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WELCOME TO CLASSIC TWEENING.
CLASSIC TWEENING IS JUST ANIMATING SYMBOLS,
SO WE'RE LOOKING AT SOME EXAMPLES HERE THAT I SET UP.
SO EVERYTHING YOU'RE LOOKING AT HERE
IS A SYMBOL GOING FROM ONE INSTANCE OF A SYMBOL
TO ANOTHER INSTANCE OF A SYMBOL.
HERE WE JUST HAVE A SQUARE THAT JUST CHANGES IN SCALE.
HERE WE HAVE AN OVAL THAT STARTS OUT AS A PERFECT CIRCLE
AND ELONGATES AND CHANGES TINT.
AND HERE WE HAVE--
I'M USING THE EXACT SAME INSTANCE OF THE SYMBOL
THAT I'M USING OVER HERE.
I JUST CHANGED THE TINT ON IT
AND MADE IT GO FROM THE PERFECT SQUARE
THAT IT STARTED AT TO AN ELONGATED SQUARE
BUT MAKES FOR A TOTALLY DIFFERENT LOOK.
YOU PROBABLY WOULDN'T EVEN GUESS THAT AT FIRST.
YOU'D JUST THINK THAT IT'S LIKE A,
YOU KNOW, ALMOST LIKE A MEMORY BAR
WHILE YOU'RE WAITING FOR THE COMPUTER TO LOAD.
SO INSIDE OF FLASH,
ALL I HAVE IN MY LIBRARY IS JUST THE TWO INSTANCES.
I HAVE THE CIRCLE THAT'S USED HERE IN THE ANIMATION,
AND THEN, LIKE I SAID EARLIER,
THIS AND THIS USED THE SAME SYMBOL,
JUST VARIATIONS ON THE INSTANCE OF IT.
SO LET'S GO AHEAD AND CREATE SOME OF OUR OWN SYMBOLS.
SO WE'LL START UP A NEW FILE HERE.
AND SO THAT YOU DON'T LOSE POINTS ON THE MIDTERM
AND YOU REALLY UNDERSTAND WHAT'S GOING ON,
KEEP A CLOSE LOOK ON WHAT HAPPENS IN YOUR LIBRARY.
SO LET'S START OUT IN THIS NEW DOCUMENT HERE BY MAKING AN OVAL.
LET'S ACTUALLY JUST MAKE IT A PERFECT CIRCLE.
SO I'M GONNA GO RIGHT HERE, MAKE THIS CIRCLE.
NOW, RIGHT NOW, THIS CIRCLE IS A SHAPE,
NOTHING IN THE LIBRARY.
SO I NEED TO SELECT IT,
AND THEN HIT F8 TO GET A NEW SYMBOL.
GIVE IT A NAME.
MAKE SURE THAT THE TYPE CHOICE IS GRAPHIC.
NOW LOOK, THIS SHOWS UP IN THE LIBRARY,
ONLY ONE ITEM IN THE LIBRARY.
THAT'S GONNA BE SIGNIFICANT, AND I'LL EXPLAIN LATER WHY.
OKAY, SO IF I WANT THIS JUST TO LOOK LIKE IT'S GROWING,
I'M GONNA COME OVER HERE,
LET'S MAKE THAT HAPPEN OVER TWO SECONDS.
I'M GOING TO HIT F6.
NOW, WHAT I HAVE IS ONE INSTANCE OF THE SYMBOL HERE.
WHEN I DID AN F6, IT COPIED THE CONTENTS OVER TO HERE,
BUT IT MAKES--IT'S ANOTHER INSTANCE OF THE SYMBOL.
SO I CAN ALTER THIS INSTANCE OF THE SYMBOL.
I'M GOING TO HOLD DOWN THE SHIFT KEY
AND STRAIN THE PROPORTIONS HERE AND RELEASE THAT SHIFT KEY.
AND SO NOW, IN THE FIRST FRAME,
I HAVE AN INSTANCE OF THE SYMBOL THAT'S SMALL,
STAYS SMALL UNTIL WE GET HERE.
NOW, VERY SIMILAR TO SHAPE TWEENING,
I'M JUST GOING TO RIGHT CLICK SOMEWHERE
BETWEEN THOSE TWO KEYFRAMES,
ONLY THIS TIME,
I'M GOING TO SELECT CLASSIC TWEEN.
AND NOTICE THAT IT WOULDN'T EVEN ALLOW ME TO SELECT SHAPE TWEEN
'CAUSE YOU CAN ONLY SHAPE TWEEN SHAPES.
WE NOW HAVE SYMBOLS,
SO WE HAVE TO DO CLASSIC TWEEN.
NOW, JUST QUICKLY, YOU CAN ALSO DO MOTION TWEENING,
WHICH IS A LITTLE MORE ADVANCED,
AND YOU MAY ACCIDENTALLY HEAR ME REFER
TO THIS AS MOTION TWEENING
BECAUSE WHAT WE'RE ABOUT TO DO, A CLASSIC TWEEN,
USED TO BE CALLED MOTION TWEENING.
IT'S KIND OF A LONG STORY.
BUT JUST REMEMBER THAT FOR NOW,
WE'RE JUST GOING TO BE WORKING WITH EITHER SHAPE TWEENS
OR CLASSIC TWEENS.
SO YOU SELECT CLASSIC TWEEN,
YOU CAN SEE THE COLOR IS A LITTLE BIT DIFFERENT
THAN IT WAS WITH THE SHAPE TWEEN.
AND IF WE SCRUB THIS PLAYHEAD, WE GET THIS EFFECT.
AND THIS IS VERY MUCH LIKE THE CAMERAMAN
STARTS WALKING CLOSER AND CLOSER TO THE OBJECT.
OR ANOTHER THING WOULD BE LIKE YOU'RE DRIVING IN YOUR CAR,
AND THERE'S A ROCK IN THE MIDDLE OF THE ROAD
AND YOU GET CLOSER AND CLOSER TO IT AND BOOM.
SO LET'S JUST PREVIEW THAT, SEE WHAT THAT LOOKS LIKE.
THAT'S JUST GONNA LOOP OVER AND OVER.
CLASSIC TWEENS ARE GREAT WHEN YOU JUST WANT TO MOVE
AN OBJECT AROUND ON THE STAGE
WHETHER IT'S CHANGING SCALE OR ANY OF THAT,
YOU KNOW, COULD BE AN ADDITION.
BUT VERY OFTEN,
YOU'LL MAKE SOMETHING LIKE MAYBE A LITTLE CAR MOVING AROUND
OR, YOU KNOW, AN AIRPLANE, WHATEVER.
SO LET'S TRY ANOTHER EXAMPLE HERE.
THIS TIME, WHAT I WANNA DO IS--EVENTUALLY,
I WANT TO MAKE A PERFECT SQUARE TURN INTO A RECTANGLE.
SO I NEED TO DO ALL OF THIS STUFF ON SEPARATE LAYERS.
YOU DON'T WANT TO DO SHAPE TWEENING--
YOU DON'T WANT TO DO THESE ON THE SAME LAYER,
SO WE MAKE A NEW LAYER.
WE SHOULD NAME OUR LAYERS.
SO WE'LL GO TO THE FIRST FRAME OF THIS LAYER,
LET'S JUST CHANGE THE COLORS UP A LITTLE BIT HERE,
BACK INTO PROPERTIES,
GRAB THE RECTANGLE TOOL.
OKAY. SO THIS IS A SHAPE.
SO FIRST THING I NEED TO DO IS DO MY F8,
CONVERT THAT INTO A SYMBOL,
AND SO YOU JUST CALL THAT RECTANGLE,
MAKE SURE THAT IT'S A GRAPHIC, CLICK OKAY.
NOW, IF I GO TO THE LIBRARY,
YOU CAN SEE JUST TWO ITEMS IN THERE.
SO FIRST, LET'S JUST MAKE THIS MOVE ACROSS THE STAGE.
SO I'M GOING TO DO AN F6 OVER HERE.
AND STAYING OVER IN THIS AREA,
I AM GOING TO NOW MOVE THIS SO IN THE FIRST FRAME
IT'S LOCATED OVER HERE,
AND THE LAST KEYFRAME IS LOCATED OVER HERE.
RIGHT CLICK BETWEEN THOSE TWO KEYFRAMES
AND SELECT CLASSIC TWEEN.
IF I SCRUB THE PLAYHEAD,
IT JUST MOVES ACROSS LIKE THIS.
IF I WANT IT TO LOOK LIKE IT'S CHANGING INTO A RECTANGLE,
I CAN JUST GO OVER HERE AND EITHER STRETCH IT
THIS WAY OR THIS WAY.
AND NOW, WHEN I PREVIEW THE MOVIE,
IT'S GOING TO LOOK LIKE IT'S CHANGING AS IT MOVES.
YOU HAVE ALL THOSE OPTIONS THAT WE TALKED ABOUT IN CLASS
AND IN THE PREVIOUS VIDEOS TO CHANGE THE COLORS OF THIS.
JUST A QUICK REMINDER, YOU WOULD SELECT THE OBJECT,
GO INTO PROPERTIES, UNDER COLOR EFFECTS,
TWIRL THIS DOWN, YOU CAN CHANGE THE TINT AND SO ON AND SO ON.
NOW, IF YOU WANTED TO MAKE THIS LOOK MORE LIKE THE BAR,
WHERE IT GOES FROM HERE,
AND A BAR MOVES ACROSS THE STAGE,
THEN ALL I'M GOING TO DO IS MOVE THIS OVER HERE LIKE THIS,
SO IT'S TOUCHING THERE.
AND THEN IN THIS LAST FRAME, JUST TO MAKE IT EASIER FOR NOW,
I'M JUST GOING TO DELETE THIS, THEN I'M GOING TO GO OVER HERE.
I CAN'T DO IT HERE, GO HERE, PRESS F6.
AND JUST TO KEEP THINGS NEAT, I'LL DO AN F5 TO MOVE THAT OVER.
CLICK ON THIS ONE AND DO A SHIFT F5 TO DELETE THAT.
AND SO NOW, THERE'S NOTHING HAPPENING HERE YET,
BUT I NEED TO GO TO THE LAST FRAME,
CLICK ON THIS WITH THE FREE TRANSFORM TOOL
AND THEN JUST CLICK AND STRETCH THAT OUT.
AND I DON'T CARE THAT IT'S GOING OFF IN THIS OTHER DIRECTION,
DOESN'T REALLY MATTER.
AND IT'S--MAKES IT EASIER
NOT TO EVEN THINK OR WORRY ABOUT IT.
NOW, TO HELP YOU OUT WITH THE MIDTERM,
I WANT TO TALK ABOUT SOMETHING SPECIFICALLY NOT TO DO.
SO I'LL CREATE A NEW DOCUMENT SO IT'S CRYSTAL CLEAR
WHAT'S HAPPENING HERE.
LET'S START OUT WITH THE FRESH LIBRARY.
AND I WOULD SAY THIS IS PROBABLY THE NUMBER ONE STUDENT MISTAKE
WITH SHAPE TWEENS.
I'M SORRY, WITH CLASSIC TWEENING.
SO LET'S SAY THAT I JUST WANTED TO MAKE THIS BAR
MOVE ACROSS THE STAGE.
LET'S SAY FROM THIS CORNER BOUND MORE TOWARDS THIS CORNER.
NOW, YOU KNOW, BECAUSE YOU'RE A GOOD STUDENT--
OR YOU WOULDN'T BE WATCHING THIS VIDEO--
THAT YOU--FIRST THING IS TO CHANGE THIS INTO A SHAPE TWEEN.
I'M SORRY, CHANGE IT INTO A SYMBOL, OKAY?
BUT A LOT OF PEOPLE FORGET THAT STEP.
SO WHAT THEY DO IS THEY SAY, OKAY,
I JUST NEED THIS TO GO FROM HERE, DOWN TO HERE,
SO THEY COME OVER HERE.
THEY DO A F6, MOVE THIS OVER HERE.
AND THEN THEY SAY, OKAY, IT'S NOT CHANGING SHAPE,
SO I'M NOT GOING TO DO A SHAPE TWEEN.
I'M GONNA COME OVER HERE AND DO A CLASSIC TWEEN.
IT USED TO BE THAT THE PROGRAM
WOULDN'T LET YOU DO A CLASSIC TWEEN
BECAUSE THEY'RE NOT SYMBOLS.
BUT I THINK OUT OF FRUSTRATION FOR PEOPLE
THAT WERE SUPER ROOKIES IN THE PROGRAM
IT SAYS, ALL RIGHT.
WE'LL LET YOU DO A CLASSIC TWEEN.
BUT WATCH WHAT HAPPENS.
AS SOON AS I CLICK CLASSIC TWEEN,
EVERYTHING WORKED GREAT.
YOU THINK YOU DID A GOOD THING.
BUT IF YOU LOOK IN THE LIBRARY, LOOK WHAT WE HAVE.
WE HAVE TWEEN ONE, AND WE HAVE TWEEN TWO.
THE WHOLE PURPOSE OF USING SYMBOLS IS TO CUT DOWN
ON THE AMOUNT OF STUFF THAT YOU HAVE IN THE LIBRARY
TO MAKE YOUR VIDEOS MORE EFFICIENT.
SO IF I SEE THIS KIND OF GARBAGE IN YOUR LIBRARY ON THE MIDTERM,
YOU'LL LOSE POINTS.
IT JUST TELLS ME THAT YOU DON'T QUITE GET IT.
YOU'RE NOT, FIRST, MAKING THE SYMBOL
AND THEN DOING THE ANIMATION.
SO IF THIS HAPPENS,
IT'S JUST AS SIMPLE AS, CLEAN OUT THE LIBRARY.
IF YOU NOTICE IT BEFORE IT'S TOO LATE,
YOU CAN JUST COMMAND Z--
LET ME MAKE SURE I HAVE IT SELECTED--
COMMAND Z A FEW TIMES
AND ALL YOUR STUFF WILL GO AWAY.
AND YOU'LL BE BACK TO WHERE YOU STARTED HERE.
OH, AND I GUESS EVEN THEN,
YOU'D STILL HAVE TO GRAB THESE TWO THINGS IN THE LIBRARY
AND THEN COME DOWN HERE TO THE TRASH CAN
AND DELETE THEM.
NOW, WE'RE GOING TO TALK ABOUT EASING IN AND EASING OUT,
WHICH IS A WAY TO GIVE YOUR VIDEO A MORE REALISTIC APPROACH.
IF YOU HAD A CAR, FOR EXAMPLE, MOVING FROM HERE TO HERE,
IT PROBABLY WOULDN'T BE GOING THE EXACT SAME SPEED,
ESPECIALLY IF IT STARTED OUT FROM A DEAD STOP HERE.
SO WHAT I'M GOING TO DO
IS I'M GOING TO MAKE THREE MOVIES
THAT LOOK LIKE A PRETTY BAD EXAMPLE OF A CAR,
BUT IT'S BETTER THAN NOTHING,
AND WE'RE GOING TO KEEP ONE NORMAL,
PUT AN EASE IN ON ONE AND AN EASE OUT ON ANOTHER.
SO I'M JUST GOING TO ADD SOME
WHEELS TO THIS AND CONVERT IT TO A SHAPE,
AND I'LL BE RIGHT BACK.
NOW, SO I HAVEN'T CONVERTED THIS TO A SYMBOL YET.
I HAVE THE RECTANGLE TOOL.
I'LL HOLD DOWN THE SHIFT KEY TO MAKE A PERFECT SHAPE HERE.
I WILL GRAB THIS THING,
HOLD DOWN THE OPTION KEY
AND DRAG IT TO MAKE A COPY OF IT.
AND THEN JUST PLACE A WHEEL HERE AND A WHEEL HERE.
SO MAYBE IT'S A WAGON, NOT A CAR.
THEN I WILL SELECT THIS WHOLE THING.
DO THE F8, CONVERT THAT INTO A SYMBOL.
OKAY, SO WE NOW HAVE A VIDEO
THAT JUST LOOKS LIKE A LITTLE WAGON GOING ACROSS THE SCREEN.
I'M GOING TO LOOK AT TEXT LAYER AND JUST ADD SOME TEXT
SO THAT I CAN DEFINE WHICH ONE IS WHICH,
AND THEN I'LL SHOW YOU
HOW TO COPY THE SAME ANIMATION OVER AND OVER.
OKAY, SO LET'S GRAB THIS TEXT HERE
AND SHRINK IT DOWN A LITTLE BIT.
AND THEN I COULD JUST REPEAT THAT SEVERAL TIMES.
BUT JUST TO MAKE MY LIFE EASIER, I'LL HOLD DOWN THE OPTION KEY,
MAKE A COUPLE COPIES OF THAT,
AND I CAN JUST GO IN AND DO A LITTLE BIT OF EDITING.
SO NOW, I WANT THREE VERSIONS OF THIS ANIMATION.
SO EASIER THAN RECREATING THIS ANIMATION OVER AND OVER AGAIN
WOULD BE TO JUST MAKE TWO MORE LAYERS,
AND THEN WE'RE JUST GOING TO COPY WHAT'S FROM HERE--
SO CLICK--TO HERE--
SHIFT CLICK--
THEN ACT LIKE I'M GOING TO MOVE IT,
SIMPLE CLICK AND A DRAG,
BUT I'M GOING TO HOLD DOWN THE OPTION KEY.
NOW I HAVE A COMPLETE COPY OF THAT.
GOING TO DO THAT ONE MORE TIME--CLICK,
SHIFT--OOPS--CLICK, SHIFT CLICK,
CLICK AND DRAG.
PUSH THAT OPTION KEY DOWN,
RELEASE THE MOUSE,
RELEASE THE OPTION KEY--
OOP, WE GOT THAT A LITTLE OUT OF ALIGNMENT THERE,
SO I'LL DRAG THAT OVER.
CLICK ON THERE, DO A SHIFT F5.
OKAY, SO YOU CAN'T TELL
BECAUSE THEY'RE ALL ONE ON TOP OF EACH OTHER.
SO LET'S DO THIS.
I'M GONNA NAME THESE PROPERLY,
AND THEN WE'RE GOING TO USE THE SELECT MULTIPLE FRAMES
TO EDIT THE FRAMES.
NORMALLY IN THE PROGRAM,
YOU CAN ONLY GRAB WHAT'S IN ANY ONE FRAME AT A TIME.
IT'S IMPOSSIBLE TO GRAB WHAT'S IN THE FIRST
AND THE LAST FRAME AT THE SAME TIME,
BUT THAT'S EXACTLY WHAT WE WANT TO DO.
SO LET'S START WITH--
WE'LL LEAVE IN EXACTLY WHERE WE WANT IT.
SO I'M GONNA LOCK IT.
AND LET'S MOVE NO EASE.
SO LET'S JUST HAVE THAT BE THE ONLY ONE THAT'S UNLOCKED.
WE'LL TURN ON EDIT MULTIPLE FRAMES RIGHT HERE,
THIS LITTLE BUTTON.
AND THEN I WILL DRAG
THE--WHAT I CALL THE RIGHT PARENTHESIS
ALL THE WAY OUT HERE.
THIS ALLOWS ME NOW WHATEVER SELECTION I MAKE,
WHICH I'LL SELECT ALL OF THIS,
AND THEN I WILL MOVE THIS DOWN TO HERE.
OKAY, NOW, IT LOOKS LIKE MAYBE YOU DIDN'T COPY
WHAT WAS OVER HERE, BUT TRUST ME, YOU DID.
IT'S JUST WE DON'T SEE IT
BECAUSE THAT LAYER IS TURNED OFF.
SO WE ONLY SEE WHAT'S ON THE FIRST FRAME OF THAT LAYER. OKAY.
SO NOW, LET'S DO THE SAME THING FOR THE OUT.
SO WE'RE GONNA GO OVER HERE.
UNLOCK THIS LAYER, CLICK ON THIS ONE.
AGAIN, WE WANNA MAKE SURE THAT EDIT MULTIPLE FRAMES
IS SELECTED ALL THE WAY ACROSS.
EVERYTHING IS SELECTED BUT CAR OUT.
I'LL JUST DESELECT EVERYTHING AND THEN SELECT AGAIN.
AND I'M JUST GOING TO MOVE THIS DOWN HERE.
AND NOW, IF WE TURN OFF EDIT MULTIPLE FRAMES
AND SCRUB THE PLAYHEAD,
WE CAN SEE THAT WE HAVE WHAT WE WANT HERE,
ALL THREE VEHICLES.
THE PROCESS OF APPLYING AN EASE
IS A LOT LIKE APPLYING A TWEEN TO START WITH.
YOU CLICK SOMEWHERE BETWEEN THE TWO KEY FRAMES,
GO TO PROPERTIES,
AND RIGHT HERE, YOU HAVE YOUR EASE.
AND YOU CAN EASE OUT BY DRAGGING THIS WAY,
EASE IN BY DRAGGING TOWARDS THE NEGATIVE OR THE LEFT.
YOU CAN ALSO CLICK IN THERE AND TYPE IN ANY VALUE YOU WANT.
AND NOW, IF YOU PREVIEW THE MOVIE,
YOU CAN SEE THAT THE EASE IN STARTS OUT NICE AND SLOW,
EASES INTO IT,
BUT IT FINISHES AT THE SAME PLACE
AS THE OTHER LINES.
SO I'M OUT OF TIME HERE.
WE'LL FINISH THIS IN THE NEXT. �