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A Primer on Animation Techniques.swf

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A Primer on Animation techniques

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A "short" lesson by Jerry G. Chan
(Thor, Clod of Blunders)

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foreword

anticipation

timing

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Table of Contents

Foreword (Storytelling 101)

Anticipation

Straight Ahead and Pose to Pose

Timing

Squash and Stretch

A Primer on Animation techniques

These buttons will be conviniently located at the bottom of the screen
next to the next and back buttons. Also, the left and right arrow keys will
on your keyboard will also change the page

Follow Through

2

This tutorial’s purpose is to share what I’ve learned so far about
animation and the process. It’s may not be 100% correct since I’m still
learning about it myself, but I‘d say it‘s pretty darn close. For not at
least.
This tutorial assumes you can draw relatively well (people can tell it’s a
stick figure and not a jumble of lines) and that you have some experience
with animating in flash, like how to use tweens and basic frame by frame
animation, and applies more towards character animation than anything
else.
Above everything else, you must have the patience and persistence to sit
down and animate. There are no shortcuts in making a good cartoon, so
don't expect it to be a walk in the park.
If you have any questions or corrections to whatever you see here, feel
free to drop by the forums (www.absforums.com) or send me an e-mail at
jgchan@student.umass.edu, or drop by #absflash on irc.lcirc.net

3

So why am I making this? Don’t I already have two other animation tutorials
out there? Well, this is a remake of the Snap and Keyframe animation
tutorials since both contain flaws. In fact, even this one may get remade,
so keep an eye out. I’ll keep making corrections as long as I learn more
about the process myself

Our Hero goes to College...

4

After getting schooled by this       over lunch, I realized that I had been
coming at the whole concept of animation wrong. Animation isn’t just
smooth or realistic movement, it’s about giving your creation life through
storytelling.  (a look back at my old tutorials, if they're still up, shows that
it's all about the realistic movement. It's not.)

guy

5

…in fact, I dare say that storytelling takes precedence over the actual
movement itself. If you were like me and wondered why the heck those
awfully animated TV cartoons from the 1950s-1990s were so much more
popular than wonderfully animated cartoons from the 1940s-1950s, it’s
because of the story, and way they tell the story. Stuff like Looney Tunes
and Tom and Jerry really tell the same story over and over and over again;
I’ll bet you that you can’t sit through more than an hour of Looney Tunes
nonstop without loosing attention. On the other hand, you can easily
watch an hour of television cartoons (The old days of Saturday morning
cartoons were addicting, as my parents can testify).

6

The point is, good animation isn’t fundamental to the success of a
cartoon. A cartoon with very limited animation that has a good story is
far better than a beautiful animation that tells no story. Even the ones
that make no sense at all manage to be entertaining by being able to
get the point of madness or nonsense across to the viewer
successfully.

7

I’m pretty sure this drives the point home about not needing good animation
to have a good cartoon. The animation to ryoshenron's “Defender of the
Supermart” series can be considered as very limited and, well, downright
awful; it lacks all of the tricks that come later in the lesson. However, it still
tells the story, and you follow the dude with the green hat in his crazy
(mis)adventures as he shoots things and as objects randomly blow up.
…the story may not make that much sense, but it’s still a story.

(http://www.albinoblacksheep.com/flash/supermart/)

Defender of the Supermart by

ryoshenron

8

Avidlebon animated this wonderful music video for a song she
made, but it wasn’t well received at all. The animation is superb
and the lip-sync is right on, but  since the cartoon told no story,
it wasn’t as entertaining to an audience that doesn‘t know how
hard it is to animate. When animating a cartoon, remember that
most of your audience could care less about how smooth it is if it
makes them laugh/smile/cry.

"Higher" by Avidlebon

(http://www.albinoblacksheep.com/flash/higher)

Special Thanks to                   for letting me use this video as an example. Please don't hurt me!

Avidlebon

9

MononCQC’s signature pictures. Here’s a good examples of good
storytelling without any movement at all. It provides a humorous narrative
through a vivid description of the action (i.e. it clearly shows what’s going
on) without any actual animation at all.)

signature on

absforums.com

MononCQC's

10

11

Along the lines of signatures, I made this quasi-comic as a signature a
while back. As before, it tells a story with minimal movement, but since
the backgrounds/character poses/dialogue changes, you get more of a
story out of it than if it were a static picture.

Keep this in mind whenever you animate something-
what’s the most effective way to get the point across?

With that being said, onto the actual animation techniques…

(Just keep in mind that all of these principles can be applied to any sort of animation,
from 2D to stop motion to 3D; Different mediums, same bag of tricks.)

12

There are 5 main principles of animation I’d like to focus on:

1. Anticipation
2. Straight ahead vs. Pose to Pose
3. Timing
4. Follow Through
5. Squash and Stretch

Just bear in mind that each principle interrelates to each other one.
you can use anticipation with timing and squash and stretch with follow
through, for example. I've done my best to keep them separate, but the
best animations will use all of these at the same time

13

1. Anticipation

14

Anticipation (in terms of animation) is the movement taken to get
ready for another action. As far as I know, Anticipation was originally
developed by Disney (called “aiming”) back in the late 1920s/early
1930s since the viewer would often miss visual gags if they didn’t
know a gag was coming up.

It’s used for two purposes:
1. It sets up the action so the viewer’s brain is primed for the action to
happen
2. It adds life and acting to characters; anticipation gives the illusion
of thought or that the character is getting ready to perform an action.

15

As an example, let’s have a guy jump over a puddle. Now, we can
have it look like one of those vintage pixilated games and just have
him perform the action, but then the whole process looks stiff and
rigid and not very lifelike at all. Even if frames were added in to
smooth out the action, all you would have is a stiff looking jump with
no sense of weight.

16

But, with just another pose of the guy arching his back and bending
his knees (and a fix to the position of the arms to match...) adds
more life (and believability) to the character.

17

I originally had planned to show the landing in those last couple
examples, but then I realized that even landing takes anticipation.
Here’s an example of landing with anticipation. It looks natural, right?
The guy here is preparing to catch himself as he lands so he doesn’t fall
over.

watch for the leg here. He
reaches out to catch himself

18

So what does it look like without any anticipation? Well, if you can
imagine throwing a cardboard cutout or mannequin into the air…

Since it’s not alive, it can’t anticipate for the landing. So it falls into a
jumble on the ground (sort of like a ragdoll like in those newfangled games)

19

Anticipation is one of the major differences between things that are alive
and things that are inanimate. Unless it’s a reflex, every action any living
being (minus stationary plants) will have anticipation. It’s just natural!
And speaking of natural, the magnitude of the action will indicate how
much you need to wind up. A man about to calmly speak won’t need as
much anticipation as someone winding up for a huge punch. If you find
that the cartoon isn't fluid and lifelike, you might have used too little or
too much anticipation.

20

Anticipation can also be used to save on frames as well. I’ll explain this
more later in the squash and stretch section. Here, go prepare your
brain for the lesson by watching this first:

http://www.squarefootagefilms.com/smith/movingalong.html

"Moving Along" by Pat Smith

21

2. Straightahead vs. Pose to Pose

(aka keyframing)

22

There are two methods of animation (a third if you count that method
from the Richard Williams book, but it’s a hybrid of the two): Straight
ahead and Pose to Pose (keyframing).
Straight ahead is where you draw the frames in the order that they come
in and is, well, fairly straight forward (for lack of a better description).

23

So for this example here, I drew each frame in order from left to right in
the order they would come in, as in drawing frame 1 first, then frame 2
second, then frame 3 third, and so forth. It's like drawing a flipbook.

1

2

3

4

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12

13

14

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The problem with going with straight ahead method is that if you’re
not an experienced animator (Trust me, I’m not there yet either), the
movement between each frame might not be evenly spaced, so it
might not appear as smooth. Also, if you only have X frames to get a
character from one side of the screen to another (like in a music
video), how do you know how to space it out? There’s really no way to
evenly space it and know for sure how it’ll fit in with the rest.

25

26

On the other hand, once you get the hang of straight ahead animation, the
animation tends to be more fluid since you must flow with whatever you’re
animating. One of the things I found with my cartoon Bad Day: Paddleball, is
that some of the walk/run cycles of my little characters were, well, wrong.
I had set up the walk using the pose to pose method, but when I added the
inbetweens, the whole thing looked awkward. The problem with these little
guys is that they don’t really have any joints or limbs (they have noodles),
meaning that you can’t really pose them, making the pose to pose method
unreliable. My theory right now is that if the thing you’re animating has no
joints (like ooze), go with straight ahead animation.

good gravy. I cringe whenever I see this.

27

The other method of animation is called pose to pose / keyframing. You set
up each pose and then you (or someone else) fills in the inbetween frames
later by making the next drawing the middle point of two other frames.

These first two keys (poses) are drawn first...

1st

2nd

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Then the middle positions are drawn.

3rd

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You then work from the middle outwards, adding more frames

4th

5th

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Here's an easier example: Box A turns into box B.

1. Here are the keys

2. Here's the first inbetween- the absolute middle position

3. The next inbetweens are the positions between the first and the keys

and so forth. Keep repeating to get a perfectly spaced transition from A to B

A

B

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You don’t always have to shoot for the absolute middle position. You can
ease in or out of poses, giving the impression of a sort of acceleration.

easing out (becomes faster)

4

3

2

1

easing in (slows down)

Keyframing almost guarantees a smooth animation. On my Bad Day cartoons, I
only used a framerate of 24 fps, but it look like they could've been animated
at maybe 50 fps. This is because I crammed in many inbetweens to get a
smooth transition from pose to pose, working from the middle outwards.

12 frames achieved the smooth looking animation

key

32

One of the more important concepts of keyframing is the breakdown. The
breakdown is the main transition from each, and can change the acting of
characters drastically. The keys are exactly the same in this example, but each
tells a different story.

Chris Perry pointed this one out to me (no pun intended):
Let's get from pose A to pose B

A

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If you only work towards the middle (like shown in the old keyframe tutorial), you
will end up with a smoother animation. But then the action is very weak. If this
were a cop pointing out a suspect, would he point like this?

34

But what if we make this inbetween (the breakdown) into something outside of
the straight path from A to B? It may not look at smooth (I'll show you how to
smooth it out later), but the action is more dynamic.
In short, the acting different. Breakdowns change the acting!

35

Here's yet another example of how breakdowns change the action: Let's say
this guy is putting down a box:

Okay, so we know the box is put on the table.

...but how?

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He can toss it in the air and catch it right before it lands, then place it down

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or does he slam it down?

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Pose to pose keyframing is also better to work with if you’re working in teams;
someone pushes out the keyframes, others draw the breakdowns and
inbetweens (This is how Hollywood studios in the 1930s-1960s streamlined
their animation processes).
-Just one of those things to think about if you happen to work in a team
(because obviously, internet animators always work in teams.)
If you're working by yourself, keyframing saves you time by allowing you to see
how your action will occur and how it will be timed out so you can make
adjustments before adding in all the inbetweens.
...and speaking of timing...

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3. Timing

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Compare Disney features with Looney Tunes. Looney Tunes are all
nonstop gags with a rapid pacing verses Disney’s slower paced
movies (so they can develop the characters more).
Timing is the pacing of the cartoon, from dialogue to speed of
movement to gags.

41

A faster pacing is better for funny stuff (especially physical humor)...

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Whereas a slow timing is better for serious, sad, or mundane stuff.

43

Timing is also the amount of time it takes for an action to occur. With
timing, you can give a sense of force and weight. In general:

A faster timing = more force

and a slower timing= less force

44

Weight:
Weight is one of the hardest things to portray in an animation  (realistically
anyways). You portray weight through use of anticipation and timing (and a
little something called follow-through; I'll show you what that is in the next
section)

The longer it takes for something to start or stop moving, the heavier it
will appear (think: inertia).

45

…Just throwing this one out there because it took me a while to figure out.

Many of the old masters say things like “Charlie Chaplin and Buster Keaton have excellent
timing. You should watch them!” Recently, I managed to get my paws on a set of Charlie
Chaplin movies on DVD.
...I fell asleep when I first tried to watch it (silent films really can’t compare with modern day
movies). However, there’s this one instance where he tries to pick up a heavy box and carry it
up the stairs. Shortly afterwards, he trips and tumbles downwards, where the box crushes an
old man and pins him down. Only after it dropped did I realize that the box didn’t actually
contain anything- Charlie Chaplin’s acting through his slow paced steps up the stairs made it
look like the box was heavy.

46

4. Follow Through

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Follow through basically means that nothing really comes to a sudden
stop, and that everything accelerates and decelerates into a resting
position. Just think back to those days in physics class (if you were
like me, you zoned out…) where you learned about inertia. A force will
continue to work on an object until it is stopped by an opposing force,
which, most of the time will be gravity, friction, or the characters
themselves as they move to stop their appendages from moving.

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Action

follow through

So here's a car swerving in an exaggerated manner left and right
in slow motion
Even though the car is done changing directions, the top mass of
the car still wants to go in the direction it was moving before.

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A longer follow through gives the impression of more weight. In this case, hair
would have a smaller follow through since it weighs less than a man swinging
on a vine (more inertia = more mass = more weight)

50

Remember these guys? The one on the left looks heavier because it has
a longer follow through (remember, it looks like it has to resist a larger
inertia, meaning that it has more weight). The one on the right actually
has no follow through at all, meaning that the object has little or no
mass (or that the creature is really ,really strong).

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5. Squash and Stretch

...the big one

52

Ollie Johnston and Frank Thomas call “Squash and Stretch” the most
important discovery of the fundamental principles of animation in their
book Disney animation: The Illusion of Life, and with good reason.
Squash and stretch is probably the most versatile principle there is, and
you can squash and stretch just about anything to either give the heavy
force, add acting, or give the illusion of fast movement.

53

You don't even have to change the shape of the body/object that
drastically, but squash and stretch occurs in real life with the human body
(so don't think "I want to keep this cartoon hyper realistic, so I can't squash
and stretch anything!")

compare the different sides of the ribs. When you
lift your arm, the muscles in your side should
stretch out from your side.

when you talk or change expressions,
everything in your face either stretches or
squashes (is that even a word?). The soft
tissues will all move with each other, while
the rigid bone structure will remain the
same (with the exeption of the Jaw, as it
can move foward, backwards, pivot, etc.)

54

You can squash objects to make it look like it had a harder impact. Just
remember to keep the volumes consistant.

compare left and right. Squashing the hammer gives a
different mood than without the squash.

55

You can squash and stretch things to add acting to just about anything.

this box looks like it's sighing

it looks like this mere circle is thinking about jumping,
and then jumping on it's own power

56

I saw this one in a book about Chuck Jones and later saw it in the Richard
Williams movie The Thief and the Cobbler. As a character falls...

his head is held in position as the rest of the
body stretches as it falls. This allows you to
see the emotion on the character's face
longer and get more of a reaction out of the
audience. And then the head is slingshotted
downwards to the body.
At least I thought it was interesting

57

If you were to take a still frame of a
movie of someone moving quickly,
you'll see that whatever moving fast
looks stretched out.
That saying that the hand moves
faster than the eye is correct; there's
a phenomenon with our vision called
the "persistance of light", where the
image of something will still appear
to be there for a split second. This
causes something moving fast to
appear stretched out.

+

=

this is Nick, some crazy kid that lives
in the room next to mine.

58

You remember this guy, right? right now the animation looks a little
choppy. This is because it uses only one frame to show the transition
between the breakdown and the keys. We could smooth it out by adding
in more frames, but then we'd loose the fast timing of the action.

59

Or we can keep the timing of the action by stretching out the arms,
imitating what we'd see in a camera. Mimicking what a camera does adds
to the believability of a cartoon, no matter how outlandish the subject
matter is ("Suspension of Disbelief"... go pick up a psychology book)

60

Motion blurs can be done using either the straight ahead
method or with the pose to pose method. I do most of
them with the pose to pose method with the blur as part
of the breakdown, but you can use blurs with the straight
ahead method as long as each one leads into each other

61

Some more motion blurs. The faster the move, the larger the blur.

Blurs are most effective when used with anticipation (prepares the eye for
the distorted image) and with a follow through (shows how how strong the
action was). Look for the 1 anticipation frame and the 4 follow through
frames in the blue ball one above this, and compare how it looks to the guy
with the hammer (with no anticipation or follow through frames)

62

Not all major animation studios use motion blurs. The last time I was
watching Spirited Away (Studio Ghibli), I noticed that they didn’t
stretch out anything to indicate fast movement. This made the
animation of the characters seem slightly choppy, but the story
telling is so fantastic that I don’t think anyone can really complain.

63

There's a type of blurred inbetween I call a "snap"
Basically, what you do is set up the two keyframes of the figure and then use a
single stretched inbetween that would cover the path of whatever's moving.

step 1: set up the key poses...

64

stel 2: now we'll set up the "snap." Outline the path that the whatever is
moving would have taken to get from the first pose to the second pose (I
ususally start this by placing one image on top of the other)

Consider setting up the path
like setting up the
breakdown of a keyframe

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Now fill in the large area. You can either use a gradient or a solid color (be
sure that it blends well though). Delete any lines (shown here in white)
that show the key positions in the blurred area.

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Now hold this middle frame for 1-2 frames and you've got yourself a snap.

1 frame hold

2 frame hold

The advantage of snapping is that you save yourself a lot of drawings
and time by only using one inbetween, so consider it like taking the
easy way out. However, if you're shooting for realism, snaps are
definately not the way to go.

67

As with motion blurs, anticipation and a follow through will enhance whatever
realism is left by making it look like the object had some sort of mass that
wants to continue fowards, but is pulled back into place by whoever is
swinging the thing. It also makes the action look less stiff and more lifelike

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Also, make sure your volumes and spacing are consistant for the key
poses. when I did this one of a fast face turn, I drew out the red lines as
a guide to see where the features should land

And for a more comical effect, don't forget to find a good woosh or whip
sound (I've yet to find one I like yet though. At least not one online.)

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A couple words of warning though:
1. Reserve snaps ONLY for fast movements.
-this one should be fairly self explainatory. Say you have a character
balancing a pyramid of wine glasses on a silver platter and is trying to
not drop them. Common sense dictates that you not use any sudden
movements, otherwise it'll look like the wine glasses are glued
together and then you loose the whole point of trying to be careful.
2. Make sure whatever you're snapping can move that fast
-if you're animating a snail moving along slowly on a stem, don't use
snaps to wiggle it's antennae. A snap is more appropriate for fast
paced things that don't weigh that much,like throwing a fist or a
baseball. I wouldn't use a snap on anything that can move fast but still
weighs a lot (like a car door).

70

and most importantly...
3. MAKE EACH SNAP COUNT
-Snaps can get very annoying very quickly is used too many times (too
many can be as little as 2 within a second). Can you imagine watching this?

If you find yourself making this many poses within a short period of time,
rethink the poses. Nobody uses these huge hand gestures so many times while
doing anything that isn't fighting (and even then this is way too much).

71

In the type of snap you still had to show the action. But I was referred
to another type of snap by that fellow Chris Perry . Did you watch that
cartoon “Moving Along” by Patrick Smith yet?

Pat Smith is so effective with anticipation and follow through that he
can still have a smooth looking animation with a low framerate and
without actually animating the action itself. In fact, if you watch the
movie in frame by frame mode…

72

about halfway through the video we come up at a part where the guy
presses the button. If we look at it frame by frame, there's not too
much going on. It's just a guy holding one pose...

1

2

3

4

5

6

7

8

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10

11

12

13

14

15

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...that is, until frame 15 where his finger jumps down. My jaw
dropped the first time I saw this. How did he pull off such fluid
movement with a slower framerate?

74

"But why Thor? He only pressed a button!"
That's not the point. Pat Smith does this throughout the entire video:
He spends a few frames holding a pose, then BAM, it’s the aftermath. The
hand suddenly is in position B, with 1-2 frames of follow through. You don’t
see any of the action at all; the illusion of movement is created as your
brain tries to connect the dots between the before and after state.
So what does this mean? You can save on drawing time and still have as
fluid an animation using maybe 3-4 frames and still have it look really
smooth.
This type of snap harder to do since you really have to have a mastery of
anticipation, timing, weight, and follow through. I recommend going to
blendfilms.com and checking out all of his other cartoons to see more
examples of this.

75

Using this technique actually adds force by making the viewer's imagination
imagine the action. In fact, I think it looks more forceful since it looks like the
action moved too fast to see (it only works if you, once again, have a clear
anticipation and a follow through). This works best for fast hits or explosions,
where the aftermath is more important than the actual action

76

That’s it for the tutorial. I hope you learned something, and if you didn’t,
I’d love to know what else there is to add on to this.
As usual, don’t let this be your only source of information as far as
animation techniques go. I just covered the basic fundamentals of
movement and acting; if you want to learn more, take some art and
animation classes, read as many books about animators and animation
techniques (even psychology, acting, writing, and directing books to
improve your storytelling and plots), and then actively go out and try to
track down local animators and try to learn as much from them as possible.

Good luck, and happy animating!

77

I have read these myself and can recommend these firsthand:

-The Animator's Survival Kit (Richard Williams)
-Disney Animation: The Illusion of Life (Frank Thomas and Ollie Johnston)
-My Life in Cartoons (Joe Barbera)
-Chuck Jones: A Flurry of Drawings, Portraits of American Genius  (Hugh Kenner)

Special thanks to Noelle Vaccese (Blend Films) for the use of images from Moving Along.
Very special thanks to Chris Perry for the wake up call.
Very, very special thanks to Avidlebon for letting me use her cartoon as an example (don't
hurt me please).

Most of the drawings and animations you saw here are mine. Those that aren't are from (in order
of appearance) ryoshenron, Avidlebon, MononCQC, and Patrick Smith

(

)

http://www.blendfilms.com/

hosted by albinoblacksheep.com

jgchan@student.umass.edu

78

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Frame 11
stop();
Frame 12
stop();
Frame 13
stop();
Frame 14
stop();
Frame 15
stop();
Frame 16
stop();
Frame 17
stop();
Frame 18
stop();
Frame 19
stop();
Frame 20
stop();
Frame 21
stop();
Frame 22
stop();
Frame 23
stop();
Frame 24
stop();
Frame 25
stop();
Frame 26
stop();
Frame 27
stop();
Frame 28
stop();
Frame 29
stop();
Frame 30
stop();
Frame 31
stop();
Frame 32
stop();
Frame 33
stop();
Frame 34
stop();
Frame 35
stop();
Frame 36
stop();
Frame 37
stop();
Frame 38
stop();
Frame 39
stop();
Frame 40
stop();
Frame 41
stop();
Frame 42
stop();
Frame 43
stop();
Frame 44
stop();
Frame 45
stop();
Frame 46
stop();
Frame 47
stop();
Frame 48
stop();
Frame 49
stop();
Frame 50
stop();
Frame 51
stop();
Frame 52
stop();
Frame 53
stop();
Frame 54
stop();
Frame 55
stop();
Frame 56
stop();
Frame 57
stop();
Frame 58
stop();
Frame 59
stop();
Frame 60
stop();
Frame 61
stop();
Frame 62
stop();
Frame 63
stop();
Frame 64
stop();
Frame 65
stop();
Frame 66
stop();
Frame 67
stop();
Frame 68
stop();
Frame 69
stop();
Frame 70
stop();
Frame 71
stop();
Frame 72
stop();
Frame 73
stop();
Frame 74
stop();
Frame 75
stop();
Frame 76
stop();
Frame 77
stop();
Frame 78
stop();
Frame 79
stop();
Symbol 9 Button
on (release) { gotoAndPlay ("foreword"); }
Symbol 13 Button
on (release) { gotoAndPlay ("anticipation"); }
Symbol 16 Button
on (release) { gotoAndPlay ("timing"); }
Symbol 22 Button
on (release) { gotoAndPlay ("follow"); }
Symbol 35 Button
on (release) { gotoAndPlay ("keyframe"); }
Symbol 50 Button
on (release) { gotoAndPlay ("follow"); }
Symbol 58 Button
on (release, keyPress "<Right>") { nextFrame(); }
Symbol 66 Button
on (release) { gotoAndPlay ("sns"); }
Symbol 74 Button
on (release, keyPress "<Left>") { prevFrame(); }
Symbol 91 Button
on (release) { getURL ("http://us.imdb.com/name/nm0003255/", "_blank"); }
Symbol 107 Button
on (release) { getURL ("http://www.albinoblacksheep.com/flash/supermart", "_blank"); }
Symbol 114 Button
on (release) { getURL ("http://ryoshenron.deviantart.com", "_blank"); }
Symbol 125 Button
on (release) { getURL ("http://www.albinoblacksheep.com/flash/higher", "_blank"); }
Symbol 129 Button
on (release) { getURL ("http://avidlebon.deviantart.com", "_blank"); }
Symbol 138 Button
on (release) { getURL ("http://www.absforums.com", "_blank"); }
Symbol 213 Button
on (release) { getURL ("http://www.squarefootagefilms.com/smith/movingalong.html", "_blank"); }
Symbol 908 Button
on (release) { getURL ("http://www.blendfilms.com", "_self", "POST"); }

Library Items

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Special Tags

FileAttributes (69)Timeline Frame 1Access local files only, Metadata not present, AS1/AS2.

Labels

"start"Frame 2
"foreword"Frame 4
"anticipation"Frame 15
"keyframe"Frame 23
"timing"Frame 41
"follow"Frame 48
"sns"Frame 53
"last"Frame 79




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