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In this course, author Dermot O' Connor introduces a variety of real-world issues that animators commonly encounter and offers practical solutions to them in Flash. The course covers how to apply gradients to create subtle texture and light characters, reducing the flat look of most cartoons; how to simulate natural phenomenon such as wind, fire, and clouds; how to mimic 3D space; and how to add fades and transitions to create custom cuts between scenes. The course also includes a look at staggers, which can be used to create camera shake, tremor effects, and extreme character reactions.
There is another simple way to transition between two scenes and that's to use a wipe, and use the mask, in this case, to create the effect. And this is where we simply wipe the screen from one state, one scene, to the other. And this is pretty simple; can't really go wrong with it. And it's used a lot in some films; the Star Wars movies use this quite a bit. So let's have a look with the pasteboard activated, so I can see the entire Stage beyond the visible area. And let's just take a look at the mask, and that's all that's happening.
Now I've actually done a slight shape tween on that mask so that you can see it's not just moving in a completely straight line, which looks a little bit flat. And now when we see this with the area that's been unmasked, it feels a bit like a page turn. And the cool thing about this is you can make your own shapes; you are not limited to just boring left-right mask. You can go up-down, and granted there are a plenty of these in After Effects and other programs as well. But again there may be times when you want to do it in Flash, and the beauty of doing it in Flash, of course, is that you can integrate it with other effects.
So if you wanted to add, like, a little man down here running across the screen, pulling the mask, you could do that. I think it might be easier to do that kind of thing if it's all inside the one program. So just a very quick demonstration of how this was done; I am going to delete that layer, and let's just make a new layer. And I will hit F7 here to just put down the blank spot, and create the Rectangle tool. And the mask can be any color. It's not going to be visible; it's only there as a guide. You could even leave this line on it.
So that's our first frame, and I am going to hit F6 on Frame 40 as our end frame. Click that to select the entire area of the mask, and then select the Free Transform tool, or Q, and then select this again and -- as long as you see the little handles up here, and pull it across. And the next step will be, in this case, to activate shape tweening. Actually, the nice thing about having it as a transparent color, which you can set here in the Color panel, is that you can actually see through it. You can see exactly where your thing is going.
So then I can simply bend the line and make that pretty much any shape I like depending on how much time I've got to expand on this. And the step, of course, is right-click on that new layer, make it a mask, and it'll automatically pop the layer beneath into it. And there you see that the mask has been generated. If that doesn't happen, or it falls away, it's like adding a guide layer, you simply drag the layer you want to be masked into that. You can put as many layers inside of mask as you like.
That's it. It's very simple, but keep it in mind for doing, maybe, little scene transitions, or you could have effects like, for example, a completely different effect. Let's clear this keyframe, you can do like various iris effects. And I am going to move, drag this keyframe forward to here, and again let's set another one on Frame 40, and Free Transform tool. Let's drag this out; make sure we cover the entire Stage.
We have to activate shape tweening, of course. And you can do these kind of things. So keep it in mind; occasionally it's very useful to have the ability to transition in ways that are more interesting than just a standard scene cut.
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