<% Power/hot A57<% Power/hot A9<<% Power/hot A?7<% Power/hot A?3< Power/hot /7<% Power/hot /3<% Power/hot /5<% Power/hot /9<% Power/hot /9?% Power/hot /?<% Power/hot /=<% Power/hot />< Power/hot /7<<% ,AB .,G,TA0% .,G,TA0 ,AC/ Power/hot /77<% ,AB .,G,TA0 3<<% .,G,TA0 ,AC/ v Power/hot /3<<% ,AB .,G,TA0 3<<a% .,G,TA0 ,AC/ v3 Power/hot /35<% ,AB .,G,TA0 53<% .,G,TA0 ,AC/ v5 Power/hot /5<<% ,AB .,G,TA0 5<<% .,G,TA0 ,AC/ 5<< Power/hot /55<% ,AB .,G,TA0 5<<a% .,G,TA0 ,AC/ 55< Power/hot /.7<<% ,AB .,G,TA0 5<% .,G,TA0 ,AC/ ,, Power/hot /9<<% ,AB .,G,TA0 9<<% .,G,TA0 ,AC/ 9<< Power/hot /.7<% ,AB .,G,TA0 0% .,G,TA0 ,AC/ i Power/hot /.77<% ,AB .,G,TA0 5<a% .,G,TA0 ,AC/ ,,s Power/hot /97<% ,AB .,G,TA0 9?<% .,G,TA0 ,AC/ 95< Power/hot /?<<% ,AB .,G,TA0 ?<<% .,G,TA0 ,AC/ ?<< Power/hot /.3<% ,AB .,G,TA0 03 % .,G,TA0 ,AC/ i? Power/hot /.3<<% ,AB .,G,TA0 9<% .,G,TA0 ,AC/ 5< Power/hot /.5<<% ,AB .,G,TA0 ?<% .,G,TA0 ,AC/ 9< Power/hot /.9<<% ,AB .,G,TA0 ??% .,G,TA0 ,AC/ ?< Power/hot /.?<<% ,AB .,G,TA0 =<<% .,G,TA0 ,AC/ ><< Power/hot G7% Power/hot G3% Power/hot G5% Power/hot G?% Power/hot G= Power/hot Pro8< ,/ Power/hot /7 ,/% Power/hot /3 ,/ Power/hot Pro7
The /O" class of digital cameras are not supported at this time.
The 0eor)e instructions

'ere is the complete list of George instructions &
abs acos asin atan break char cos cmp cut
date do...until exit len for if...else...end max min param
parse pause print rnd sin sDr tan time trunc
version while concat for...to...end function local return while...end
Appendix
A-5
The George language commands
The 0eor)e lan)ua)e commands

'ere is the complete list of George commands &
tvEairbrush tvEalphaloadmode tvEalphasavemode tvEareadraw tvEareainit tvEareamove tvEtvpaint3back tvEtvpaint3front tvEbackground tvEblend tvEbookmarksenum tvEbookmarkset tvEbookmarkclear tvEbookmarktoggle tvEbookmarknext tvEbookmarkprev tvEbrushcut tvEbrushfromclipboard tvEbrushinfo tvEbrushpol tvEbrushrestore tvEbrushtoclipboard tvEbump tvEcircle tvEcirclefill tvEclear tvEcolorfactor tvEcra! blur tvEdensit linex tvEdensit line tvEdensit x tvEdensit tvEdispla tvEdot tvEellipse tvEellipsefill tvEfastline tvEfieldcop tvEfielddouble tvEfileinfo tvEfill tvEfilter tvEfirstimage tvEflipimagex tvEflipimage tvEfixmotion tvEframerate tvEgauge tvEgblur tvEgetactivetool tvEgetactiveshape tvEgetapen tvEgetbpen tvEgetfield tvEgetheight tvEgetmouse tvEgetpalette tvEgetpath tvEgetpixel tvEgetpixeldispla tvEgetpixella er tvEgetpro+ectname tvEgetuser tvEgetwidth tvEghostline tvEgrab tvEimagefromclipboard tvEimagetoclipboard tvElastimage tvEla eranim tvEla ercop tvEla ercreate tvEla ercurrentid tvEla ercut tvEla erdensit tvEla erdispla tvEla erduplicate tvEla erfetch tvEla ergetid tvEla ergetimage tvEla ergetpos tvEla erhold tvEla erimage tvEla erinfo tvEla erinsertimage tvEla erinvert tvEla erkill tvEla ermerge tvEla ermergeall tvEla ermove tvEla erpaste tvEla errename tvEla erselect tvEla erselectinfo tvEla erset tvEla ershift tvEla erstencil tvEla erstretch tvEline tvElistreDuest tvEloadbrush tvEloadbrushanim tvEloadimage tvEloadpalette tvEloadpro+ect tvEloadseDuence tvEloadspare tvElockcacheflush tvElockdispla tvElockmouse tvEmagicnumber tvEmenuhide tvEmenushow tvEmosaic tvEnoise tvEnop tvEpanning tvEpenbrush tvEpencil tvEperswrap tvEpiccolor tvEpreserve tvEpropelling tvEpro+ectclose tvEpro+ectcurrentid tvEpro+ectduplicate tvEpro+ectenumid tvEpro+ectinfo tvEpro+ectnew tvEpro+ectselect tvEreadpro+ectstring tvEoilbrush tvEDuit tvErangeclear tvErangegrab tvErangenoise tvErangeset tvEratio tvEreaduserstring tvEreadtextfile tvErecorder tvErect tvErectfill tvEredo tvEreDangle tvEreDfile tvEreDfloat tvEreDnum tvEreDstring tvEreDuest tvEresetdispla tvEresi!epage 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 tvEsparetofront tvEspecialbrush tvEspeed tvEstacksavebin tvEstacksave tvEstackloadbin tvEstackload tvEstackexecutebin tvEstackexecute tvEstackopen tvEstackclose tvEstackappl tvEstackclear tvEstartframe tvEstrokepoint tvEstrokesi!e tvEtcmode tvEtextbrush tvEtexttool tvEtornado tvEundo tvEupdateundo tvEunlockcacheflush tvEunlockdispla tvEunlockmouse tvEversion tvEvfgetfont tvEvfstringsi!e tvEwaitbutton tvEwarn tvEwarpbrush tvEwave tvEwetbrush tvEwritepixel tvEwriteuserstring tvEwritepro+ectstring tvE!dot tvE!line tvE!spline
A-9
Appendix
The main characteristics of the export formats &
The main characteristics of the export formats 1

Bou can export pro+ects from TVPaint Animation Pro using several different file formats. .,P% AV,% G,#% -C,C;T,F1% #0,% P*G% PCA% /C*"A/T1"% P/.% TGA% GPG% ,0HF% T,##% #0B1" C0,P% .7 "TV% C,*16*% /G,% /6#T,FAG1% HFP% VPH. I The #0B1" C0,P file format lets ou export an animation that ou can use with the VideoToaster #l er from *ewtek. The animation is saved as a single file and has usuall a resolution of >?3x9@<. I Bou can use the .7 "TV file format in order to export an animation usable with the VideoToaster from *ewtek . The animation is saved as a single file and has a resolution of >?3x9@= for *T/C ans >3<x?>= for PA0 I The C,*16* export format was created b the 1astman ;odak Compagn in order to be used with their scanners and recorders. ,t uses logarithmic datas (7< bits). I The VPH format is native to the -uantel Video Paintbox. ,t uses 39 bits per pixels (more than 7= millions of colors). Although the VPH format use stencils and la ers% TVPaint Animation Pro does not translate its la ers into VPH la ers at this time. The other export formats are classified in the table below.
Appendix
A-?
The main characteristics of the export formats & /xport Animation Ima)e or Ima)e 2ile format 1 as sin)le file se'uence TVP (AC" F,") .,P AV, G,# -C,C;T,F1 #0, P*G PCA /C*"A/T1" P/. TGA GPG *olors 3 bits 1 456 colors une couleur transparente 4& bits 76 888 476 colors "ave Opacit"ave *ompression La-ers Other options
HFP
in TVPaint -
,0HF T,## /G, /6#T,FAG1
( !isponible 9 possible pour ce format de fichier
( Non disponible ou non recommand: pour ce format de fichier
A-=
Appendix
The available ke board shorcuts and commands
The available #e-board shorcuts and commands

;*ommands< < 7 3 5 9 ? = > @ 8 7< 77 73 75 79 7? 7= 7> 7@ 78 3< 37 33 35 39 3? 3= 3> 3@ 38 5< 57 53 55 59 5? 5= 5> 5@ 58 9< 97 93 95 99 9? 9= 9> 9@ 98 ?< ?7 ?3 ?5 ?9 ?? ?= ?> ?@ ?8 =< =7 =3 =5 =9 =? == J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J Tools& "ight Fouse Hutton Cndo& Fulti "edo Cndo& 0ast Action Color& Pick Color& Pick H Color TVPaint Animation& Fagic *umber TVPaint Animation& 'elp ,mage Huffer& 'old ,mage Huffer& #etch /pare& Cop To /pare& 1xchange Clipboard& /ave ,mage Clipboard& 0oad ,mage Clipboard& /ave Hrush Clipboard& 0oad Hrush #ile Pro+ect& *ew #ile Pro+ect& 0oad #ile Pro+ect& /ave #ile Pro+ect& /ave As #ile Pro+ect& Close TVPaint Animation& -uit TVPaint Animation& *o Horder TVPaint Animation& ,conif Printer& Config Printer& Print Twain& AcDuire #ile ,mport& /eDuence #ile ,mport& Hrush #ile 1xport& /eDuence #ile 1xport& Hrush ,nterface& 6pen Fain Panel ,nterface& 6pen Fenu Panel ,nterface& Toggle Tools Panel ,nterface& 6pen Tools Panel ,nterface& Close Tools Panel ,nterface& Toggle #A Panel ,nterface& 6pen #A Panel ,nterface& Close #A Panel ,nterface& 6pen Time 0ine Panel ,nterface& 6pen A/heet Panel ,nterface& 6pen Pro+ect Panel ,nterface& Toggle 0ightTable Panel ,nterface& 6pen 0ightTable Panel ,nterface& Close 0ightTable Panel ,nterface& Toggle Palette Panel ,nterface& 6pen Palette Panel ,nterface& Close Palette Panel ,nterface& Toggle 0a er Panel ,nterface& 6pen 0a er Panel ,nterface& Close 0a er Panel ,nterface& Toggle *avigator Panel ,nterface& 6pen *avigator Panel ,nterface& Close *avigator Panel ,nterface& Toggle "emote Panel ,nterface& 6pen "emote Panel ,nterface& Close "emote Panel ,nterface& Toggle Gradient Panel ,nterface& 6pen Gradient Panel ,nterface& Close Gradient Panel ,nterface& Toggle Coordinates Panel ,nterface& 6pen Coordinates Panel ,nterface& Close Coordinates Panel ,nterface& Toggle Paper Panel ,nterface& 6pen Paper Panel ,nterface& Close Paper Panel ,nterface& Toggle Guides Panel ,nterface& 6pen Guides Panel => =@ =8 >< >7 >3 >5 >9 >? >= >> >@ >8 @< @7 @3 @5 @9 @? @= @> @@ @8 8< 87 83 85 89 8? 8= 8> 8@ 88 7<< 7<7 7<3 7<5 7<9 7<? 7<= 7<> 7<@ 7<8 77< 777 773 775 779 77? 77= 77> 77@ 778 73< 737 733 735 739 73? 73= 73> 73@ 738 75< J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J ,nterface& Close Guides Panel ,nterface& Toggle Grid Panel ,nterface& 6pen Grid Panel ,nterface& Close Grid Panel ,nterface& 6pen Video Grabber Panel ,nterface& 6pen Preview /ettings Panel ,nterface& 6pen Preferences Panel ,nterface& 6pen .ispla Panel ,nterface& 6pen /hape /ettings Panel ,nterface& 6pen Path Fanager Panel ,nterface& 6pen Pixel Tracker Panel ,nterface& 6pen Path "ecorder Panel ,nterface& 6pen Connection Panel ,nterface& 6pen Custom Panel #ile Pro+ect& "esi!e ,nterface& Configure ;e board TVPaint Animation& About ,nterface& Close :indow ,nterface& *ext Cursor 0a er& Pick 0a er 0a er& Ferge .ispla 0a er& Ferge visible 0a er& Ferge /elected 0a er& Fake Anim 0a er& "ename 0a er& /elect All 0a er& /elect ,mage #rom ;e s 0a er& .elete 0a er& .uplicate 0a er& *ew 0a er& *ew 0a er #rom /elected ,mages 0a er& ,nsert /ingle ,mage Hefore Current ,mage 0a er& ,nsert /ingle ,mage After Current ,mage 0a er& .uplicate /ingle ,mage 0a er& ,nsert ,mages Hefore Current ,mage 0a er& ,nsert ,mages After Current ,mage 0a er& .uplicate ,mage Pro+ect& ,nsert ,mages Pro+ect& Append ,mages Pro+ect& .uplicate ,mage Pro+ect& ,nsert /ingle ,mage Pro+ect& Append /ingle ,mage Pro+ect& .uplicate /ingle ,mage Pro+ect& 'ide 6ther Pro+ect& /how All Pro+ect& 'ide Pro+ect& /how 0a er& ,nsert Tween ,mage 0a er& ,nsert Tween ,mages 0a er& "etime Pro+ect& /plit Pro+ect& .uplicate 0a er& /elect All ,mages 0a er& .elete ,mage Pro+ect& .elete ,mage Pro+ect& Previous Pro+ect& *ext 0a er& #irst 0a er 0a er& 0ast 0a er 0a er& Previous 0a er 0a er& *ext 0a er 0a er& #irst 0a er with /election 0a er& 0ast 0a er with /election 0a er& Previous 0a er with /election
Appendix
A->

757 753 755 759 75? 75= 75> 75@ 758 79< 797 793 795 799 79? 79= 79> 79@ 798 7?< 7?7 7?3 7?5 7?9 7?? 7?= 7?> 7?@ 7?8 7=< 7=7 7=3 7=5 7=9 7=? 7== 7=> 7=@ 7=8 7>< 7>7 7>3 7>5 7>9 7>? 7>= 7>> 7>@ 7>8 7@< 7@7 7@3 7@5 7@9 7@? 7@= 7@> 7@@ 7@8 78< 787 783 785 789 78? 78= 78> 78@ 788 3<< 3<7 3<3 J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J 0a er& *ext 0a er with /election 0a er& Fove 0a er Cp 0a er& Fove 0a er .own 0a er& #irst ,mage 0a er& 0ast ,mage 0a er& *ext ,mage 0a er& Prev ,mage 0a er& #irst ,mage with /election 0a er& 0ast ,mage with /election 0a er& *ext ,mage with /election 0a er& Prev ,mage with /election 0a er& *ext ;e 0a er& Prev ;e 0a er& *ext ;e with /election 0a er& Prev ;e with /election 0a er& Create ;e 0a er& .elete ;e 0a er& Toggle Auto ;e 0a er& /elect All ;e s 0a er& Toggle .ispla All 0a er& Toggle /tencil 0a er& ,nvert /tencil 0a er& /how All 0a er& 'ide All 0a er& Clear All /tencil 0a er& ,nvert All /tencil ,mage& #lip 'ori!ontall ,mage& #lip Verticall ,mage& #lip Hoth Axis 0a er& Time Koom ,n 0a er& Time Koom 6ut 0a er& 0ight Table Fode 0a er& Toggle #rames$Time Code 0a er& Toggle Hackground Fode 0a er& Hackground Fode *one 0a er& Hackground Fode Color 0a er& Hackground Fode Check Preview& Pla Preview& #lip Hook Preview& #lip Previous #rame 0a er /ound& 0oad 0a er /ound& .elete 0a er& #it To Pro+ect 0a er& #it To /election 0a er& #it To 0a er 0a er& #it To ;e 0a er& #it To /ound 0a er& #it To #rame 0a er& "everse /election 0a er& /plit 0a er& Goin /elected 0a ers 0a er& 0ink 0a er& Align 0eft 0a er& Align "ight 0a er& /lide 0a er& /lide To 0a er& Goto ,mage 0a er& 1xpand $ Collapse 0a er& /elect Current ,mage 0a er& /elect Current 0a er #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 3<5 3<9 3<? 3<= 3<> 3<@ 3<8 37< 377 373 375 379 37? 37= 37> 37@ 378 33< 337 333 335 339 33? 33= 33> 33@ 338 35< 357 353 355 359 35? 35= 35> 35@ 358 39< 397 393 395 399 39? 39= 39> 39@ 398 3?< 3?7 3?3 3?5 3?9 3?? 3?= 3?> 3?@ 3?8 3=< 3=7 3=3 3=5 3=9 3=? 3== 3=> 3=@ 3=8 3>< 3>7 3>3 3>5 3>9 J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J Koom& "otation "eset Koom& "otate M7? (counter clockwise) Koom& "otate -7? (clockwise) Koom& /hake Koom& /how full page ,nterface& #ull /creen Koom& /croll Cp Koom& /croll Cp 0eft Koom& /croll 0eft Koom& /croll .own 0eft Koom& /croll .own Koom& /croll .own "ight Koom& /croll "ight Koom& /croll Cp "ight ,nterface& Toggle windows displa Koom& *ext Koom window Koom& Prev Koom window Tools& .raw .ot Tools& Toggle /tencil Tools& Toggle Paper Tools& Toggle Transparenc Tools& Toggle "ed Tools& Toggle Green Tools& Toggle Hlue Tools Hrush& ,ncrease /i!e Tools Hrush& ,ncrease /i!e 3 Tools Hrush& .ecrease /i!e Tools Hrush& .ecrease /i!e 3 Tools Hrush& Change si!e Tools Hrush& reset 0a er& Clear Tools Fode& *ext Tools Fode& Prev Tools Fode& .efault .rawing Fode& <7 (Color) .rawing Fode& <3 (Hehind) .rawing Fode& <5 (1rase) .rawing Fode& <9 (Panto) .rawing Fode& <? (Ferge) .rawing Fode& <= (/hade) .rawing Fode& <> (0ight) .rawing Fode& <@ (Colori!e) .rawing Fode& <8 (Tint) .rawing Fode& 7< (Grain) .rawing Fode& 77 (/mooth) .rawing Fode& 73 (*oise) .rawing Fode& 75 (*egative) .rawing Fode& 79 (/harp) .rawing Fode& 7? (1mboss) .rawing Fode& 7= (/olari!e) .rawing Fode& 7> (/aturate) .rawing Fode& 7@ (Cn/aturate) .rawing F ode& 78 (Add) .rawing Fode& 3< (/ub) .rawing Fode& 37 (Fultipl ) .rawing Fode& 33 (/creen) Tools Hrush& Air Tools Hrush& Pen Tools Hrush& 6il Paint Tools Hrush& :ater Color Tools Hrush& Propelling Tools Hrush& Pencil Tools Hrush& :arp Tools Hrush& /pecial Tools Hrush& Text Tools Hrush& CustomHrush Tools Hrush& Previous Tools Hrush& *ext Tools Hrush& Toggle .ispla Hrush& Toggle CutHrush Hrush& Cut "ectangle Hrush& Cut Fagic :and
A-@
Appendix

3>? 3>= 3>> 3>@ 3>8 3@< 3@7 3@3 3@5 3@9 3@? 3@= 3@> 3@@ 3@8 38< 387 383 385 389 38? 38= 38> 38@ 388 5<< 5<7 5<3 5<5 5<9 5<? 5<= 5<> 5<@ 5<8 57< 577 573 575 579 57? 57= 57> 57@ 578 53< 537 533 535 539 53? 53= 53> 53@ 538 55< 557 553 555 559 55? 55= 55> 55@ 558 59< 597 593 595 599 59? 59= J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J Hrush& Cut Pol Hrush& Cut #reehand Hrush& .ouble /i!e Hrush& 'alve /i!e Hrush& Toggle 'andle Corner Hrush& Fove 'andle Corner Hrush& 6utline Hrush& .ouble :idth Hrush& .ouble 'eight Hrush& 'alve 'eight Hrush& 'alve :idth Hrush& #lip 'ori!ontall Hrush& #lip Verticall Hrush& "otate 8<N Hrush& "otate -8<N Hrush& "otate Hrush& "esi!e Hrush& 6ptimi!e Hrush& 6ptimi!e /ource Hrush& Toggle Transparenc Hrush& *ext Animbrush Hrush& Previous Animbrush Hrush& Toggle /tamp$Hrush /hape& Appl /hape& #reehand .ot /hape& /ingle .ot /hape& #reehand /hape& #reehand #ill /hape& Circle /hape& Circle #ill /hape& 0ine /hape& Pol #ill /hape& #lood #ill /hape& /pline /hape& /pline #ill /hape& "ectangle /hape& "ectangle #ill /hape /elect& #ree'and /hape /elect& "ectangle /hape /elect& 1llipse /hape /elect& Fagic:and /hape /elect& /pline /hape /elect& Clear /hape /elect& ,nvert /hape /elect& Cop To CustomHrush /hape /elect& Cut To CustomHrush /hape /elect& Cop To *ew 0a er /hape /elect& Cut To *ew 0a er /hape Transform& Pan /hape Transform& Position /hape Transform& :arp Tools Pantograph& /et Tools 'ealing& /et Tools& Crop Tools& Koom TVPaint Animation& Cop /election TVPaint Animation& Paste TVPaint Animation& Cut /election TVPaint Animation& /elect All TVPaint Animation& .elete /election Color& Cp Color& .own Color& "ight Color& 0eft Color& ,nvert A$H Color& 'ue OO Color& 'ue PP Color& /aturation Color& /aturation M Color& 0uminosit Color& 0uminosit M Color& "ed 59> 59@ 598 5?< 5?7 5?3 5?5 5?9 5?? 5?= 5?> 5?@ 5?8 5=< 5=7 5=3 5=5 5=9 5=? 5== 5=> 5=@ 5=8 5>< 5>7 5>3 5>5 5>9 5>? 5>= 5>> 5>@ 5>8 5@< J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J Color& "ed M Color& Green Color& Green M Color& Hlue Color& Hlue M Gradient& *ext Gradient& Previous Gradient& 0oad Gradient& /ave Gradient& .efault Gradient& ,nvert Grid& Toggle Grid& /nap Grid& .ispla Guides & Toggle Guides & /nap Guides & .ispla Guides & Add Guides & "emove .ispla & /how /afeArea .ispla & /how #ieldChart .ispla & /how /tencil .ispla & /how /election .ispla & /how Paper Grab & Video ,nput Grab & /witch Fodes Grab & Grab 0ength Grab & ,ncrease Grab 0ength Grab & .ecrease Grab 0ength HookFarks& /et HookFarks& Clear HookFarks& Toggle HookFarks& *ext HookFarks& Previous
Appendix
A-8

;"hortcuts< a b c d e f g h i + k l m n o p D r s t u v w x ! shift a shift b shift c shift d shift e shift f shift g shift h shift i shift + shift k shift l shift m shift n shift o shift p shift D shift r shift s shift t shift u shift v shift w shift x shift shift ! ctrl a ctrl b ctrl c ctrl d ctrl e ctrl f ctrl g ctrl + ctrl k ctrl l ctrl n ctrl o ctrl p ctrl D ctrl r ctrl s ctrl t ctrl u J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J Koom& /hake Hrush& Toggle CutHrush Hrush& "otate /hape& #reehand Tools Hrush& *ext /hape& #lood #ill Grid& Toggle Hrush& 'alve /i!e Pro+ect& Append ,mages /pare& 1xchange none /hape& 0ine Koom& *ew Koom window Color& ,nvert A$H Hrush& 6utline ,nterface& Toggle Palette Panel /hape& /pline /hape& "ectangle /hape& #reehand .ot Tools Hrush& Text Cndo& 0ast Action ,nterface& #ull /creen Preview& #lip Hook Hrush& #lip 'ori!ontall Hrush& #lip Verticall Hrush& "esi!e ,nterface& Toggle Tools Panel 0a er& Toggle Hackground Fode Tools 'ealing& /et ,nterface& 6pen Preferences Panel none 0a er& Goto ,mage ,nterface& 6pen Grid Panel Hrush& .ouble /i!e Pro+ect& ,nsert ,mages /pare& Cop To 0a er& Clear #ile Pro+ect& 0oad none #ile Pro+ect& *ew Hrush& Toggle 'andle Corner Tools Pantograph& /et TVPaint Animation& -uit none #ile Pro+ect& /ave none Cndo& Fulti "edo Koom& /how full page #ile Pro+ect& Close Hrush& .ouble :idth Cndo& Fulti "edo Hrush& "otate 8<N TVPaint Animation& /elect All none TVPaint Animation& Cop /election TVPaint Animation& Fagic *umber Tools Hrush& Previous 0a er& /lide To none none ,nterface& Configure ;e board 0a er& 0ight Table Fode 0a er& *ew Pro+ect& 'ide 6ther Pro+ect& /how All none none 0a er& /elect ,mage #rom ;e s J none J none ctrl v ctrl w ctrl x /election ctrl ctrl ! < 7 3 5 9 ? = > @ 8 ctrl pad < ctrl pad 7 ctrl pad 3 ctrl pad 5 ctrl pad 9 ctrl pad ? ctrl pad = ctrl pad > ctrl pad @ ctrl pad 8 $ I M % Q & R O P S T U V W ( braDuet X Y E Z [ ) 4 \ ] ^ L _ . eDual ` a b c d f7 f3 f5 f9 f? f= f> J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J TVPaint Animation& Paste none TVPaint Animation& Cut Hrush& #lip Verticall Cndo& 0ast Action ,nterface& Toggle 0a er Panel Koom& /croll .own 0eft Koom& /croll .own Koom& /croll .own "ight Koom& /croll 0eft Koom& Center Koom& /croll "ight Koom& /croll Cp 0eft Koom& /croll Cp Koom& /croll Cp "ight none ,nterface& 6pen Time 0ine Panel ,nterface& 6pen A/heet Panel ,nterface& 6pen Pro+ect Panel none none none none none none Tools Hrush& .ecrease /i!e 3 Tools Hrush& ,ncrease /i!e 3 Tools Hrush& .ecrease /i!e Tools Hrush& ,ncrease /i!e 0a er& Pick 0a er Color& Pick Tools Hrush& reset none Koom& 6ut Koom& ,n none none none none none none ,mage& #lip 'ori!ontall ,nterface& Toggle Coordinates Panel none none none none none ,mage& #lip Verticall none none none none none none 0a er& Toggle .ispla All none none none none none TVPaint Animation& 'elp .rawing Fode& <7 (Color) .rawing Fode& <3 (Hehind) .rawing Fode& <5 (1rase) .rawing Fode& <9 (Panto) .rawing Fode& <? (Ferge) .rawing Fode& <= (/hade)
A-7<
Appendix

f@ f8 f77 f73 ctrl f7 ctrl f3 ctrl f5 ctrl f9 ctrl f? ctrl f= ctrl f> ctrl f@ ctrl f8 ctrl f77 ctrl f73 shift f7 shift f3 shift f5 shift f9 shift f? shift f= shift f> shift f@ shift f8 shift f77 shift f73 ctrl shift f7 ctrl shift f3 ctrl shift f5 ctrl shift f9 ctrl shift f? ctrl shift f= ctrl shift f> ctrl shift f@ ctrl shift f8 ctrl shift f77 ctrl shift f73 space tab shift tab ctrl tab ctrl shift tab home shift home ctrl home ctrl shift home J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J .rawing Fode& <> (0ight) .rawing Fode& <@ (Colori!e) Koom& /how full page ,nterface& Toggle windows displa none none none ,nterface& Close :indow none none none none TVPaint Animation& ,conif TVPaint Animation& *o Horder none none none none none none none none none none none none none none none none none none none none none none none Tools& "ight Fouse Hutton Pro+ect& *ext Pro+ect& Previous Koom& *ext Koom window Koom& Prev Koom window 0a er& #irst ,mage none 0a er& #irst 0a er none end ctrl end shift end ctrl shift end del shift del ctrl del ctrl shift del insert shift insert ctrl insert ctrl shift insert backspace shift backspace up shift up ctrl up ctrl shift up down shift down ctrl down ctrl shift down left shift left ctrl left ctrl shift left right shift right ctrl right ctrl shift right page up shift page up J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J 0a er& 0ast ,mage 0a er& 0ast 0a er none none TVPaint Animation& .elete /election TVPaint Animation& .elete /election none none Koom& "otation "eset none none none 0a er& Clear /hape /elect& Clear 0a er& Previous 0a er 0a er& Previous 0a er with /election 0a er& Fove 0a er Cp HookFarks& Toggle 0a er& *ext 0a er 0a er& *ext 0a er with /election 0a er& Fove 0a er .own Color& .own 0a er& Prev ,mage 0a er& Prev ,mage with /election Hrush& Previous Animbrush HookFarks& Previous 0a er& *ext ,mage 0a er& *ext ,mage with /election Hrush& *ext Animbrush HookFarks& *ext 0a er& Prev ;e Koom& "otate M7? (counter clockwise) none none 0a er& *ext ;e Koom& "otate -7? (clockwise) none J none none none none none
ctrl page up J ctrl shift page up J page down J shift page down J ctrl page down J ctrl shift page down mmb J shift mmb J ctrl mmb J ctrl shift mmb J
Appendix
A-77
The initiali!ation file (PC onl )
The initiali=ation file ,P* onl-.

As a lot of software nowada s% TVPaint Animation Pro use an initiali!ation file in A/C,, format. This file contains a lot of parameters. ,ts name is TVPaint Animation Pro.ini and is located in the director & C:\windows\system\ C:\WINNT\SystemRoot\ on Microsoft Windows XP on Microsoft Windows 2000
,t is possible to edit this file with an text editor like *otepad from Ficrosoft :indows 'ere is the content of the file TVPaint Animation Pro.ini % b default & 2/TA"TCP4 0astEConfigJ 'omedirJC&ZProgram #ilesZTVPaint .eveloppementZTVPaint Animation Pro GeorgedirJC&ZProgram #ilesZTVPaint .eveloppementZTVPaint Animation ProZGeorgeZ TempJ.&ZtempZTVPAPZ locfileJfrench.tvpaint.loc languageJfrench
,t is possible to add comments after each line of this file. Bou onl need to add the caracter e Q f before writing it. #or instance & languageJenglish Q we will use the english language.
'ere are the options that ou can add and$or modif in this file & 'ome.ir This option indicates the director containing the executable file of the software : C:\Program Files\TVPaint Develo ement\TVPaint Animation Pro\ in Ficrosoft :indows operating s stem George.ir This option indicates the director containing the George /cript b default & C:\Program Files\TVPaint Develo ement\TVPaint Animation Pro\!eorge\ in Ficrosoft :indows operating s stem. Temp This option indicates the director containing the temporar files of TVPaint Animation Pro. Although% ou have chosen this director during the install process of the software% ou can change it here or ou can use the Preren"es Panel in the #dit main menu. 0astEConfig This option allows to know the last configuration file that ou have used with TVPaint Animation Pro. *osubtablet This option allows to fix calibration problems that are sometimes encountered with old models of graphic tablet. (it awaits the value < or 7).
A-73
Appendix
The initiali!ation file (PC onl )
Gauge
The line The line PopAJ PopBJ
!a$ge % & !a$ge % '
suppress the progress bar during the rendering calculations. disla s the progress bar during the rendering calculations.
:hen ou use the softawre% some panels such as progress bar% export panels% etc ... use to popup at the center of the screen b default. (or at the center of our first screen if ou have a dual screen configuration). This option allows ou to choose where ou want them to appear. #or instance% if ou want those panels to appear at the bottom of our screen% ou can use those settings & Po ( % & Po ) % * +&& "eD#ile*ame 0etWs suppose that ou have entered the line Re,FileName % )es .1ach time ou will have to select a file% it will make the softtware to remember the path of the last saved file. 0etWs suppose that ou have entered the line Re,FileName % No .This time% the software will not remember the path of the last saved file when using a reDuester. .irect.raw is a .irectA librar which allows to manage calculations and 3. graphics rendering. ,t allows to use the hardware acceleration of the graphic cards in order to displa datas in real time. .draw1mulation6nl 6n a few graphic cards% all the .irect.raw functions are not supported. ,n this case% it is necessar to unactivate the use of .irect.raw b writing the line & Ddraw#m$lation-nly % ' (The line Ddraw#m$lation-nly % & have the reverse effect) ..raw"gba6nl H default% the .irect.raw functions works with BCVA chanels. ,f ou want them to work with "VHA chanels% add the line & DdrawRg.a-nly % ' The line DdrawRg.a-nly % & gives the same result as the default setting. 0anguage This option allows to select the user interface language & The line lang$age % /ren"0 will make ou use the french interface The line lang$age % englis0 will make ou use the english interface 0ocfile This option indicates the name of the file containing the translations of the user interface & lo"/ile % /ren"0.tv aint.lo" for the french interface lo"/ile % tv aint.lo" for the english interface
Appendix
A-75
The technical support and internet resources

:e did our best to provide ou a detailled user-manual% with a lot of illustrated examples. 'owever% ou ma still have Duestions regarding the software. Bou can find additionnal and helpful informations about the TVPaint technolog on our website &
www tvpaint com

Bou will find & I 0astest news% about the TVPaint Technolog I Tutorials% palettes% custom brushes% papers% scripts and plug-in. I /ome user-stories% I 0astest demos and updates #or our current /oftware. I .iscussion forums with a technical support in french% english and spannish language. I A galler where hundreds of pictures and animations will show ou the possibilities given b the TVPaint solutions from its creation. ,tWs the share place R The TVPaint forums gather the discussion of our users% samples of their works as well as brushes% scripts and tips for the benefit of all. #eel free to post our own productions and to share our techniDues R Goin the TVPaint users Communit R :hen contacting us via email% forum% phone% ... please donWt forget to give us the following informations & I Bour computer (PC% Facintosh% ...)% its CPC (AF.% ,ntel% ...)% itWs amount of "AF I Bour operating s stem (apple 6/-A% Ficrosoft windows% ...) I The version of TVPaint animation Pro that ou are running & ou can find it in the about section of the software (see below) I Bour video hardware% if ou have one.
A-79
Appendix
'ere are our full coordinates &
TVPAINT !/V/LOPP/M/NT >oute de Maran)e 5843? Mai=ieres les Met= 2>AN*/ Phone 1 @AA ,?.A38 78A 5B3 2ax 1 @AA ,?.A38 78A 5BB /mail 1 tvpaintCtvpaint fr
TVPaint .eveloppement is located at Fai!ieres 0es Fet!% 7< km awa s from Fet!. Transporation means for meeting us are &
Planes 1 Fet! $ *anc 0orraine Airport - 9< ;m http&$$www.met!-nanc -lorraine.aeroport.fr$ 0uxembourg #indel Aiport - ?? ;m http&$$www.luxair.lu$fr$airport$ Trains 1 Fet! "ailwa /tation Hooking $ ,nformation /*C# & Phone & M55 (<)@ 83.5?.5?.5? http&$$www.sncf.com Met= Taxi 1 Phone & M55 (<)5 @>.?=.87.83 *ar 1 Autoroute A57% 1xit n5? #or a custom itinar & http&$$www.viamichelin.com
Appendix
A-7?

Manual TV Paint 8 Pro

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Manual TV Paint 8 Pro

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TVP Animation Pro 8.

Credits for illustrations

Lesson 0" : 0ra+ing basics

# $ % ' ' ' ( ( . . . 10 11 11 1# 1# 1$ 1% 1% 1% 1' 1' 1( 1( 1-

Lesson 0#: &pacial

anage ent of layers

11 11 11 1" 1" 1# 1$ 1$ 1' 1' 1-

Lesson 0$: Te poral

anage ent of layers

Lesson 0%: 3andling TVPaint pro,ects

*ependencies 2xport iles The project panel #ideo "rabber

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 Pro

2anaging the i ages of an ani ation layer

)or*ing +ith instances

The in*ing process

To finish the ani ation

" " " # $ $ % % . . 10 10 10 11 11 11 11

Lesson 0(: 4ther TVPaint Ani ation Pro dra+ing tools

Lesson 0-: 6sheet panel and 6sheet layers

. . 10 11 1" 1" 1# 1# 1$ 1$ 1% 1'

Lesson 0.: )or*ing +ith F6 &tac*s

Lesson 10: The effects of the 7lur and Transition groups

% ' ' ' ( ( ( . . . .

Lesson 11: The effects of the Color and 8ey groups

Lesson 1": The effects of the &tylise group

Lesson 1#: The effects of the 0istortion group

Lesson 1$: The effects of the 2otion and Paint groups

Lesson 1%: The 2otion 9 2ultiplane Ca era effect

' ( . 10 10 1" 1" 1$

Lesson 1': The effects of the :endering group

Lesson 1(: The :endering 9 Particles ;enerator effect

Le<on 1-: The advanced functions of TVPaint Ani ation Pro

Lesson 1 First approach of TVPaint Animation Pro

In this lesson you will:

irst approach of TVPaint Animation Pro

The various program panels

irst approach of TVPaint Animation Pro

The various pro!ram panels

irst approach of TVPaint Animation Pro

The various pro!ram panels

irst approach of TVPaint Animation Pro

The various pro!ram panels

Some useful tips

#ome useful tips

Close$ minimi%e or maximi%e a

#li!ers an! mini&sli!ers

irst approach of TVPaint Animation Pro

Some useful tips

The Tem%late concept will %e discussed in lesson ;.

irst approach of TVPaint Animation Pro

(or&in! with projects

!ata relative to "our project

ith several projects

(or&in! with projects

'orking in fullscreen mo!e

The Help main menu

The 5elp main menu

The Check for Updates option

To +uit the program

The confirmation window opposite then appears.

#ave the configuration

Lesson 0.: )oring +ith F6 &tacs