Anime Studio Pro 7 Users Manual PDF

ii Anime Studio
Users Manual
Contents Tutorial 3.3: Bone Dynamics

Tutorial 3.4: Character Setup
74
78
Images 87
Welcome 1 Tutorial 4.1: Image Layers
Tutorial 4.2: Image Warping
87
90
Introduction 2 Tutorial 4.3: Animating a Talking Head 93
Demo Limitations 2 Tutorial 4.4: Image Textures 95
What’s New: New Features in Anime Studio 7 2
Animation 103
Other Anime Studio Features 5
Tutorial 5.1: Automatic Lip-Sync 103
System Requirements 5
Tutorial 5.2: Phoneme Lip-Sync 105
Getting Started 6
Tutorial 5.3: Animation Curves 107
License 8 Tutorial 5.4: Sorting Layers by Depth 110
End User License Agreement and Limited Warranty 8 Tutorial 5.5: Cycling 113
Tutorial 5.6: Actions 115
Anime Studio Tutorials 16 Tutorial 5.7: Frame by Frame Animation 119
Drawing 17 Tutorial 5.8: Creating a 3D Scene 123
Tutorial 2.1: Welding 17 Basic Physics 130
Tutorial 2.2: Drawing Shapes with Holes 26 Effects 135
Tutorial 2.3: Hidden Edges 28 Tutorial 6.1: Particles 135
Tutorial 2.4: Shape Ordering 31 Tutorial 6.2: Particle Tricks - Grass and Crowds 137
Tutorial 2.5: Brushes 36 Tutorial 6.3: Using Pre-made Particle Effects 141
Tutorial 2.6: Layer Masking 40 Tutorial 6.4: Speeding Up Particle Effects 144
Tutorial 2.7: Styles 44 Tutorial 6.5: Perspective Shadows 147
Tutorial 2.8: Simple 3D Construction 49 Tutorial 6.6: Shadow Tricks 152
Tutorial 3.9: 3D Shape Design 54 Tutorial 6.7: Camera and Depth Effects 155
Bones 59 Tutorial 6.8: Using 3D Models 159
Tutorial 3.1: Bone Binding 59 Tutorial 6.9: Moon and Clouds Effect 162
Tutorial 3.2: Bone Constraints 67
Anime Studio Tools 165
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The Draw Tools 166 Hide Edge 192

Select Points 167 Curve Exposure 193
Curve Profile 194
Translate Points 169 Working with Fills 196
Scale Points 171 Bone Tools 202
Select Bone 202
Rotate Points 172
Add Point 173 Translate Bone 203
Freehand 175
Scale Bone 204
Draw Shape 177
Insert Text 179 Rotate Bone 204
Scatter Brush 179 Add Bone 205
Delete Edge 180 Reparent Bone 206
Bone Strength 206
Curvature 181
Manipulate Bones 207
Magnet 181
Bind Layer 208
Perspective Points 182 Bind Points 208
Offset Bone 209
Shear Points 183 Bone Physics 209
Bend Points 183 Layer Types 212
Noise 184 Enhanced Layer Alignment Features 213
Fill Tools 186 Vector Layers 214
Select Shape 186 Image Layers 215
Create Shape 186 Group Layers 216
Paint Bucket 188 Bone Layers 216
Delete Shape 191 Switch Layers 218
Eyedropper 191 Particle Layers 220
Line Width 191 3D Layers 222
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Note Layers 223 Display Quality 252

Audio Layers 223 Layers Window 254
Layer Tools 224 Overview 254
The Layer List 254
Translate Layer 224
Layer Toolbar 256
Scale Layer 225 Layer Settings 256
Style Window 272
Rotate Layer Z 226
Fill 272
Set Origin 227 Stroke 277
Follow Path 227 Color Picker 278
Rotate Layer XY 230 Color Swatches 279
Advanced Options 279
Shear Layer 231
Poser 231
The Library Window 283
Displaying the Library Window 284
Switch Layer 233 Loading and Managing Items using the Library Icons 285
Searching the Library 291
Particle Layer 233
Favorites Tab 292
Image Masking 234
Using the Old Style Library 293
Video Tracking 235
Other Windows 295
Camera and Workspace Tools 244 Audio Recording 295
Camera Tools 244
Timeline Window 296
Workspace Tools 245
Actions Window 305
Anime Studio Windows 248 Anime Studio Menus 311
Anime Studio’s Main Window 249
Overview 249
File Menu 312
New 312
Toolbar 250
Open... 312
Status Bar 251
Open Recent 312
Playback Buttons 251
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Close 312 Snap to Grid 337

Save 312 Reset Line Width 337
Save As... 312 Random Line Width 337
Gather Media 312 Peak 337
Upload to StuffIt Connect 314 Smooth 338
Project Settings... 314 Raise Shape 338
Import 317 Lower Shape 338
Poser Integration 320 Raise to Front 338
Preview 323 Lower to Back 338
Exporting Movies 323 Hide Shape 338
Exporting Still Images (Anime Studio Pro only) 328 Show All Shapes 338
Export OBJ 328 Reset Points 338
Export POV 328 Reset All Points 338
Upload to YouTube 329 Bone Menu 339
Upload to Facebook® 329 Release Points 339
Batch Export... (Anime Studio Pro only) 329 Flexi-Bind Points 339
Quit 330 Release Layer 339
Edit Menu 331 Flexi-Bind Layer 339
Undo 331 Hide Controlled Bones 339
Redo 331 Track Bone to Video 340
Cut, Copy, Paste 331 Freeze Pose 340
Clear 331 Reset Bone 340
Select All 331 Reset All Bones 340
Select None 331 Animation Menu 341
Select Inverse 331 Allow Frame Skipping 341
Select Connected 332 Clear Animation From Layer 341
Preferences... 332 Clear Animation From Document 341
Draw Menu 337 Reset All Layer Channels 341
Insert Text... 337 Set Layer Start Time 341
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Users Manual
Select All Keyframes 341 Select Tracing Image 354

Rescale Keyframes... 342 Show Tracing Image 354
Copy Current Frame... 343 Stereo 354
Blend Morphs 344 Window Menu 355
Track Layer to Video 345 Tools 355
Nudge Physics Object 345 Layers 355
Mute Audio 346 Timeline 355
Restart Audio Track 346 Style 355
Audio Level 346 Actions 355
Scripts Menu 347 Library 355
3D 347 Audio Recording 355
Camera 348 Poser Parameters 356
Draw 348 Help Menu 357
Image 349 Quick Start Guide 357
Layer Effects 349 Help 357
Other 349 Open Content Library 357
Particle Effects 350 Online Tutorials 357
Script Writing 350 Welcome Screen 357
Sound 351 Register Your Product 357
Visibility 351 Download Bonus Content Pack 357
Warp 352 About Anime Studio Pro 358
View Menu 353 About Scripts 358
Reset 353 Buy Content 358
Direction 353 Check For Updates 358
Enable Grid 353
Grid Settings 353 Appendix 359
Disable Grid Snapping 353 Product Comparison 360
Video Safe Zones 353 Window Menu 360
Show Output Only 354 Vector Drawing Features 360
Contents
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Vector Modifiers 361 Mouse Shortcuts 374

Fill Features 361 Index 376
Fill Modifiers 361
Bone Features 362
Layer Features 362
Layer Modifiers 363
Layer Types 363
Camera Features 363
Workspace Features 363
Timeline Features 364
Action Features 364
Style Features 364
Preferences 364
Project Settings 365
Content 365
Scripts 365
View 366
Import 366
Export Formats 367
Upload Features 367
Technical Support: Where to Go When You Need Help 368
User Manual 368
Anime Studio on the Web 368
Anime Studio Discussion Forum 368
Email Support 368
Acknowledgements 369
Artist Acknowledgements 369
Anime Studio Shortcuts 372
Keyboard Shortcuts 372
Contents
Anime Studio 1
Users Manual
Welcome

2 Anime Studio
Users Manual
Introduction allows you access to all features of the program. Anything you can do in
the full version you can do in the demo. Also, any files you create with
the demo version of Anime Studio will still work fine if you purchase the
Anime Studio is a complete animation system for creating 2D anime full version.
and cartoons. This document is the user’s manual, containing useful The demo version has just three limitations: First, you can only run the
information to get you started, as well as a detailed reference to all of demo version of Anime Studio for 30 days. Second, you cannot import
Anime Studio’s features. any external file formats including images and movies. Third, you cannot
If you’re just getting started using Anime Studio, the best place to begin export your animations to other formats (QuickTime, AVI, Flash, etc.).
is with the “Anime Studio Tutorials” on page 16. This section will give you To purchase Anime Studio, click here.
a quick overview of how Anime Studio works, and what you can do with
it. Even if you’ve used Anime Studio in the past, you might want to give
the tutorials a quick read to see what’s changed in this version.
If you’ve been using Anime Studio for a while now, and you want more
information on some specific feature or interface element, choose the
section that interests you from the table of contents. The “Using Anime
Studio” section describes how to perform the basic tasks of working in
Anime Studio, while “Interface Reference” goes into detail about what
every menu item and button in Anime Studio is used for.
Finally, if you’re having a problem that just isn’t answered in this
document, please see “Technical Support: Where to Go When You Need
Help” on page 368. We want to do everything we can to make using Anime
What’s New: New Features in
Studio a fun and productive experience. Anime Studio 7
Demo Limitations User Interface

If you haven’t purchased a copy of Anime Studio, then the program will
be running in “demo” mode. While in demo mode, Anime Studio still • New Content Library: Anime Studio 7 utilizes a powerful flex-
Introduction
Anime Studio 3
Users Manual
based library. Keeping all of your Anime Studio content organized

has never been easier. Quickly browse through existing content New and Improved Tools
or save your own content to the library. You can easily categorize
your content and search for items by keyword. Add your selected • Follow Path Tool: You can select any character or object to
content to your scenes through a simple drag and drop. You can follow and bend along a pre-drawn path, making animating along
even browse for additional Anime Studio compatible content curves easy. In addition to bending along the path, you can also
available through Content Paradise right inside the library. The choose to have the object automatically orient itself to follow the
library also contains hundreds of pieces of ready-to-use content path it’s been assigned to.
including characters, props, 3D models, stock video, sound effects
and imagery to enhance your creations. The new Content Library is • Stroke Exposure Tool: The Stroke Exposure tool lets you
a great timesaver, allowing you to organize content across Anime reveal, hide and animate the stroke of your curve or drawing.
Studio projects..
• Curve Profile Tool: Change the style of any existing shape
using the Curve Profile tool
New Layer Features
• Image Masking Tool: You no longer need other graphics
• Toon Image & Video Filter: Apply a cartoon style effect applications to cut yourself out of a photograph and create cut-out
to any image or video with a couple of mouse clicks. Fine-tune animations in the style of JibJab.com. Easily select and remove
and customize the toon filter settings by adjusting the saturation, unwanted background colors from your images using the Image
lightness, edge level and more. Masking tool.
Introduction
4 Anime Studio
Users Manual
Audio and Video hatched styles.
• Integrated Audio Recording: Record your own sound clips Import and Export
right within Anime Studio, and adjust the pitch from high to low
to fit your animated characters. Recordings get saved and then
automatically added to your timeline for quick lip-synching. • Gather Media Function: You no longer have to worry about
broken images or missing files in your Anime Studio project file
when moving any of the included assets (audio, video, images) to a
different machine or location on your hard drive. The Gather Media
function collects all files (audio, video, images) that are part of your
Animation animation project, and then creates folders for the collected media.
• StuffIt Connect: Collaborating on Anime Studio projects is

• Physics Simulation: Anime Studio Pro 7 features a powerful
now easier than ever before. The integrated StuffIt Connect feature
rigid body physics engine that allows objects to collide with and
allows you to create an archive of your project within Anime Studio
bounce off of each other. Set the density, springiness and gravity
and then seamlessly upload it to the web. You can then create
of objects and create stunning animations. Easily integrate physics
invites for people that you want to share your content with. This is
animation into your existing animation projects. Set up motors
an ideal feature for anyone wanting to collaborate on projects with
to move shapes, force fields to control the direction of objects,
team members, and serves as a great alternative to an ftp client,
or automatically convert characters with rigged bone systems
since recipients can access the download link from any browser. A
to ragdoll physics objects. The Physics engine is a big timesaver,
free one year subscription to the StuffIt Connect service is included
allowing you to automate parts of your animation.
with your Anime Studio purchase, offering 2GB of storage and 4GB
of bandwidth per month.
3D Features • Poser Scene Import: Import your Poser Scenes into Anime
Studio and combine 2D and 3D animation. Anime Studio actions
• 3D Shape Design: Create your own 3D objects from 2D vector and Morph Blending are also supported with the imported Poser
layers and integrate 3D into your 2D animation projects. Choose Scene. The Poser tool allows you to select figures and actors within
from Extrusion, Lathe and Inflation, and select from multiple a scene, and easily adjust the parameters for the selected figure by
shading options for your 3D model, including smooth, toon and using sliders that correspond to the dials in Poser. Requires Poser
Introduction
Anime Studio 5
Users Manual
7 and up. • Track, zoom, roll, pan, and tilt the camera
• Import layered Photoshop® files

Content
• Output to formats including NTSC/PAL D1/DV Standard and
• More ready-to-use content: Anime Studio provides Widescreen; HDV and HDTV 780p and 1080p; AVI, MOV, Flash and
an extensive content library with hundreds of pieces of ready-to- more
use content that includes fully rigged, vector-based characters like
• Customize functionality with LUA scripts
Jace, Thorn, Anime Boy and Liz, as well as props, scenes, action
words, stock video and images, sound effects and more so you can
start creating your own animations right away.
System Requirements
Other Anime Studio Features
Windows
• Pen tablet support lets you draw naturally with a pen tablet and
recreate the sensation of drawing on paper • Windows 7, XP, Vista
NOTE: Anime Studio Pro is compatible with 64-bit Windows

• Incorporate audio files such as WAV, AIFF or MP3
operating systems however Anime Studio is a 32-bit Application.
• Choose from hundreds of ready to use characters, props, scenes
and more • 500 MHz Intel Pentium or equivalent
• Built-in tutorials and sample files get you up and running quickly • 450 MB free hard drive space
• Special effects like motion blur and shadows • 256 MB RAM; 1024x768 resolution; 16-bit color display
• Export your animations in SWF, AVI or MOV format • CD-ROM drive
• Render up to 720x720 resolution • Adobe® Flash® Player 9 or newer (embedded library)
Introduction
6 Anime Studio
Users Manual
• Windows® Internet Explorer® 7 • Introductory Tutorial: Opens the Quick Start Guide, which you
can also open using the Help > Quick Start Guide command
• Internet connection for Content Paradise from the Anime Studio menu.
• Bonus Content Pack: Opens your Web browser to the Content

Macintosh Paradise web site, specifically to the Anime Studio 7 bonus content
page. A Content Paradise account and valid Anime Studio 7 serial
• Mac OS X 10.4 or higher (Universal Binary) number are required to add the free content to your shopping
cart. You can also navigate to this page by choosing the Help
• PowerPC G4/G5 Processor: 500MHz or above > Download Bonus Content Pack command from the Anime
Studio menu.
• 450MB free hard drive space
• Register Your Product: Opens your Web browser to the
• 256MB RAM; 1024x768 resolution Smith Micro registration page, where you are prompted to enter
registration information for your Smith Micro software products. You
• 16-bit color display can also navigate to this page by choosing the Help > Register
Your Product command from the Anime Studio menu.
• CD-ROM drive
• Content Paradise.com: Opens your Web browser to the Content
• Adobe® Flash® Player 9 or newer (embedded library)
Paradise home page, where you can order content for Anime Studio
• Internet connection for Content Paradise. and other Smith Micro software products. You can also navigate to
this page by choosing the Help > Buy Content command from
the Anime Studio menu.
Getting Started • Don’t Show This Again: Choose this command to prevent the
splash screen from opening each time you start Anime Studio.
After you install Anime Studio 7, you might want to familiarize yourself
with the many features contained in the program.
When you start Anime studio, a splash screen presents the following
options:
Introduction
Anime Studio 7
Users Manual
Splash Screen.
Introduction
8 Anime Studio
Users Manual
License 1. General
You agree to use the Software, Documentation and Content only for
Anime Studio Debut 7 lawful purposes. Any use of the Software, Documentation or Content
other than as granted in this EULA must be by SMSI’s prior written
Anime Studio Pro 7 consent. SMSI maintains an ongoing EULA enforcement program.
Violation of any provision of this EULA automatically terminates this
EULA. SMSI reserves all other rights that it may have for violation of this
End User License Agreement and EULA.
Limited Warranty
EPLEASE READ THIS END USER LICENSE AGREEMENT (“EULA”) 2. Definition
CAREFULLY BEFORE INSTALLING AND USING THE SOFTWARE. BY
“Content” means animations, characters, clothing, faces, hair,
CLICKING THE “AGREE” BUTTON WHEN INSTALLING THE SOFTWARE,
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YOU ARE AGREEING TO BE BOUND BY THE TERMS OF THIS EULA. IF
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and data created with the intent of being used within the Software and/
“DISAGREE” BUTTON. IF YOU DO NOT AGREE TO THE TERMS OF THIS
or third party applications.
EULA, YOU MAY NOT USE OR ACCESS THE SOFTWARE. USING OR
ACCESSING ANY PART OF THE SOFTWARE INDICATES THAT YOU AGREE “Documentation” means all written material in any form for installation
TO THE TERMS OF THIS EULA. and use of the Software provided by or made available by SMSI, or its
authorized representatives or agents.
This EULA is between you (both the individual installing the Software
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(“you” or “your”) and Smith Micro Software, Inc. and/or its affiliates (as educational materials using images of the Software interface or Content
applicable, “SMSI”). for sale, distribution, public display, or public performance, provided
such materials are intended to educate users as to use of the Software;
(b) creating original Content for sale, distribution, public display, or
public performance; (c) creating materials for use with either Restricted
Content or Other Content; or (d) creating characters or props based
on Restricted Content in proprietary file formats (meaning, MOHO,
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Anime Studio 9
Users Manual
ANME and any subsequent/compressed formats), where the original (or 3. Software License
modified) art, texture or other Restricted Content files are not distributed
with such characters or props. A) Subject to the terms and conditions of this EULA and your payment
“Other Content” means Content that is not Restricted Content or of the license fee, SMSI grants you a limited, personal, nontransferable
Unrestricted Content. Other Content may be subject to license terms and non-exclusive license (without right to sublicense): (i) to use a
imposed by the Other Content’s original creator. single copy of the Software (except as expressly permitted in the
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“Restricted Content” means all Content included with or part of the (as set forth in Subsection D below of this Section 3) either loaded in
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mesh objects (geometry) in any format, files in proprietary file formats permanent memory of a computer (e.g., hard disk and compact disk)
(meaning, MOHO, ANME, and any subsequent/compressed formats), or, on a temporary basis, on a backup system if such equipment is
images, materials, texture, transparency maps, Documentation, vector- inoperative, consistent with the limitations specified or referenced in this
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expressly permitted by this EULA, Restricted Content extracted or with the Software in support of your authorized use of the Software; and
exported from the Software remains Restricted Content. Except as (iii) to copy the Software to make one (1) archival copy of the Software
authorized in this EULA, Restricted Content may only be used exclusively for your personal archival or backup purposes, and to make sufficient
on one (1) computer. number of copies for Legitimate Uses or the intended use described in
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delivered via the accompanying physical media or electronic media. restricted rights notices are reproduced on all such copies. Any other
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modified versions or backup copies of the Software supplied to you by other than those granted in this EULA must be expressly pre-approved
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a fee). B) The Software is protected by copyright and other intellectual property
“Unrestricted Content” means Content included with or part of the laws and international treaties. As an express condition of this EULA,
Software that is specifically identified in the Documentation or listed in you must reproduce on the backup copy the SMSI copyright notice in
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no Unrestricted Content. express condition extends to any further updates, software patches, or
bug fixes made available to you by SMSI, whether distributed on floppy
disk, compact disk, or in an electronic format via download, BBS, forum,
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FTP, e-mail, etc. treat the Software “like a book.” “Like a book” means that the Software
may be used by any number of people and may be freely moved from
C) The Software (not including the media on which the Software may
one computer to another so long as no possibility exists of the Software
be provided) is licensed to you, not sold. You expressly acknowledge
being used at more than one computer simultaneously. More than
that SMSI, Lost Marble, Inc., and/or their respective licensor(s)
one person at a time cannot read the same copy of a book, and this
have a valuable proprietary interest in both the Software and the
restriction applies to the SMSI.
Documentation. All title, ownership, interest and rights in and to the
patent, copyright, trademark, trade secret and any other intellectual
property rights in the Software (and any derivative works thereof) and 4. Restrictions
the Documentation (and any derivative works thereof) not expressly
granted to you by this EULA remain with SMSI, Lost Marble, Inc. and/or A) You will not, and will not permit any third party to, use, copy,
their respective licensor(s). You do not acquire any other rights, express modify, derive, or transfer the Software or Documentation, or any copy,
or implied, in the Software (and any derivative works thereof) and the modification, derivation, or merged portion thereof, in whole or in
Documentation (and any derivative works thereof) other than those part via any means or for any purpose whatsoever except as expressly
rights expressly granted under this EULA. Without limiting the generality permitted in this EULA or the Documentation. You will not, and will not
of the foregoing, SMSI, Lost Marble, Inc. and/or their respective permit any third party to, modify, adapt, translate, rent, lease, loan, resell
licensor(s) retain all title, ownership, interest and rights in and to the for profit, or create derivative works based upon the Software or any
patent, copyright, trademark, trade secret and any other intellectual part thereof. The Software contains trade secrets in its human readable
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as if it were the original SMSI-produced copy of the Software that was the Software to any human readable form without the express prior
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copyrighted material (collectively, “TPS”). Acknowledgements, licensing Software for third-party training, commercial time-sharing or service
terms, restrictions and disclaimers of such TPS are contained in the bureau use. You will not, and will not permit any third party to, debug,
“About Box” of the Software and your use of such TPS is governed by bypass, circumvent or defeat any security features of, or interfere with
such respective terms. Any terms of this EULA that differs from the terms the normal functionality and operation of the Software for any reason
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to the extent expressly permitted by applicable law. If the Software is
E) Except as otherwise expressly permitted in the Documentation, you an upgrade to a previous version of the Software, you must possess
will only use the Software on a single computer, meaning that you must
License
Anime Studio 11
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and maintain a valid license to such previous version in order to use the publicly display, and publicly perform content you create using Restricted
upgrade. Content, provided that such use of Restricted Content shall be solely for
Legitimate Uses and lawful uses.
B) You, your employees, and/or authorized agents must protect the
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5. Content License
D) You will not, and will not permit any third party to, use, copy, modify,
A) Subject to the terms and conditions of this EULA and your payment of derive, sell, distribute, transfer or sublicense the Restricted Content, the
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1) To reproduce, prepare derivative works based upon, distribute, publicly the Documentation.
display and publicly perform the Unrestricted Content for any lawful
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with the Software or to create new content which is intended to their respective licensor(s) have a valuable proprietary interest in the
compete with the Restricted Content. Restricted Content and the Unrestricted Content. All title, ownership,
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for Legitimate Uses and lawful uses. (and any derivative works thereof) and the Unrestricted Content (and
3) To reproduce, prepare derivative works based upon, distribute, any derivative works thereof) not expressly granted to you by this EULA
License
12 Anime Studio
Users Manual
remain with SMSI, Lost Marble, Inc. and their respective licensor(s). You or its affiliates’ collection and use of such information and, if you
do not acquire any other rights, express or implied, in the Restricted are located in European Economic Area (EEA), to the transfer of such
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details. If you purchased a Site License, you may distribute the Restricted
Content between all computers containing valid copies of the Software, A) This EULA remains in full force and effect until terminated. You may
other SMSI products, and/or other software able to process Restricted terminate this EULA at any time by returning or destroying both the
Content. Software and Documentation, together with all copies, modifications,
and merged portions of the Software and the Documentation in any
form. SMSI is in no way obliged to issue refunds. SMSI may terminate
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Information B) Upon termination, you will immediately cease all use of the Software,
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with all applicable laws and/or regulations, or the requirements of any continue in full force and effect after termination.
regulatory authority or government agency.
B) Your use of the Software constitutes consent by you to SMSI’s and/
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8. Export Law Assurances WARRANTY OF MERCHANTABILITY, SATISFACTORY QUALITY, FITNESS

FOR A PARTICULAR PURPOSE, OR NON-INFRINGEMENT.
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14 Anime Studio
Users Manual
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License
Anime Studio 15
Users Manual
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License
16 Anime Studio
Users Manual
Anime Studio In this section, we will walk you through various aspects of using
Anime Studio. This is the perfect place to start if you’ve never used
Anime Studio before. Even if you’re an experienced Anime Studio user,
Tutorials this version of Anime Studio has some big changes, so we recommend
reading through the tutorials again.
The best way to get started is to read all the tutorials in the Basics
section in order. Each of these tutorials builds on skills learned in the
earlier ones, and one-by-one will get you up to speed with Anime
Studio’s basic drawing and animation techniques. Once you’re
comfortable working in Anime Studio, then you can move on to the
other tutorial sections. You don’t have to read them all (although that
probably wouldn’t hurt), but choose the ones that address the specific
techniques you want to learn about.
Finally, all of the Anime Studio files created or used by the tutorials
have been installed along with Anime Studio itself. You can find them by
going to the Anime Studio program folder, and looking for the Tutorials
sub-folder. If you’re having trouble with a tutorial, try opening the
corresponding Anime Studio file to see what it should look like.
Once you’ve finished the tutorials, you should be comfortable enough to
continue on your own. However, the tutorials won’t teach you how to
use every feature of Anime Studio - the rest of this manual is a reference
that covers Anime Studio’s features in detail, and is recommended
reading to be able to use the full power of Anime Studio.

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Drawing
Tutorial 2.1: Welding

Translate Points
As you learned in the Quick Start tutorials, Anime Studio features an
Auto Weld feature that automatically welds shapes and segments
together when your cursor reaches a point that you can weld to.
However, there are cases where you may want to manually weld points
together.
Auto-weld option unchecked.
When drawing in Anime Studio’s vector layers, the concept of “welding”
points is very important. These tutorials will show you examples of how
(and why) points can be welded, and will go on to show you some Drag one point on top of the other and press the spacebar. Here’s an
examples of good and bad welds you can do in Anime Studio. example of this method. Although you can’t see the keyboard in the
example, keep in mind that the spacebar was pressed at the moment
When you weld two points together in Anime Studio, Anime Studio when the two points overlap. After welding, notice how the two points
really is combining those two points into one. There are a couple move as one.
reasons to do this: First, welding the two endpoints of a curve together
creates a closed curve. Second, if two shapes join up at a particular
point, and you want them to remain joined during an animation, then
welding those points together will guarantee that those two shapes will
remain joined.
How to Weld Points

There are two ways to weld points in Anime Studio: manually and
automatically. To manually weld two points together with the Translate
Points tool, first uncheck the Auto-weld option for the tool.
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options area when the Translate Points tool is active:
Make sure Auto-weld is on.
Using this method, when you drag a curve endpoint on top of another
point , the point turns green when it can be welded automatically. Let go
of the mouse to automatically weld the points together.
Here’s an example of automatic welding. In this case, the spacebar was
not pressed to initiate the weld - as soon as the mouse is released, the
two overlapping points are automatically welded together.
Welding Example 1. (SWF File)
Before spacebar is pressed (left). After spacebar is pressed (right).

The second method of welding is automatic. For automatic welding to
work, be sure that the “Auto-weld” checkbox is turned on in the tool
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Automatic welding also works with the Add Point tool.
Add Point
Automatic welding.
When you add a new point, you can drag it around as if you were using
Here’s another example of automatic welding. Remember that only a
the Translate Points tool. As long as the new point you added is a curve
curve endpoint can be automatically welded. However, the point that it
endpoint, it can be automatically welded to another point. If the new
is welded to does not need to be an endpoint:
point is not an endpoint, you can still weld it to another point manually
by pressing the spacebar when it overlaps another point.
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Add Point tool with Auto-weld option on

Besides welding two points together, Anime Studio can weld a point Welding Example 4. (SWF File)
to the middle of a curve segment. This can be done with either the
automatic or manual welding methods. Here’s an example:
Welding to a curve segment.
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Why to Weld Points

OK, so that covers welding points, but why do you want to weld points
again? Well, the main reason is to create fillable shapes. In order to fill a
shape with color, that shape needs to be completely closed. This is only
possible if you weld some points together. The following shape cannot
be filled with color because it is not closed:
A closed shape that can be filled.
Examples of Good Welding

Let’s look at some examples of good welding choices. First, the
following two points could be welded to create a single, continuous
curve:
A non-closed shape.
By welding the two endpoints together, we can create a closed shape

that can then be filled:
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Joining two curves. Closing a curve.
The next case shows the classic case of welding a curve closed to create Next, we show a shape made up of several curves. Notice that a closed,
a fillable shape: fillable shape does not need to be made up of a single curve. The shape
below, after welding, is made up of three curve segments, but is still
closed and can be filled with color:
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Finally, the example below shows two circles lined up side-by-side. The
two side points of the circles have been welded together so that when
they move around during an animation they remain joined. If those
points were not welded, moving them in sync like this would require a
lot of extra work.
Joining multiple curves into a single closed shape.
Joined circles (SWF File).
Examples of Bad Welding

Typically, when you weld together two points, one of them should be
a curve endpoint. This isn’t always true, but most often it is. If you find
yourself welding together two points and neither is an endpoint, take a
The welded and filled shape. moment to think whether the weld is appropriate. Here’s an example of
a bad choice of welding. Suppose you had the following two shapes and
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you were considering welding the pairs of circled points:
Bad welding.
Before welding the marked points.

Instead, a better approach is to just move the two shapes closer
Although Anime Studio will let you perform those welds, it isn’t really a together without any welding at all. In this case, welding the two shapes
good idea. What you would end up creating is a shape with lots of little together doesn’t have any benefit.
holes in it. Along the section of curves that you welded together are little
bubbles that make it impossible to fill the two main shapes:
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Fill the shapes without welding them together.

Cut the redundant curve away.
Then, weld the newly-created endpoints onto the lower shape. With this
approach you don’t end up with a double curve all welded together. The
resulting shape is much cleaner and easier to work with:
Delete Edge
Another approach in this situation would be to cut the top shape apart
with the Delete Edge tool and then weld the remaining endpoints to
the lower shape. First, cut the top shape apart:
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Reminder of Fill Rules
Create Shape
As a reminder, let’s consider the rules for creating a fill shape: A fill must
be composed of closed curves that define the border of the shape. So, as
Weld the new endpoints. an example, below is a valid fill shape.
Tutorial 2.2: Drawing Shapes with

Holes
Drawing shapes with holes is very easy in Anime Studio, but many new
users don’t realize that this can be done. There’s really no trick at all -
just follow the basic rules for creating a fill.
A basic fill shape.
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Creating Holes Once you’ve set up curves to define the shape of the hole, all you need
to do is select the outline and the hole(s) using the Create Shape tool.
So a fill shape is defined by the curves on its border. If we want to create Notice that Anime Studio automatically identifies the inner curves as
a hole, then all we need to do is create curves that outline the shape borders of holes in the shape. There’s nothing in particular you have to
of the desired hole(s). Below we’ve added some extra curves before do, just draw the holes and Anime Studio will know what to do with
creating a fill shape: them. When you’ve selected all the correct points, press the spacebar to
finalize the shape.
New curves added.

Selected points for filling.
Finally, here is the resulting shape. (The Line Width tool was used to
narrow the width of the outline at the corner points.)
Create Shape
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Tutorial 2.3: Hidden Edges

When drawing more complex objects like faces, you will often run into
situations where you want an outline to only go partway around a
shape. There’s an easy way to accomplish this in Anime Studio.
Start With a Sample File

For this tutorial, we’ll start with a project file that’s almost finished.
It’s named “Tutorial 2.3” and it’s located in the “Tutorials/2 - Draw”
subfolder within the main Anime Studio folder. Open this file in Anime
The finished shape. Studio and you should see something like this:
Here’s another example of a shape with a hole:
Another shape with a hole. Starting point for this tutorial.
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Hidden Edges
The drawing we’re working with could be the beginning of a character’s
face. In this face, the nose and ear are separate shapes from the main
head outline. The general shape looks OK, but where the separate parts
join up we don’t want to have lines separating them. To fix this, activate
the Hide Edge tool.
Edges to click on.

Hide Edge
After clicking on these edges, they should disappear from view, and the
There are two edges we want to eliminate from this drawing. Click on result should be as follows:
these two edges as shown below. If you don’t see an immediate result,
try dragging the mouse across the lines in question to make sure you
hit them.
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Finishing Touches
If you hide the edges of a thicker line, you’ll often end up with abrupt
ends to the outline. You can see this below:
After hiding the edges.
The Hide Edge tool works by simply hiding the selected edges of an
outline. It does not affect the underlying curve - the curve is still there,
you just can’t see the outline on that particular section of the curve. Blocky curve ends.
Because it works on the outline, and not the curve itself, be sure you only
use the Hide Edge tool after you’ve created the outlines. Otherwise,
with no outline, you would not see the result of hiding some edges.
The other thing to know about the Hide Edge tool is that you can also
un-hide edges. If you change your mind, or hide the wrong edges, just
click on a hidden edge to re-show it.
Line Width
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A nice way to finish off these endpoints is to use the Line Width tool. Start With a Sample File
With this tool, click on the endpoints to set their width to 0. You can
also click and drag to adjust the width of any other points you choose. For this tutorial, we’ll start with a project file that’s almost finished.
After cleaning up the endpoints, you should get a result like this: It’s named “Tutorial 2.4” and it’s located in the “Tutorials/2 - Draw”
Studio, and you should see something like this:
Tapered endpoints.
Starting point for this tutorial.
Tutorial 2.4: Shape Ordering As you can see, there are four shapes in this file. By the way they overlap
one another, you can also tell their ordering. From back to front, there is
In an Anime Studio vector layer, shapes are ordered from back to front. a red shape, a green shape, a blue shape, and a yellow circle.
This ordering determines which shapes will appear in front of or behind
others. This tutorial will show you how to work with shape ordering.
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Raising and Lowering Shapes
Select Shape tool.
If you want to change the order of some shapes, the first thing you
need to do is select a shape to work with. Using the Select Shape
Selected shape highlighted.
tool, click anywhere on the red shape. It will become highlighted with a
checkerboard to indicate that it is selected. Notice that you can also see
it faintly beneath the other shapes - this is so that you can see the entire To raise the shape, press the Up arrow key on your keyboard. Notice that
selected shape, even if it is normally obscured by other shapes. the red shape has now moved one step up in the layer order, above the
green shape:
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Raised shape. De-select the shape.
Right now, press the enter key to de-select all objects in the layer. The Next, use the Select Shape tool and click on the blue shape to select
red shape will switch back to normal to indicate that it is not selected: it.
Select Shape tool.
Press the Down-arrow key twice to lower the blue shape below the red
shape, and then below the green shape:
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Lowered blue shape. Hidden yellow circle.
You can also raise a shape to the top (above all others in that layer) or Now we want to bring the yellow circle back to the front. Using the
lower it to the bottom (behind all others in that layer). Select the green Select Shape tool, click on the yellow circle, even though it’s hidden.
shape and hold down the Shift key while pressing the Up-arrow key.
With a single key press, the green shape moves all the way to the top of
the layer’s shape order.
Selecting Hidden Shapes

If you now press the enter key, the green shape will be de-selected.
Notice that at this point the yellow circle is behind the green shape, and Select Shape tool.
can’t be seen. You can still see the curves that make up the yellow circle,
but the shape itself, being behind the green shape, is not visible:
As you may have expected, the green shape gets selected because it is
in front:
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Selected yellow circle.

Selected green shape.
Finally, hold down the Shift key while pressing the up-arrow to bring
Now comes the trick for selecting shapes lower in the ordering. Hold
the yellow circle all the way to the top of the layer ordering, making it
down the Ctrl key while pressing the down-arrow key. This tells Anime
fully visible once again:
Studio to pick the next deeper shape in the layer ordering at the same
point you just clicked. The yellow circle will now be selected. It will be
kind of faint to remind you that it is actually behind other shapes in the
layer:
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Draw Some Freehand Curves
Freehand
Start with a new, blank file in Anime Studio. In the Style window, set
the line width value to 16. Next, activate the Freehand tool. In the tool
options area at the top of the main Anime Studio window, adjust the
Raised yellow circle.
settings for the Freehand tool to match those shown below:
• Variable Line Width: Use Pen Pressure

Tutorial 2.5: Brushes • Width Variation: 75%
Anime Studio allows you to apply brush effects to outlines if you choose. • Taper Start: Checked
It’s really easy to use brushes, and this tutorial will show you how.
• Taper End: Checked
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Freehand curves.
Because of the line width set in the Style window, these curves should
be rather thick. The tapering settings in the Freehand options should
make the ends of these lines taper down to narrow points. If you select
File > Preview now, the result should look pretty much like what you
Freehand settings.
see in the editing view:
Draw two or three curvy lines using the Freehand tool in the editing
view:
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Rendered curves. Selected curve.
Close the rendering window, and use the Select Shape tool to select In the Style window, click on the box that currently says “No Brush”.
one of the curves:
Select Shape tool.
No Brush.
In the brush dialog that appears, select one of the brush shapes that
interests you - you’ll see a preview of the brush at the bottom of the
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dialog:
Rendered curves.
Try applying other brush shapes and Stroke colors to the other curves:
Brush Dialog
Click OK to close the brush dialog, and select File > Preview again. In
the rendered result you can see the applied brush shape:
Different brush shapes.
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If you notice that your brush effects are not visible until you render
or export your animation (brush shapes are not possible when
exporting to SWF format), you can change the display quality to
show the effects. during editing. In the lower-right corner of the
main Anime Studio window is the “Display Quality” popup box. Click
this box to open it. Turn on the “Brushes” checkbox. This will turn on
brushes in Anime Studio’s editing view:
Brushes in editing view.
Displaying brushes while editing requires a lot of computation and can

slow Anime Studio down, so it’s best to use this as a kind of preview, but
not to leave it on all the time. When you’ve got the brushes how you like
them, switch this display option back off.
Tutorial 2.6: Layer Masking

This tutorial is more of a show & tell than a hands-on creation of an
Turn on Brushes preview option.
animation. We will demonstrate some examples of a powerful feature of
Anime Studio - layer masking. Layer masking can be used for all kinds of
effects such as shadows, compositing, depth effects, transitions, and to
simplify certain modeling and animation tasks.
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For this tutorial, we’ll start with a project file that’s almost finished. It’s
named “Tutorial 2.6” and it’s located in the “Tutorials/2 - Drawing”
Studio, expand the “Masking Group” layer in the Layers window, and
you should see something like this:
Spotlights shining across the hole.
To make the spotlights more realistic, we can use Anime Studio’s

masking feature. Double-click the “Masking Group” layer. In the Layer
Settings dialog that appears, go to the “Masking” tab and set the
This is a simple scene of a wall with a hole broken through it (a jailbreak “Group Mask” setting to “Hide all” as shown below and click OK.
maybe?). Set the current time to frame 24, and choose the File >
Preview menu command. Notice how the spotlights spread across the
hole as if it were a flat object as shown below:
Mask setting for the “Masking Group” layer.
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In the editing view, you’ll notice that the light no longer appears over
the hole. This is because the masking mode we just set hides the areas
of the light that fall within the area of the hole:
Mask setting for the “Wall” layer.
What we’ve done is tell Anime Studio to add the contents of the Wall
layer to the visible region of all objects in the group. No other layers in
the same group will be allowed to draw outside this visible region (the
mask). If you temporarily turn off the “Background” layer, you’ll see
that there is an actual hole in the wall. Because the wall acts as a mask,
Everything in the group is hidden the spotlights cannot draw themselves in this area. You’re welcome to
render out the entire animation as a QuickTime movie to see the full,
The setting that controls how the mask reacts is found in the next animated effect.
section of the Masking tab. Double-click the “Wall” layer to bring up
the Layer Settings dialog. In the Masking tab, notice that the “Layer
masking” value is set to “+ Add to mask” as shown below. Click OK to
exit the Layer Masking tab:
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Another Example - Transition Effect

The wall acting as a mask.
Finally, open the file “Tutorial 2.6_3”. This project uses a mask layer
to cause a text object to fade into existence. Play back the animation,
Another Example - Simplified Modeling or export it as a QuickTime movie, then play back the movie. In
this example, a variation of the masking feature is used: the mask
Now open the file “Tutorial 2.6_2”. Take a look at the masking group itself doesn’t have to be visible. In this case, the mask is a rectangle
in this project (in this case, the masking function is already turned on). that gradually exposes the text, but we don’t really want to see the
In this example, the eyes are used as a mask, and the eyelids are forced rectangle. To use an invisible mask, the Mask layer uses the “+ Add to
to render themselves only inside the eyes. This makes it much easier to mask, but keep invisible” option in the Masking tab.
construct and animate the eyelids, without having to worry about them
spreading outside the eye region - with a mask layer, they can’t.
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Open this file in Anime Studio, and you should see something like this:
Tutorial 2.7: Styles

In this tutorial we’ll introduce Anime Studio’s “style” feature. A style in
Anime Studio is a set of shape properties, including fill and line color, (Don’t worry that the character is all split apart. This is part of the bone
line width, fill effects, etc. Once you’ve defined a style, you can apply it setup described in another tutorial. If you want to try switching to frame
to as many shapes as you wish. The benefit to this is that later on you 1, you’ll see that the character snaps back together. Just be sure to go
can easily change the color and appearance of those shapes just by back to frame 0 before continuing.)
changing a single style.
Let’s see what a style is all about. In the Style window, display the
Advanced settings by clicking the Advanced option.
To start off, we’ll take a look at an Anime Studio file that already
contains some styles. It’s named “Tutorial 2.7” and it’s located in the
“Tutorials/2 - Drawing” subfolder within the main Anime Studio folder.
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Select “Skin” from the Styles popup menu. The Skin style will become
selected in the Style window:
The skin style selected.
Click the “Fill color” color selector to change the Skin fill color. Pick any
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color you wish. Notice that the skin color updates instantly on all the
body parts of the character, even though they are separate shapes and in
several separate layers. Styles can be used throughout an entire Anime
Studio project, and are not limited to the shapes in a single layer.
Modified skin color.
If we look at the Style window, there are three things to notice about the
Skin style:
1: The Skin style defines a fill color. 2: The Skin style does not define
a line color. 3: The Skin style does not define a line width. Because
the Skin style does not define a line color or width, changing these
parameters will not affect the shapes that use this style.
Skin style settings.
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Let’s try a style that does control the properties of a line. Select the Notice that the Outline style has been applied to all the shapes in the
Outline style from the Styles popup menu in the Style window. Notice entire character. Regardless of their other settings (like fill color), all the
that this style does define a line color and width, but does not define a shapes use the Outline style to draw their outlines:
fill color. Change the Line Color to green and Line Width to 8 as shown
below, and assign a brush to the line:
New Outline style.
How Styles Are Applied

Now let’s take a look at how styles are created and applied. Create a
new Anime Studio project file. In the Style window, select New from the
Styles popup menu.
Modified Outline style.
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The Style window will now be editing the values for that style. Give the
style a name (any name), and choose a fill and line color. Finally, set the
line width to 8 or so. If you want to, you can also assign a brush and fill
and line effects.
Creating a new style.
Next, create a simple shape in the main window - a circle, rectangle, or

text object would be fine. Make sure that the shape is filled.
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style applied immediately in Anime Studio’s editing view.
Create a simple shape.
Applying a style to a shape.
That’s it! As you’ve seen, it’s quite easy to create and apply styles in
Anime Studio.
Select Shape tool.

Tutorial 2.8: Simple 3D
If you want to apply a style to any other shape, use the Select Shape Construction
tool to click on your shape to select it. The Style window will update
itself to show you the properties of the selected shape. Select your style Anime Studio is primarily a 2D program, although it does have some
from the Styles popup menu. This tells Anime Studio to apply that style 3D tools for positioning the camera and individual layers. Still, even
to the currently selected shape - you should see the properties of your if you position layers in a 3D landscape and fly around them with the
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camera, each vector layer is really just a 2D plane in a 3D space. There It’s important that the square be precise. Choose the View > Enable
is no way in Anime Studio to model general 3D objects, but it is possible Grid command to turn on the grid. This will help you draw this square.
to fake out some simple ones. This tutorial will show you how to build a
The square must be centered at the layer origin, must be truly square
simple cube in Anime Studio. If you need a more complex 3D shape, you
(not a rectangle), and should touch the top and bottom of the
can import a 3D object file created in a separate 3D modeling program
viewable area exactly. To draw the square, press the Alt and Shift keys
(described in another tutorial).
concurrently, and click at the layer origin point. The Alt key will draw the
square outward from the point at which you clicked, and the Shift key
Start With a Blank File will constrain the rectangle to create a square with four equal sides.
What’s important for this square is that the corners are at (-1, 1), (1, 1),
For this tutorial, start with a new, blank project in Anime Studio. The (1, -1), and (-1, -1) as shown in the following figure.
completed file is also available for you to examine if you wish. It’s named
“Tutorial 2.8” and it’s located in the “Tutorials/2 - Draw” subfolder Don’t worry too much about the coordinates - if you use the grid, center
within the main Anime Studio folder. the square at the origin, and make sure the top and bottom touch the
top and bottom of the viewable area, the corners will be correct.
Creating The Faces

The first step is to create the faces of the cube. In the initial, empty layer
of your new project, use the Draw Shape tool to draw a square.
Start with a square.

Draw Shape
You can optionally enter the coordinates manually in the tool options
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area.
You can manually enter coordinates in the Tool Options area.
Fill the square with a color of your choice and set its line width to 2.
In the Layers panel, click the New Layer button. Create a Group layer,
name it “Cube”, and put the layer with the square inside it. Duplicate
the square layer five times and you should have a setup that looks like
this:
Arranging the layers.
Positioning Faces
Select the lowest layer in the group, “Layer 1”, and make the Translate
Layer tool active.
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Layer 3 depth setting
Next, activate the Rotate Layer XY tool.
Translate Layer
We’re not going to actually use the Translate Layer tool, but making it
active allows us to position a layer numerically. At the top of the main
Anime Studio window, in the tool options area, set the value of “Z” to
1. This changes the depth of the layer, bringing it forward toward the Rotate Layer XY
camera.
The tool area will reflect the rotation of the layer around the Y axis. Set
this value to 90:
Layer 1 depth setting.
Now select “Layer 2”, and set its Z value to -1. You’ve just positioned
Layer 3 rotated.
the front and back faces of the cube.
Next up is “Layer 4” - adjust it similarly to Layer 3. Set X and Y to -1 and

0, and set the layer Y rotation to 90. You’ll need to activate the Translate
Layer 2 depth setting Layer tool to set X and Y, and the Rotate Layer Y tool to set the rotation
angle.
The settings get a little more complex from here on out. Select “Layer
3”, and set its X and Y values to 1 and 0.
Layer 4 Depth Setting
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At this point the cube is basically finished, but it’s a little too big to see
in the workspace. Use the Scale Layer tool on the “Cube” group layer
Layer 4 Rotation Setting to make the entire thing a bit smaller.
“Layer 5” is next - set its X and Y position to 0 and 1. Next, activate the
Rotate Layer XY tool and set the rotation angle to 90 degrees. Note:
Be sure to rotate this layer around the X axis, not the Y axis.

Scale Layer
It should look something like this:
Layer 5 Rotation Setting
Finally, the last layer, “Layer 6” - adjust it similarly to Layer 5. Set X and
Y to 0 and -1, and set the layer X rotation to 90. You’ll need to activate
the Translate Layer tool to set X and Y, and the Rotate Layer X tool to set
the rotation angle.
The finished cube.
Layer 6 Rotation Setting
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Depth Sorting
The final step required to finish the cube is to turn on depth sorting.
Double-click the “Cube” layer to bring up the Layer Settings dialog. In
the “Depth Sort” tab, turn on the checkboxes marked “Sort layers by
depth” and “Sort by true distance” and click OK. The first checkbox tells
Anime Studio to draw the back faces of the cube first, then the front
ones. The second checkbox is a different way of sorting the layers that is
mostly used for 3D constructions like this cube.
Try using the Orbit Workspace tool to view the cube from different The finished cube, with depth sorting.
angles. It should appear as a true 3D object.
Tutorial 3.9: 3D Shape Design

Orbit Workspace
Anime Studio’s 3D Shape Design feature allows you to convert a 2D
vector layer into a 3D object. To demonstrate this, begin with a new
project.
You could now use the cube in a scene - using the Translate Layer and
Rotate Layer tools to position it at an interesting angle, or to move it Use the Add Point Tool or the Draw Shape tool to create one or more
around during the animation. vector shapes in the layer. Your objects can also include holes. All of the
shapes that you create in the layer will be converted to 3D. Therefore, if
you want some of the objects in your scene to remain two-dimensional,
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or if you want them to have different 3D properties, you will need to put
them in separate layers.
There are several settings that are common to each of the 3D conversion
types. These options are similar to regular 3D layers, and they affect how
the edges and shading appear in the 3D objects.
After you create your 2D artwork, open the Layer Settings dialog for
that layer. Choose the 3D Options tab. You will find some options
that allow you choose a 3D Conversion type. The choices are Extrude,
Lathe, and Inflate, which are detailed in the following sections.
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• Edges: Controls which edges should be shown, and whether you • Other: Check the Reset Z Buffer option
want to show them on Silhouettes, Materials, or Creases. By
default, edges are shown for all three. Uncheck the edges that you
do not want to display. When displaying creases, you can adjust Extrude Conversions
the Threshold setting to control the number of creases that are
displayed. The Edge Extension setting controls how far beyond When you choose the Extrude conversion, the 2D object is given a
the edge of the object that edges will be drawn. Increase the dimension of thickness: You can observe the thickness by using the
Extension setting to make the objects it look like they have been Rotate Layer tool in the Layer section of the tool box. You can increase
sketched. or decrease the thickness of the 3D shape by adjusting the Thickness
setting in the Style window.
• Shading: Choose between None (which gives the object a

flat appearance), Smooth (which gives a smooth, more three-
dimensional shaded look), Toon (which has stepped shading), or When paths are displayed, you can still edit the path to change the
Hatched (which shades with a sketched line effect). Shading shape of the 3D object, and change its color. You can also add bones to
Color Shading Density the 3D layer as well.
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Lathe Conversions Inflate Conversions

The Lathe conversion allows you to create a three-dimensional path by Inflate is similar to Extrude, except that the edges are rounded, like a
drawing a two-dimensional profile shape that is then projected in a 360 pillow. It also involves more computations than the Extrude option, so
degree circular fashion. you will tend to see better results after you render it than you will during
the preview.
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Bones
Tutorial 3.1: Bone Binding

The purpose of bones in Anime Studio is to provide high-level objects
that are easy to manipulate in place of moving around lots of individual
points. In order for bones to do their job, vector control points and other
objects must first be bound to the bones. There are three ways to bind
objects to bones: automatic binding, manual binding, and layer binding.
This tutorial will show you the difference between the three.

For this tutorial, we’ll start with a project file that contains some Automatic Binding
artwork to get started with. It’s named “Tutorial 3.1” and it’s located in
the “Tutorials/3 - Bones” subfolder within the main Anime Studio folder. The most common method of binding objects to bones is also the
Open this file in Anime Studio, and you should see something like this: easiest - automatic bone binding. Whenever you draw new artwork in
Anime Studio (or import image files as image layers), those objects are
set up for automatic bone binding. All you need to do is add the bones.
In the Layers window, click the New Layer button, and select “Bone”
from the popup menu.
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Add Bone
Create a new Bone layer.
In the main editing view, create two bones: the first one starting at the
Double-click the new bone layer to bring up the Layer Settings dialog. shoulder and ending at the elbow, and the second starting where the
Name the new layer “Arm Bones” and click OK. Finally, drag the “Arm” first left off and ending in the hand. And that’s all it takes for automatic
vector layer upward to move it into the bone layer: bone binding.
Arm layer placed inside a bone layer.
Make sure the bone layer is selected, then activate the Add Bone tool.
Create two new bones.
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Use the Manipulate Bones tool to try moving the bones around. Double-click the bone layer to bring up the Layer Settings dialog. Go to
The arm will move with the bones automatically, since it was, well, the Bones tab, set the binding mode to “Region binding”, and click OK:
automatically bound to them.
Manipulate Bones
Turn on region binding.
Flexible binding (the default for new bone layers) uses a method of
bone binding where every bone has some influence over every point in
a vector layer. The farther away a point is from a bone, the less influence
that bone has over the point. However, you can still experience some
rubbery movement where a moving arm can cause a toe to twitch a
little bit.
With region binding, on the other hand, every bone has a cutoff radius,
outside of which it will not affect the movement of vector points. This
can be used for cleaner movement, but requires a little extra setup. Now
that region binding is in effect, activate the Bone Strength tool.
Test moving the bones.
This arm setup works pretty well as it is, but let’s try to refine it a bit.
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Bone Strength
Around each bone you will see its region of influence. Vector points are
controlled by the bone(s) whose regions overlap them. If a vector point
is not within any region of influence, it will move with the closest bone.
Using the Bone Strength tool, click and drag on each of the bones to
resize its region of influence. The idea is to make the regions just large
enough to contain the body part that the bone is meant to control:
Resized regions of influence.
Don’t worry about the parts of the forearm that are outside the forearm
bone’s region of influence - they will just move with the closest bone,
which is in fact the forearm.
Use the Manipulate Bones tool again to try moving the arm. The
movement should be a little cleaner than it was with flexible binding.
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Manipulate Bones
Select Bone
Manual Binding
Manually binding points to bones is a process that exists mostly for
compatibility with older versions of Anime Studio. Automatic binding,
combined with bone regions of influence is the easiest way to work with
bones in Anime Studio. However, there may be some times where you
want more control over exactly which bones control which points.
To manually bind the arm points to bones, first select the Arm vector
layer.
Select the upper arm.
Arm Vector Layer

Next, activate the Bind Points tool.
Then, use the Select Bone tool to select the upper arm bone:
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that are bound to it also get selected - in this case, no points are bound
to the lower arm bone.
Next, drag a selection rectangle around the points in the lower part of
the arm, as shown below. Press the spacebar to bind the selected points
to the selected bone:
Bind Points
Drag a rectangle around all the points in the arm to select them. Press
the spacebar to bind the selected points to the selected bone:
Select the lower arm bones.
You’re done - you have manually bound points to both bones in the arm.
Now test it out with the Manipulate Bones tool.
Bind all points to the upper arm.
With the Bind Points tool still active, hold down the Alt key and click on
the lower arm bone to select it. When you select the lower arm bone,
notice that no points are selected. When you select a bone, the points
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arm bone.
Manipulate Bones
Although this method does work for binding points to bones, we don’t
really recommend it unless you have a special need to bind specific
points to specific bones. You may have noticed that the arm doesn’t
move so smoothly with manual point binding. This is because the points
around the elbow only move with one bone or the other, and so stretch
apart and get distorted. With automatic binding, on the other hand, the
points around the elbow move under the influence of both bones, and
so move more smoothly. Bind the Arm layer to the lower arm bone.
Manual point binding can also be very labor-intensive, especially when
your artwork has lots of control points. Finally, automatic bone binding Use the Manipulate Bones tool to try moving the bones around.
can be used to warp image layers, while manual binding can’t - another Notice that the entire arm moves rigidly with the lower arm bone - the
reason to stick with automatic bone binding (using either flexible or entire layer is bound to that one bone. This isn’t very useful for this
region binding mode). particular arm, but binding a layer to a bone is useful when you want to
attach an object to a character. For example, a switch group containing
multiple mouth shapes can be attached to a bone in the head. Or, if you
Layer Binding want to make a character hold an object in its hand, you might bind that
object to the character’s hand bone.
The last way to bind an object to a bone is to bind an entire layer to a
single arm. Make sure the Arm vector layer is still selected and activate
the Bind Layer tool.
Click on the lower arm bone to bind the entire Arm layer to the lower
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Manipulate Bones
Use the Manipulate Bones tool if you wish to confirm that the points are
automatically bound again.
Go Back to Automatic Mode

Let’s undo all of this extra binding and go back to automatic mode. With
the Bind Layer tool, click on some empty space in the editing view -
this tells Anime Studio to not bind the layer to any bone.
Bind Layer
The arm under bone control.
Next, select the Edit > Select All menu command to select all the
vector points. Finally, choose the Bone > Flexi-Bind Points menu
command to flexibly bind the points, as they were at the very beginning.
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The final result. (SWF File)
Tutorial 3.2: Bone Constraints

This file contains two skeleton layers that have no constraints set up.
This tutorial demonstrates Anime Studio’s bone constraint features. We’re going to add constraints to these skeletons to show how useful
Bone constraints allow you to define limits on the way bones can move, they can be.
simplifying your animation work. When used carefully, bone constraints
can let the bone structures do some of the work for you.
Angle Constraints
Start With a Sample File The first type of bone constraint is angle limits. By limiting the angle
that a bone can rotate, you can prevent arms and legs from bending
For this tutorial, we’ll start with a project file that’s almost finished. backwards. Make sure the Arm layer is selected, and then use the
It’s named “Tutorial 3.2” and it’s located in the “Tutorials/3 - Bones” Select Bone tool to select the bone in the Arm as shown below:
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Select Bone
When the Select Bone tool is active, the Bone Constraints popup box will
be available in the tool options area of the main Anime Studio window.
Click the Bone Constraints popup to open it, and adjust the settings as
Select the Arm bone. shown below. Specifically, turn on the “Angle constraints” checkbox, and
set the min/max angle fields to -10 and 100.
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maximum angles you set up.
Manipulate Bones
Set angle constraints.
Click the Close button to close the constraints popup box. Then, set the
bone’s name to “Forearm” - we’ll see why later.
Name this bone “Forearm.”
Once you’ve set up angle constraints, you can see them in the working
area as two lines around the bone that indicate the minimum and Visual display of angle constraints.
maximum angles the bone is allowed to rotate between. Try using the
Manipulate Bones tool and move the forearm - notice how Anime Tip: Here’s a handy little trick. Often, it can be hard to judge the correct
Studio doesn’t allow you to move the bone beyond the minimum and numerical angles for bone constraints. There’s an easy way to adjust
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them if you have a mouse with a scroll wheel. Hold the mouse over the Bring up the Bone Constraints popup again, and select “Forearm” from
angle constraint you wish to change (in the Bone Constraints popup), the “Angle control bone” popup menu (this is why we named it earlier),
and roll the mouse wheel up and down. The angle will change, and the and enter the value 0.5 in the angle control field as shown below:
display in the editing view will update to match. With this method, you
can watch the display in the editing view and not worry so much about
the actual numerical value.
Control Bones
The next type of bone constraint allows one bone to control the motion
of another. This is a way to set up simple “automatic” animation. Select
the small bone above the upper arm:
Angle control setup.
We’ll do something similar for the small bone below the upper arm.
Select that bone, and set “Forearm” as the angle control bone, but this
time set the angle control value to -0.5.
Selected bone.
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Manipulate Bones
Finally, use the Manipulate Bones tool again to move the forearm.
Notice that now the muscles in the upper arm move automatically - this
Upper Arm bones move automatically.
is what the Angle Control Bone does - it tells other bones to move
automatically when it moves.
Bone Locking
The third category of bone constraint is “bone locking”. When you
lock a bone, you’re telling Anime Studio that you don’t want it to
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move. Anime Studio will try to keep the bone still by moving its parents
as necessary to keep the bone in place. This isn’t always possible
(depending on what else is happening in the animation), but it is still an
extremely useful feature.
Select the “Frank w/Skeleton” layer in the project.
Bone locking is often used to keep a character’s feet from moving

around on the ground. To do this, Anime Studio needs to move the
character’s legs automatically. Thus, it helps to use angle constraints to
keep the knees from bending backwards. Use the Select Bone tool to
select Frank’s left shin bone as shown: Select the left shin.
Now set up angle constraints for this bone. The minimum angle should
be -10, and the maximum should be 120:
Angle constraints for left shin.
Now select the right shin, and set its angle constraints to -120 and 10.
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Angle constraints for right shin.
OK, the legs are prepared. Set the time to frame 24. Use the Translate
Bone tool to drag Frank’s spine bone around a small distance.
Select the left foot.
In the tool options area, turn on the “Lock bone” checkbox for this
Translate Bone bone. Next, select the right foot bone and turn on “Lock bone” for it as
well.
Notice that his feet move around and don’t stay in place.
Choose the Select Bone tool again. Go back to frame 0 and select the
left foot bone: Lock both foot bones.
Now that the feet are locked, go back to frame 24, and use the
Translate Bone tool again to drag Frank’s spine around.
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Bone locking is an animated parameter. You can turn on and off

bone locking as many times as you want during an animation. This is
especially useful when making a character walk - lock a bone as soon as
a foot hits the ground, and unlock it just before the foot is to leave the
ground for its next step.
Translate Bone Tutorial 3.3: Bone Dynamics

Notice that now Anime Studio tries to keep Frank’s feet locked to the Anime Studio’s bone dynamics system can be used to automatically
ground. If you lift Frank too high, his legs will completely straighten out move bones around in response to higher-level movement. Anime
and his feet will lift from the ground - there’s really no helping that, the Studio uses a physical simulation of springs to calculate dynamic bone
same thing would happen to you if you were lifted off the ground. You movement, making it suitable for a wide range of movements, such as
can try rotating the spine bone too and see how the skeleton reacts. flabby body parts, bouncy hair, waving arms, etc.

It’s named “Tutorial 3.3” and it’s located in the “Tutorials/3 - Bones”
Locked feet.
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Select Bone
Play back the animation to see what we’re starting with. The entire
structure will tilt side to side and bounce up and down, remaining rigid
the whole time. Only the vertical bone in the center of the skeleton is
animated - all the others move with it because they are its descendants.
Rewind the animation to frame 0 when you’ve seen enough.
Use the Select Bone tool to select the top-left bone in the structure as
shown below:
Select this bone.
In the tool options area at the top of the main Anime Studio window,
click the “Bone constraints” popup box to open it. In the popup box,
turn on the “Bone dynamics” check box. This tells Anime Studio to move
the selected bone automatically according to the spring simulation.
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Turn on bone dynamics.

All eight leg bones set
Select seven more bones (two in each of the “arms”), and turn on
Play back the animation to see the difference. Now as the structure
bone dynamics for each one. Here’s a tip: you can leave the “Bone
tilts side to side, the “arms” will bounce around in response to the
constraints” popup box open the whole time, just click on each bone in
movement of the center bone.
turn, then turn on bone dynamics for each one. If the “Bone constraints”
popup box covers up some of the bones, you can pan the editing view
by dragging with the right mouse button to expose the hidden bones. At Adjusting Spring Parameters
this point, you should have turned on bone dynamics for every bone in
the structure except the vertical center bone. So that shows the basics of how to use bone dynamics. Now let’s
take a look at how you can make adjustments to the “bounciness”
of the springs. Select the top-left bone again, and re-open the “Bone
constraints” popup box. Below the “Bone dynamics” checkbox are three
parameters that allow you to fine-tune the effect. Set the Torque force
to 4, Spring force to 2, and Damping force to 2, as shown below. Select
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the bone’s immediate parent (the second bone in the top-left arm), and
apply the same dynamics parameters.
A higher Torque force means that a bone moves more in response to
its parent’s movement, Spring force determines how quickly it bounces
back, and Damping force controls how quickly a dynamic bone stops
moving (you can think of damping like friction). In this case, a high
torque force means that the bone will move more strongly.
Set a high damping force on these bones.
Finally, select the two bones of the bottom-left arm (one at a time), and
set the bone dynamics parameters to 2, 4, 1 (Torque, Spring, Damping).
The high spring force will cause this arm to bounce back very quickly.
Adjusting dynamics parameters for both bones in the top left arm.
Next, select the two bones of the top-right arm (one at a time), and set
the bone dynamics parameters to 2, 2, 5 (Torque, Spring, Damping).
These settings will cause these bones to slow down their dynamic
movement quickly - a high damping value is like making the bone move
through a thick fluid.
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Set a high spring force on these bones.

Tutorial 3.4: Character Setup
Try playing back the animation again. As you watch the final animation, In this tutorial, you will learn how to set up the bone system for a
note the differences between the four arms. The top-left arm swings complex character. This will involve splitting a character apart, creating
in a wide arc because it has a strong response to the parent bone’s bones, adjusting bone strength, and putting the character back together.
movement. The top-right arm’s movement is subdued because the
damping force causes it to slow down more quickly. The bottom-left arm
is very springy, and the bottom-right arm moves in accordance with the Start With a Sample File
default bone dynamics settings.
For this tutorial, we’ll start with a project file that already has the
artwork for the character drawn - you’ll just set up the bones. It’s named
“Tutorial 3.4” and it’s located in the “Tutorials/3 - Bones” subfolder
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within the main Anime Studio folder. Open this file in Anime Studio, and
you should see something like this:
Split Apart the Character

Starting point for this tutorial. In order to make bone setup easier, the first thing to do is split apart the
character. Choose the Edit > Select All menu command. All the points
in the right arm (your right, his left) should be selected. Activate the
There are six vector layers in this project, containing the body parts for
Translate Points tool and drag the mouse to move the arm off to the
this character. Although all the artwork could be drawn in one vector
side and up a bit:
layer, it is often easier to draw a character in multiple layers, arranging
the body parts from back to front, as shown below:
Translate Points
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Arm moved off to the side.
Body parts split apart.

Next, select the Head layer, and move all of its points upward. Repeat
the process for all the layers of the character, except the Torso layer,
moving the body parts away from the center, as shown below: The reason we split apart the character is so that we can add bones to
each part, while keeping the bones independent of each other. Later in
the tutorial we’ll put the character back together again.
Add Bones
The next step is to add bones. Add a new Bone layer to the project,
name it Skeleton, and move all the vector layers into it, keeping the
same order they are in now:
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New bone layer.
Using the Add Bone tool, add two bones going up through the torso,
starting with the bottom one: Two new bones.
Use the Select Bone tool to select the lower torso bone. Then, select the
Add Bone tool and add three bones to one leg, starting at the hip and
moving down through the foot. Repeat the process for the other leg. The
hip bones should be parented to the lower torso bone.
Add Bone
Next, add two bones to each arm, starting at the shoulder and going
down - the shoulder bone should be parented to the upper torso bone.
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Leg bones added. Head bone added.
Use the Select Bone tool to select the upper torso bone, and then use Select the upper torso bone with the Select Bone tool. Then use the Add
the Add Bone tool to add one bone to the head. Bone tool to add two bones to one of the arms. Repeat the process for
the other arm. This figure shows all the bones in place:
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All the bones added.

All the bones added.
And this next figure shows the parenting of all the bones. The parenting
arrows point from child bone to parent bone, and can be seen by At this point, feel free to try using the Manipulate Bones tool to see
activating the Reparent Bone tool: how the bone system works so far. The body parts should mostly move
how you would expect, but not totally cleanly - the next step is to clean
up the bones’ influence.
Reparent Bone
Manipulate Bones
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Adjust Bone Influence

Double-click the Skeleton layer in the Layers window to bring up the
Layer Settings dialog. Go to the Bones tab and set the binding mode to
“Region binding”:
Bone Strength
Turn on region binding.
When region binding is used, bones only move the points that lie in
their region of influence. If a point is overlapped by multiple regions of
influence, it will be affected by all the corresponding bones. If a point is
in no bone’s region of influence, it will move with the nearest bone.
This is different from flexi-binding, where all bones affect all points.
Flexi-binding can be quicker to set up, but leads to more rubbery motion,
since moving a hand will always cause a little bit of movement in a foot.
Region binding makes separate body parts truly separate.
For region binding to work, however, you need to adjust the region of
influence for each bone. To do this, activate the Bone Strength tool to
display the bones’ regions of influence:
Initial regions of influence.
Using the Bone Strength tool, click and drag on each bone in turn to
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adjust its region of influence. The correct adjustment for a region of

influence it generally to surround the points along that section of bone.
The most important regions are at the joints - the knees and elbows
and such. Those are the areas where the regions of two bones overlap,
and points will bend under the control of both bones. For parts like this
character’s head, the region of influence isn’t very important - since
there’s just one bone, the points outside the region of influence will
Offset Bone
still move with that bone. Here’s how you should adjust the regions of
influence (don’t worry about matching this exactly, just try to get kind of
close):Adjusted regions of influence. Click and drag on the top bone of each body part to move that part
back into position. Move each arm by the upper arm bone, each leg
Try using the Manipulate Bones tool again to test the bone setup. The
by the thigh bone, and the head by its single bone. When each part is
character should move much more cleanly now - when moving an arm,
moved back into place, the character should look like this:
for example, only that arm should move, and you should see no extra
movement in other body parts.
Manipulate Bones
Put the Character Back Together

The final step is to reassemble the character. Activate the Offset Bone
tool.
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Manipulate Bones
Re-assembled character.
Frame 0 is considered the “setup” frame for bones. When the time is set
to frame 0, the character will still appear split apart (unless you’re using
the Offset Bone or Manipulate Bones tools). However, at other frames in
the animation, the character will be re-assembled according to how you
used the Offset Bone tool.
Final character.
Try moving the character around again with the Manipulate Bones
tool. The body parts will still move independently, even though they
now overlap. Because the bones were set up on a split-apart character, If you’re interested in taking a look at the final Anime Studio file, it’s
that character could be re-assembled while still keeping the body parts named “Tutorial 3.4 Final” and it’s located in the “Tutorials/3 - Bones”
independent. subfolder within the main Anime Studio folder.
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Images Start With a Sample File

It’s named “Tutorial 4.1” and it’s located in the “Tutorials/4 - Images”
Tutorial 4.1: Image Layers Studio, expand the “Hula Girl” layer in the Layers window, and you
should see something like this:
This tutorial introduces another type of layer in Anime Studio: Image
Layers. Image layers are a way of including artwork created in other
programs in a Anime Studio project. Any application that can produce
image files can be used with Anime Studio: photo editors, 3D modeling
programs, natural media painting programs, the list goes on...
An image layer in Anime Studio contains a single image file that can
be used as a background, or combined with a bone layer to build a
character. Although they’re called “Image” layers, an Image layer can
also make use of a movie file as its source. Image layers and vector
layers can be mixed and matched in the same project.
Alpha Channels
You’ll notice that the images used in this tutorial do not appear Starting point for this tutorial.
rectangular. This is because they make use of an alpha channel to mark
some parts of the image as transparent. We recommend using PNG This project is almost complete as it is. The only thing that’s missing is
images with Anime Studio because they support full alpha channel the dancer’s left hand. Add the hand as follows:
transparency. You’ll need to use an image editing program (like Adobe
Photoshop) to create images with transparency. First, click on the layer named “L Arm” (we want the new layer to be
just above the left arm). Next, click the new layer button in the Layers
window to create a new layer.
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Left hand added.
In the popup menu that appears, choose “Image”. Anime Studio will
prompt you to select an image file. Choose the file “l_hand.png” in the New image layers are centered in the workspace, so the dancer’s hand is
“Anime Studio/Tutorials/4 - Images” folder. Double-click the new layer not yet properly aligned:
and rename it “L Hand”. At this point, your Layers window should look
like this:
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Translate Layer
The new hand.
To position the arm properly, use the Translate Layer tool to drag
the left hand into position at the end of the left arm. Allow for a little
overlap between the two parts at the elbow:
Left hand in position.
The last step is to attach the new part to the dancer’s skeleton. Select
the Bind Layer tool, and click on the lower arm bone on the dancer, as
shown below:
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Bind Layer
Tutorial 4.2: Image Warping

This tutorial demonstrates Anime Studio’s image warping feature. This
feature allows you to use a skeleton to distort an image. In this way, you
Bind the image layer to the forearm. can animate photographs, hand-drawn artwork, or anything you can get
into an image file in a flexible way.
You’re done! To see the animation in action, press the Play button.
Of course, we skipped over the process of building and animating the
skeleton, but the basics of working with skeletons were covered in Start With a Sample File
previous tutorials - all of that information applies when using bones with
image layers.
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Studio, expand the “Skeleton” layer in the Layers panel, and you should
see something like this:
The bone layer contains two sub-layers: an image layer and a vector Only the vector layer moves.
layer. Try playing back the animation. Notice that only the vector layer
moves with the skeleton: The reason that the image layer isn’t moving is that it hasn’t been
connected to the bones yet (as the vector layer has been).
Using Image Warping

To warp the image layer with the skeleton, double-click the “statue.
png” layer, and go to the “Image” tab in the Layer Settings dialog. Turn
on the checkbox marked “Warp using bones” and click OK.
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Also, turn off the visibility for the “vector sample” layer - it was only an
example, and we don’t want it in the final animation.
Image warping.
Tip: Notice the horizontal bone at the base of the statue. This bone
doesn’t move at all in the animation, so why is it even there? When
Play back the animation again, and you should now see the image using image warping, the image is distorted by all the bones in the
moving with the skeleton: skeleton, and the nearest bone to any part of the image has the most
influence. We don’t really want the base of the statue to move, so an
easy way to prevent this is to add a bone in the area we want to remain
still, and not animate it. Another trick you might use when warping
images is to break up an image into logical parts (for example, make the
arms and legs of a person separate images from the main body). Then,
use different skeletons to control the various re-assembled parts. This
way, a leg bone can’t have any influence over an arm.
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Tutorial 4.3: Animating a Talking

Head
This shows you an easy way to animate a photograph to create a cheesy
talking-head effect. The quality of the result will depend a lot on the
photograph you start with and how the bone system is set up.

Studio, and you should see this:
The project contains an image layer enclosed in a bone layer. Bones

have already been set up to control the mouth region, and extra bones
have been set up around the border of the image to hold the rest of the
head still.
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Test Bones
Select the Manipulate Bones tool and use it to drag the bone at the
lower right side of the mouth in the reagan.png layer. Notice that the
other mouth bones move as well - they have been set up using bone
constraints to move in sync with the lower-right bone.
Manipulate Bones
Moving the mouth.
Adding Sound and Motion

Now we’ll add a soundtrack to this animation. Choose the File >
Import > Audio menu command. When prompted, pick the reagan.
wav file from the “Anime Studio/Tutorials/4 - Images” folder. The audio
file will now play back with the animation - try playing it back if you like.
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The next step is to add some animation in sync with the soundtrack. only select one audio file if there are multiple sounds in your scene.
Activate the Select Bone tool and make sure the bottom-right bone in
There are two additional settings in the Bone Audio Wiggle dialog.
the mouth is selected (it probably already is at this point).
Set the Max angle to 180, and keep the Frame Step setting at 2. This
creates keyframes at every other frame. Click OK to exit the dialog. The
script will run and add keyframes to the timeline for the selected bone.
Select Bone
Keyframes for Bone Audio Wiggle
Set the current time to frame 1. Select the Script > Sound > Bone
Audio Wiggle menu command. This is a script that uses the volume of Because the other bones are controlled by the selected one, the whole
an audio file to control the angle of a bone. mouth will move.
Tutorial 4.4: Image Textures

In this tutorial you will learn how to use images as textures to add detail
to a character.

Bone Audio Wiggle script
The dialog allows you to choose the sound file that you want to use. Studio, and you should see something like this:
Select the same reagan.wav file you used for the soundtrack. You can
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Play back the animation to see what’s going on, and then be sure to
rewind the animation to frame 0. What you’re going to do is hand paint
some texture details to go on this character.
Rendered animal
Paint the Textures Then, start up your favorite image editing program (we recommend
Adobe Photoshop) and create a new document the same size as the
The first step is to paint some textures to go on this headless animal’s Anime Studio project (320x240 in this case). Paste the copied image into
body. Select the File > Preview menu command to create a full-quality the new document.
view of the animal’s current state.
Create a new layer in your image editing program and paint some kind
In the popup menu at the bottom of the Render window, select “Copy of texture details onto the animal’s body parts. It’s very important that
To Clipboard”. the texture be on a layer of its own. If you’re using Photoshop, the layer
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arrangement would look something like this:
Layers in Photoshop. Painted on texture.
You can paint whatever details you want. Here’s an example of When your texture is finished, get rid of the background layers so
something you might paint in your image editor. Don’t worry about that only the texture is left with a transparent background (you’re still
painting outside the lines: working in Photoshop or similar program at this point):
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Background removed. Back legs texture. back_tex.png
Finally, you need to save the texture as three separate files - one for the
back legs, one for the torso, and one for the front legs. For each version
of the texture, delete the parts of the texture that are not attached to the
corresponding body parts. Save the images in PNG format, since PNG
properly stores the transparent background. Name the files “back_tex.
png”, “body_tex.png”, and “front_tex.png”. Here’s what the three
textures should look like:
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Body texture. body_tex.png

Front legs texture. front_tex.png
You’re done working with the image editor - it’s time to bring the
textures back into Anime Studio.
Note: If you’re having trouble creating the image textures, we have
provided some files for you to examine. Look at the file “Tutorial 4.4
Texture.psd”, located in the “Tutorials/4 - Images” subfolder within the
main Anime Studio folder - this is the Photoshop file. Also, look at the
files “back_tex.png”, “body_tex.png”, and “front_tex.png”, which are
the finished texture files.
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Import Textures
Back in Anime Studio, create a new Image layer, and select “back_tex.
png” as the source image. Place the layer inside the bone group, just
above the “Back Legs” layer.
Create another image layer for “body_tex.png” and place it just above
the “Body” layer.
And finally, create a third image layer for “front_tex.png” and place
it just above the “Front Legs” layer. Here’s how the new image layers
should be arranged:
Textures applied in Anime Studio.
Use Masking for Clean Edges

The final step is to clean up the texture edges using layer masking.
Double-click the “Skeleton” layer in the Layers window to bring up the
Layer Settings dialog. Go to the Masking tab, and set the group mask to
“Hide all”:
Three new image layers.
At this point, the textures are finished and in place, but they are a little
messy, and go outside the bounds of the actual body parts:
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Turn masking on for the group.

Set the masking mode for the Body layer.
Next, double-click the “Back Legs” vector layer to bring up the Layer
What this masking mode does is make all objects invisible, except where
Properties dialog for that layer. Go to the Masking tab, and set the
this layer has solid areas. So, the “back_tex.png” image layer will only
masking mode to “+ Clear the mask, then add this layer to it”:
be visible directly on top of the “Back Legs” vector layer, preventing the
texture from going outside the lines of the back legs.
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Set the masking mode for both the “Body” and “Front Legs” vector
layers to “+ Clear the mask, then add this layer to it”, just like you did
for the back legs. At this point, all the textures should be forced to stay Textures cleaned up with masking.
inside the lines:
Play back the animation again and you’ll see the image layers warp
along with the vector layers in response to bone movement.
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Animation Bone animation involves setting up a skeleton system for an object and
then moving the skeleton around. By carefully constructing a skeleton,
you can easily move a character around like a puppet.
After all the preparation time drawing your objects, assigning fill colors, Layer animation is for very simple, large-scale motion. When you move
and setting up bones, you move on to animating them. This is where a layer, everything in it moves together. This doesn’t give you a lot of
things actually start to move around. flexibility as far as what you can animate this way, but it’s a good way
Animating in Anime Studio is based on the concept of keyframes. A to get certain effects. If you want an entire group of objects to pan side
keyframe is a point in time where you position some object (either to side or zoom in or out, then layer animation is the tool to use.
a point, a bone, or an entire layer). A keyframe tells Anime Studio The keyframes you define are visible in the Timeline, starting at frame 1.
exactly where that object should be and when. Keyframes are set up Frame “0” is a special frame in an Anime Studio project - the original
at “important” moments in time - typically where an object begins placement of all your objects is stored at frame 0. If you want to modify
moving, stops moving, or changes direction. Between keyframes, Anime an object’s original shape or position, or add new objects, this should
Studio automatically calculates how to move an object so that it gets be done at frame 0. Whatever you do to an object in later frames can
from one keyframe to the next in the amount of time allowed between never affect an object’s original shape and position, so even if you think
the keyframes. you really screwed something up, you can always delete some keyframes
To create a keyframe, just set the current time to whenever you want and get back your original drawings.
the keyframe to occur, then move the object to the desired position. This chapter has a useful hands-on overview of how to animate in
Controlling the current time and working with keyframes after they’ve Anime Studio, using each type of motion (point, bone, and layer).
been created is discussed in “Timeline Window” on page 296. Once you’ve mastered Anime Studio’s animation tools, animating is a
You can animate several types of motion in an Anime Studio project, simple job of repeatedly using the tools you already know, keyframe by
and they can each be used alone or in combination. The first type is keyframe.
point motion. Point motion very basic - it just involves moving individual
points around in time. Point motion is good for small distortions to an
object where you want something to look soft and flexible (turning up Tutorial 5.1: Automatic Lip-Sync
the corners of a mouth into a smile, bulging out a belly, etc.). You can
move a shape in any way you want with point animation, but it might This tutorial uses Anime Studio’s Switch layers to show you how to
require manipulating a lot of points - in many cases bone animation can perform instant, automatic lip-syncing. A switch layer contains multiple
simplify the job. sub-layers, but only one of the sub-layers can be displayed at a time.
This makes it very useful for lip-sync animation: each sub-layer can be a
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mouth shape for a different sound. to top they range from closed to wide open. This is the basic setup for
automatic lip-syncing. The number and names of the sub-layers don’t
The method of lip-sync described in this tutorial is quick and easy,
matter, as long as the lowest one is closed and the highest one is wide
though not always super-accurate (but give it a try - it may be accurate
open.
enough for your animation). For the most accurate lip-sync results, we
recommend using a program like Papagayo. Lip-syncing using Papagayo Next, we want to hear the audio file that will go along with the
is covered in “Tutorial 5.2: Phoneme Lip-Sync” on page 105. lip-syncing. Choose the File > Import > Audio command from
Anime Studio’s menu and select the file “bushism.wav”, located in the
“Tutorials/5 - Animation” subfolder within the main Anime Studio folder.
Start With a Sample File You can play back the animation now to hear the result, but the mouth
doesn’t move yet. Stop the playback before proceeding.
named “Tutorial 5.1” and it’s located in the “Tutorials/5 - Animation” Double-click the “Mouth” layer. When the Layer Settings dialog opens,
subfolder within the main Anime Studio folder. Open this file in Anime click the “Switch” tab:
Studio, expand the “Mouth” layer in the Layers window, and you should
Layer settings for the mouth.
Click the “Select audio sync source” button to select the file that will
control the Switch layer. In the file dialog that appears, select the file
“bushism.wav”. Click the dialog’s OK button.
That’s it! The audio file was analyzed and keyframes were attached to
Examine the sub-layers in the “Mouth” layer. Notice that from bottom the Switch layer. When the audio is quiet, Anime Studio activates the
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lowest layer (the closed mouth), and when the audio is loudest, Anime based on phonemes, it requires you to break down the words of dialog
Studio uses the highest layer (the wide open mouth). In between, Anime into their basic sound elements. There are software programs out there
Studio switches on the in between mouths. Play back the animation to that can help you do this - the one that we recommend for using with
see and hear the result. In general, because automatic lip-sync is based Anime Studio is the free program Papagayo.
on the actual sound in the audio file, it is important to use an audio file
without background noise or music.
named “Tutorial 5.2” and it’s located in the “Tutorials/5 - Animation”
Studio, expand the “Head” layer in the Layers window, and you should
Tutorial 5.2: Phoneme Lip-Sync

This tutorial covers another method of animating lip-sync. With this
method, the lip-sync is based on phonemes. Phonemes are the basic This project is almost complete. The only thing apparently missing is
“building block” sounds that make up words. When you do lip-sync the animation for the character’s mouth. Play back the animation. The
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mouth is there (it’s a switch layer), but no animation data has yet been that will control this switch layer. In the file dialog that appears, select
assigned to it, so it doesn’t move. the file “vista.dat” located in the “Tutorials/5 - Animation” subfolder
within the main Anime Studio folder.
Double-click the “Mouth” layer. When the Layer Settings dialog opens,
click the “Switch” tab: The vista.dat file was created using a program called Papagayo.
Papagayo is a tool designed to help you synchronize animation to audio
tracks. This particular file is based on an example file included with
Papagayo, and is an animation of a mouth speaking, “Hasta la vista,
baby.” For more information, see the Papagayo documentation.
The Mouth layer contains all the mouth shapes needed to speak any
phrase. You can examine the Mouth layer to see the sub-layers it
contains. Each sub-layer is named after a different phoneme. You can
use any set of phonemes you choose - the ones in this mouth are based
on the same default set used by Papagayo, which is a good place to
get started. To make the mouth speak a different phrase, just create a
different animation data file in Papagayo, and select it into the mouth
layer as we just did for the vista.dat example.
To hear the sound along with the animation, choose the File > Import
> Audio command from Anime Studio’s menu and select the vista.wav
file located in the “Tutorials/5 - Animation” folder. Now, when you play
back the animation in Anime Studio you will hear the audio that goes
with the lip-sync. Also, if you export the animation as a QuickTime or AVI
movie, the audio will be included in the movie file.
Layer settings for the mouth.
Click the “Select audio sync source” button to select the switch data file
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Studio.
We’re interested in the Skeleton layer here - make sure it is the active
layer. The skeleton here is partially animated - go ahead and play it
back to see what you’re starting with. In case you were wondering, only
the lowest vertical bone in the skeleton is actually animated. The other
bones are using bone constraints to follow the motion of the lowest
bone.

Motion Curves
Tutorial 5.3: Animation Curves
Introduction
Select Bone
This tutorial introduces the graph mode of Anime Studio’s timeline.
Graph mode allows you to inspect an animation curve plotted as
values on a graph. Looking at things this way can help with evaluating Rewind the animation to frame zero, and use the Select Bone tool to
acceleration, changes in direction, and other properties of motion. select the lowest vertical bone as shown below:
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Select the Bone Channel icon
The first time you click the icon, you turn on the display of the channel in
the graph. The second click makes the channel active for editing.
By default, not all channels are visible, since this would just cause too
much visual clutter in graph mode. For similar reasons, only one channel
can be active for editing in graph mode. Double-clicking a channel’s icon
Select the lowest bone. makes it active for editing.
Now, press the End key on your keyboard - this rescales the graph to
In the Timeline window, click the Motion Graph tab and turn on the accommodate the currently active channel, in this case the selected bone
“Enable graph mode” checkbox. Click the Selected Bone A channel rotation channel. After all of these adjustments to the graph, it should
icon - this is the channel icon on the left side of the timeline, and looks look like this:
like this:
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work (you may need to turn off your Num Lock key). Next, click the
keyframe at frame 33 and drag it upwards slightly as shown below. If
you hold the Alt key while dragging a keyframe in graph mode, you
will only be able to drag it vertically. Hold the Ctrl key to move it only
horizontally.
Graph mode.
Move a keyframe.
In the graph you can see three keyframes. These are just like keyframes
in the normal timeline, but instead of just being spread out along a
Next we’re going to add a new keyframe directly on the graph. Right
horizontal line (time), they are also spaced vertically (value). Between
click on the graph around frame 37. In the popup menu that appears,
the keyframes, a curve is drawn that represents the value of the selected
select “Add Keyframe”. A new keyframe will appear on the graph - drag
bone’s rotation angle. Looking at this curve, you can tell that over the
it to the location shown:
first second (frames 1 to 24), the bone rotates from an angle of 1.57 to
an angle of about 1.05 (we don’t care about the exact values). Then, in
less than half a second it rotates back again.
Note: in the timeline’s graph mode, angles are displayed in radians so
that they’ll be closer in magnitude to other values like translation and
scale. However, if you want to see curves displayed in degrees you can
tell the timeline to do that in Anime Studio’s preferences dialog.
Now we’re going to edit the bone’s motion by modifying the graph. First,
Add a new keyframe.
set the current time to frame 48 and choose the Bone > Reset Bone
command.
Let’s add three more keyframes like the previous one. Add these keys at
Press the Page Down key to give yourself some room in the graph to
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frames 40, 43, and 46. You don’t need to set the time to the frame you option of sorting layers by depth, allowing layers to move in front of and
want to add a key to - just right-click at the correct frame and add the behind each other during the course of an animation.
new key. Don’t worry if the key isn’t exactly at the frame you wanted,
since you can easily drag it into position. Move these new keys so that
the curve looks like this: Start With a Sample File
The final graph.
What this wiggling curve represents is sort of a springy back-and-forth

motion that decreases over the span of just over half a second. You
could have animated this using the normal timeline and the bone
rotation tool, but this gives you another way to understand the motion
you’re creating. Play back the animation to see what it looks like.
Tutorial 5.4: Sorting Layers by

Depth
This tutorial shows you some of the 3D-related features of Anime Studio.
Anime Studio allows you to move layers in three dimensions to create
an accurate simulation of depth. In addition, Anime Studio has the This file contains two layers and a simple animation of a circle moving
back and forth in front of a square. Try playing back the animation to
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see what it looks like.
Creating Depth
Translate Layer
Now we’re going to try moving a layer in 3D - towards and away from
the camera. Set the current frame to 12 and activate the Translate
Layer tool. Make sure the “Circle” layer is active. Now, while holding Circle moved forward.
down the Alt key, drag downwards in the editing area. You’ll see the
circle get larger - this is because it is moving closer to the virtual camera.
In the tool options area at the top of the main Anime Studio window,
The Alt key modifies the Translate Layer tool to move a layer forward
notice the value of the Z field. It should be somewhere around 1.0 (the
and back. Drag the Circle layer until it looks about like this:
exact value isn’t important here). Positive depth (or Z) values are closer
to the camera (in the direction out of your screen), while negative values
point away from the camera (into the screen).
Next we’ll try moving the circle away from the camera. Set the current
frame to 36. Again holding down the Alt key, use the Translate Layer
tool and drag upward in the editing area. Keep going as the circle gets
smaller (farther away), until it looks like this:
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Studio can do this automatically - all you need to do is to turn on a

single checkbox. Select the File > Project Settings menu command.
In the dialog that appears, turn on the “Sort layers by depth” checkbox
and click OK. This tells Anime Studio to ignore the layer ordering in
the Layers window, and instead draw layers in order from furthest to
nearest. Play the animation again, and you’ll see that the circle is drawn
behind the square during the time that it is farther away.
To get a clear idea of what’s going on, use the Orbit Workspace tool
to turn the scene to an oblique angle. If you play back the animation
from this point of view, you can clearly see the circle moving forward
and back as it moves around the square.
Orbit Workspace
Circle moved backward.
Once you have a good view, activate the Translate Layer tool to display
The Z value in the tool options area should now be close to -1.0. Try the path of the Circle layer’s motion.
playing back the animation again - the circle should now grow larger
and smaller as it moves towards and away from the camera. However, it
always appears in front of the square. As it moves farther away, it should
be going behind the square, which brings us to...
Sorting Layers by Depth

If you do move layers forward and back, as in this tutorial, you may
also want layers to move behind and in front of each other. Anime
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is a special type of keyframe interpolation, and this tutorial will show you
how to set it up.

subfolder within the main Anime Studio folder. In the timeline, you can
see that the top layer, “Red Blinker”, has two keyframes in the Layer
Visibility channel. The layer becomes invisible at frame 36, and visible
again at frame 48. This is also shown by the red background in the
timeline during the layer’s invisible period:
View from above.
A note about depth sorting: The checkbox we turned on to sort the

layers by depth only sorts the top-level layers in an Anime Studio project.
If you want to sort the sub-layers in a group, double-click the group layer
to bring up the Layer Settings dialog. There you will find a tab labeled You can play back the animation to see what’s going on. Basically, the
“Depth Sort” - in this tab is a checkbox that you can turn on to depth- red light starts off turned on, then it shuts off for a while and finally
sort the sub-layers of the group. turns back on.
Using cycling, you can make the light blink over and over. Right-click
on the second keyframe (the one at frame 48), and in the popup menu
Tutorial 5.5: Cycling that appears, select “Cycle...”. You’re telling Anime Studio that after this
keyframe, you want the animation to cycle back to an earlier point in the
It is possible in Anime Studio to automatically cycle a section of animation. A dialog will appear asking you the specifics of the cycling.
animation, repeating it over and over as many times as you wish. Cycling Enter the values shown below:
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Let’s try adjusting the cycle duration. In the Timeline window, hold down
the Ctrl key while you click and drag on the second keyframe (the one
that cycles). As you drag the mouse side-to-side, you’ll see that the cycle
duration changes, as the arrow that points back from the cycling key
gets longer and shorter. Adjust the cycle duration so that the keyframe
cycles back to frame 24:
Cycle settings.
When you click OK in the cycle dialog, the timeline will update to show
Adjusted cycle duration.
the cycle. There are three changes you will see: First, the keyframe in
question will change to a left-pointing arrow to indicate that it cycles
backwards. Second, a long red arrow will point back to the point in the If you play back the animation now, you’ll see that the light blinks more
timeline that the visibility channel is cycling back to. Third, later in the quickly now, since the cycle duration is shorter.
timeline you will see other sections with red backgrounds to indicate Finally, to break a cycle, all you have to do is add another keyframe
that the layer is invisible during those periods: when you want the cycle to end. Set the current frame to 102, right
click in the Layer Visibility channel, and select “Add Keyframe” from the
popup menu that appears. The new keyframe will appear, and at that
point the cycling will end. Play back the animation to confirm this.
Cycling reflected in the timeline.
You can play back the animation again to see the result. The “Red
Blinker” layer will flash on and off multiple times, even though you
didn’t add any more keyframes - the Layer Visibility channel is just
cycling back and repeating a section of animation over and over again.
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For this tutorial, we’ll start with a project file that already has some
actions set up. It’s named “Tutorial 5.6” and it’s located in the
“Tutorials/5 - Animation” subfolder within the main Anime Studio folder.
Open this file in Anime Studio, and you should see something like this
(don’t worry - the split-apart character is just part of the bone setup
process):
New keyframe at frame 102.
Conclusion
Cycling can be used in any animation channel in Anime Studio. Any
keyframe can be made to cycle back in time by setting “Cycle” as the
key’s interpolation method. You can cycle a channel all the way back to
the beginning of an animation, or just back a few frames. Cycling will
repeat itself forever or until a new keyframe is reached.
Tutorial 5.6: Actions Let’s take a look at the actions for this character. Select the Window
> Actions menu command to bring up the Actions window. It should
In Anime Studio Pro, actions are little clips of animation that are appear as shown below:
associated with a layer (or group of layers). Using actions, you can create
reusable animation for movements that you expect to use over and over
again. In this tutorial you will learn you how to use actions.
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Actions for this character.
Each item listed in the Actions window is a clip of animation that this Activate the Step action.
character can perform. The first entry in the list, “--- Mainline ---” is kind
of special. “Mainline” is not an action - it represents the main timeline Also notice that the Timeline window has changed. The background
for the animation, the one that will ultimately be exported as your final changed color to indicate that you’re working with an action, not the
movie. main animation. Finally, some keyframes appeared in the timeline -
these are the keys for the Step action. Press the playback button to
To view or edit an animation, double-click it in the Actions window. Let’s
watch this action, and stop it when you’ve seen enough.
do this now with the “Step” action. After double-clicking “Step”, a little
red arrow will appear next to it in the Actions window. This indicates Try playing back the other actions as well. For each one in turn (Wave,
that Step is the currently active action: Squat, and Bend), double-click the action’s name to activate it. Then,
play back its motion to see the result. When you’ve watched them all,
double-click Mainline to go back to the main animation’s timeline.
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Using Actions
Now that we’ve seen which actions the character can perform, let’s
try using them in an animation. Make sure that “Mainline” is active in
the Actions window. Set the current frame to 3, and click once on the
“Wave” action. Be sure to just click once - “Mainline” should still be
active with an arrow next to it, and “Wave” should be highlighted:
Inserting a reference to the Wave layer..
When you insert an action by reference, Anime Studio will use that
action’s motion in the timeline. If you later modify the action, those
changes will be reflected in the main timeline. As you can see, the
timeline has been updated to indicate that the Wave action was inserted,
plus it shows how long the Wave action lasts:
Click once on “Wave”.
Now that Wave is selected, we can insert it into the main timeline. Click
the “Insert Reference” button at the top of the Actions window.
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Wave action inserted into the timeline.
Actions can also be overlapped. Set the current time to frame 12. Click
once to select the Squat action in the Actions window. Finally, click the
“Insert Reference” button to insert the Squat action. Notice that the
timeline now shows both actions (with the Squat action adding four
channels in the timeline). Play back the animation to see how these two
actions overlap.
Inserting a reference to the Squat layer.
Wave and Squat actions overlapping.
Let’s overlap three actions now. Go to frame 40, and insert references
to three actions: Wave, Squat, and Bend. One after another, click once
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on the action then click the “Insert Reference” button . Play back the
animation now and see how the character performs the three actions
together, starting at frame 40.
Finally, let’s try repeating an action a few times. Go to frame 66, and
insert the Step action. Then go to frame 78 (at the end of the first step
action) and insert the step action again. Do this once more at frame Add a new Layer Translation keyframe.
90. The step action should now appear three times in sequence in the
timeline: Finally, set the current frame to 102, and the total number of frames to
102, then use the Translate Layer tool to move the character to the
left off screen:
Repeating the Step action.
The last thing we’ll do is move the character off screen. Select the Layer
Translate tool and click inside the scene to set a keyframe. Character translated off screen.
Tutorial 5.7: Frame by Frame

Animation
Translate Layer
Traditionally, animation was created by drawing frames one after
another, each one slightly different from the last. Anime Studio does
not work this way - in Anime Studio, you create artwork and then use
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keyframing to move parts of the object around (using either bone or little worm in the editing view.
point motion), and then Anime Studio fills in all the in-between frames.
• When drawing the body, make sure that the Freehand tool’s “Auto
However, there is a way to do some frame-by-frame animation in Anime close”, “Auto fill”, and “Auto-stroke” options are turned on.
Studio, and this tutorial will show you a simple example of how you can
do this. Keep in mind that this isn’t what Anime Studio was designed • When drawing details, make sure that only “Auto stroke” is
for - if you’re looking for a frame-by-frame animation program, Anime checked.
Studio isn’t the best tool for the job. But, if you just need to do a little
bit of frame-by-frame animation, this technique might work for you. You might end up with something like this (feel free to put more work
into it for a prettier result):
Start With a Blank File

Start out with a new, blank Anime Studio project - it should just have
one layer, “Layer 1”.
Add a new Switch layer and name it “Inchworm”. Move Layer 1 into
the switch layer. Next, right-click on the switch layer and select “Layer Freehand
1” from the popup menu to make that layer active in the switch group.
Finally, select the “Layer 1” layer as we’re about to draw in it. Here’s
what the layout should look like:
The starting layout.
Now, select a fill color and a line color in the Style window for the The first inchworm frame.
inchworm you’re about to draw. Activate the Freehand tool and draw a
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Next, advance the time to frame 3. Create a new vector layer - it should
be automatically named “Layer 2” and should appear just above Layer
1. When you create this new layer, it becomes the active layer in the
switch group:
NOTE: If you are unable to add a vector layer at Frame 3, choose

Edit > Preferences to open the Preferences dialog. Uncheck the
“Enable Drawing Tools Only on Frame 0” option in the General Freehand
tab(which is on by default to prevent accidental changes to the
timeline).
Onionskin setup in timeline.
New layer added.

Now let’s get back to drawing. In the editing view, you should see an
In the timeline, turn on an onionskin at frame 2. To do this, click the outline of the first drawing you made. On top of this outline, using the
Onionskins button in the Timeline toolbar and check “Enable onion Freehand tool, draw a new inchworm, slightly advanced ahead of the
skins.” Also, in the Onionskins popup, turn on the “Relative frames” previous version:
option - this will cause the onionskin to follow behind the current
time by one frame. Finally, right-click in the area just below the frame
numbers to add an onionskin marker at frame 2. Here’s what the
timeline should look like:
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Advanced inchworm.
Advanced inchworm.
Next, move forward two frames to frame 5. Create a new vector layer Continue this process: advance two frames, create a new vector layer,
(it will appear above the previous two). You should see the onionskin and draw a new inchworm. Add about six more layers, causing the
outline of the previous worm - draw a new one on top of it: inchworm to scrunch up and then stretch out again, moving forward
over the course of about 17 frames.
Play it Back
Play back your animation, and you should see each drawing appear for
two frames before moving on to the next drawing. That’s all it takes to
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do frame-by-frame animation in Anime Studio. The key is that when you

create a new layer in a switch group, that layer becomes the active layer
Tutorial 5.8: Creating a 3D Scene
at that frame. So, by adding a layer, drawing a figure, advancing the This tutorial will show you how to build and move around in a 3D scene
current time, and repeating the process, you can create frame-by-frame in Anime Studio. Anime Studio isn’t a full 3D program - layers in Anime
animation in Anime Studio. Studio are 2D planes that exist in a 3D space. However, by positioning
If you want to see a finished example of this, open the file “Tutorial these 2D layers carefully, and moving around them using the 3D camera,
5.7”, located in the “Tutorials/5 - Animation” subfolder within the main you can create a convincing 3D environment.
Anime Studio folder. For this tutorial, we’ll start with a project file that’s almost finished. It’s
subfolder within the main Anime Studio folder. This file has some simple
artwork that we’ll use to build a 3D scene. The layers in this file are set
up as shown:
The final result.

The editing view should look like this to begin with:
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Rotate Layer XY
Adjusting X rotation.

Next, activate the Translate Layer tool, and in the tool options area,
enter -0.25 as the Y value:
Creating a Ground Plane

The first step in creating our 3D scene is to set up the ground plane.
Select the “Background” layer - this layer has already had a simple
terrain drawn onto it, we just need to position it correctly. Activate the
Rotate Layer XY tool, and in the tool options area at the top of the Translate Layer
main Anime Studio window, enter an angle of -90. Even though the
Background layer is just a flat 2D object, it can still be rotated and
positioned in true 3D space:
Adjusting position.
Finally, activate the Scale Layer tool, and in the tool options area,
enter 5, 5, 5 as the layer’s scale values:
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Scale Layer
Adjusting scale.
What these settings do is to rotate the Background layer so that it lies

down horizontally, lower it a bit, and spread it out wide to cover a large
area. Perfect settings for a ground plane. The scene should now look like
this: Ground in position.
Arranging Foreground Objects

The next step is to create and position foreground objects. A simple tree
has already been created for you - let’s set it up in 3D. Often, positioning
objects in 3D can be easier done from an overhead view. Use the
Orbit Workspace tool to rotate the view of the scene so that it looks
something like this.
(Notice the little blue wedge in the scene - this represents the camera.)
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Orbit Workspace
Orbit Workspace
Now, in the tool options area, set the Position X value to -3.25, and the
Z value to -2.25. The tree will be moved to the far corner of the scene:
Translate Layer
View from above.
Now select the “Tree” layer, and make the Translate Layer tool active.
Double-click the Tree layer. The Layer Settings dialog opens. In the
Options section of the General tab, turn on the “Rotate to face camera”
checkbox (you’ll see why this is important later).
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A forest.
Moving the tree.
Here’s a trick: if you have a mouse with a scroll wheel, instead of typing
OK, that’s one tree - now add several more. Duplicate the Tree layer, and in numbers for the X and Z values, try holding the mouse over those text
set new values for the X Position and Z Position. Repeat the process fields and turning the wheel. The value in the field will change, and you
several more times, just scattering trees across the landscape. Any values can watch the layer move - just keep turning the wheel until the layer is
for X and Z Position will do, as long as they’re roughly in the range where you want it.
between -3 and 3. Keep going until you’ve created about 12 more trees. Now the reason for the “Rotate to face camera” checkbox may be clear.
Position them all over the place - close to the camera, far away, behind The Tree layer (and all of its duplicates) automatically turns to face the
it, etc. When you’re done you should have a small forest: camera - notice how each tree is turned in a slightly different direction.
This makes sure the camera always has a full view of that layer. This may
not always be what you want, but for scenery objects, it can be a good
trick, especially when the camera starts moving.
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The last step to finish off the forest is depth sorting. Double-click the
“Foreground” group layer. In the Layer Settings dialog, click the “Depth
Sort” tab. Turn on the “Sort layers by depth” checkbox and click OK.
Now all the tree layers in this group will be sorted according to their Track Camera
distance from the camera.
Set the current frame to 48 and activate the Track Camera tool. While
holding down the Alt key, click and drag downward in the editing area.
Moving the Camera (The Alt key tells the Track Camera tool to move the camera forward
and back.). Keep dragging downward until you’ve moved forward
Now that we’ve got a filled-in scene, lets take a tour. Select the View
almost to the edge of the ground layer.
> Reset menu command. You are now looking at the scene from the
camera’s point of view:
Forward movement.
Camera view.
Now activate the Pan/Tilt Camera tool. Hold down the Shift key and
drag to the side to turn the camera around. (The Shift key prevents you
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from rotating the camera up and down.) It doesn’t matter where you move forward, and turn the camera) as much as you want, taking a little
turn to - just point the camera in an interesting direction: tour of your 3D scene.
Orbit Workspace
Pan/Tilt Camera
When you’ve moved around as much as you want, try playing back the
animation. While playing back the animation, use the Orbit Workspace
tool to view the scene from above. There are two things to notice here:
first, if you activate the Track Camera tool again, the path of the camera
is visible when viewing the scene from above. If the path is not visible,
check the “Show Path” option in the Track Camera tool status bar. This
can be useful when planning out camera moves. Second, watch how the
trees turn during the animation to always face the camera. That way, the
camera never catches an edge-on view of any tree, which would kind of
spoil the 3D effect.
Turn the camera.
Set the current frame to 96, and use the Track Camera tool to move
forward again (be sure to hold down the Alt key to move forward). After
moving forward, turn the camera in a new direction (be sure to hold
down the Shift key). Continue this process (advance the current time,
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factor between the two types of objects is a group layer that holds the
objects that physics are applied to. Any objects not contained within this
group are unaffected by the physics properties.
In the first steps in this tutorial, you’ll create a base object Group layer
that holds three objects, on three different layers.
To create a physics simulation,
1. Create a new project. Add a new Group layer in the Layers window.
The new layer will be named Layer 2.
View from above.
Feel free to experiment with more camera moves, or to add objects of

your own to the scene.
Create a new Group layer (Layer 2
Basic Physics
2. Drag the existing Layer 1 into the new group layer. On this layer,
Anime Studio features a physics engine that allows objects to collide use the Add Point tool with the Sharp Corners option checked to
with and bounce off of each other. create a base shape that the physics objects will collide with.
Creating the Objects

An Anime Studio project can contain objects that are not affected by
physics, as well as objects that are affected by physics. The deciding
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Create a Base object in Layer 1 and drag it into Layer 2. Three objects in the Group layer.
3. Add another layer (Layer 3) to the Group layer, and use the Draw
Shape tool to draw a circle on this layer. This will be one of the Enabling Physics
shapes that collide with Layer 1.
You now have a scene with a group that contains three objects: a base
4. Add another layer (Layer 4) to the Group layer, and create a object, and two additional objects that will bounce against it. The first
rectangle with the Draw Shape tool on this layer. thing you need to do is enable physics in the Group layer that holds
these objects.
1. Select the Group layer (Layer 2) and open the Layer Settings dialog.
Click the Physics tab to display the following settings:
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2. Click OK to close the Layer Settings dialog. Your group layer is now
configured to use physics
Creating a Collision Base

After you enable physics in the Group layer as described in the previous
section, your next step is to assign one of the objects as a stationary
collision base for the others to collide against. Otherwise, the gravity in
the Physics engine will cause all of the objects to drop off the screen.
1. Select the base layer (Layer 1) in the Group layer. This is the object
that the other objects will collide against. Open the Layer Settings
window to the Physics tab. You will see the following settings:
Enable Physics: This option should automatically be turned

on if it is in a Group layer that has Physics enabled. If you
Enable physics for the Group layer. uncheck the option, physics will not work on the current layer.
Non-moving object: Check this option to make the current
Enable physics: Check this option to turn the physics layer stationary. When this option is checked all of the other
simulator on. options in the Physics tab become disabled
Gravity direction: Use the directional slider to point to the 2. Click OK to return to the scene
direction from which gravity is originated. By default, the
direction is straight down (270 degrees). 0/360 degrees is at
the 3:00 position of the dial.
Gravity magnitude: Controls the strength of the gravity.
Lower values make the gravity less forceful (objects are
“lighter”) and higher values make the gravity more forceful
(objects are “heavier”). Check the Non-Moving Object option to create a stationary base object.
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Configuring Physics Objects on as described in the previous section.

Non-moving object: Leave this option unchecked for the
After you create one or more stationary objects, you then configure
circle and rectangle layers.
the properties for the other objects that will bounce against them. In
the case of the scene that we have created, these objects are the circle Start asleep: Check this option if you want an object to stay
and the rectangle. Start with the circle first, and then the rectangle, and still until something else bumps into it. To demonstrate how
proceed as follows this works,compare two versions of the project,
1. Select the circle layer (Layer 3) inside the Group layer. Open the Lifetime (frames): A physics object will fall, bounce around,
Layer Settings window to the Physics tab. You will see the following etc. for the duration of its lifetime (number of frames). After
settings: that time, it will be sent back to its initial starting position,
where it will start bouncing around again. A lifetime of zero
means the object will never be sent back to its starting point.
The Lifetime setting is useful for something like a hillside of
falling boulders. Instead of creating hundreds of boulders, you
can create a dozen or so and set the lifetime to the length of
time it takes for the boulders to fall from the top of the hill
to the bottom. If the top and bottom of the hill are offscreen,
this will look like an endless number of boulders falling down
the hill.
Initial direction: Works in conjunction with the Initial Speed
setting below. If given an initial speed of something more than
zero, a physics object will start flying out in the designated
direction at the specified speed.
Initial speed: Controls the speed at which physics objects
move in the designated direction. Faster speeds allow you to
Physics Settings for Non-Stationary objects create objects like bullets, rockets, etc.
Density: The default Density setting is 1. Decrease this setting
Enable Physics: This option should automatically be turned to make objects more responsive to collisions. Increase the
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setting to make objects less responsive to collisions. Additional Comments

Friction: A contact force between two surfaces that controls
You can also apply physics to bone layers. The physics are applied to the
how much they slow each other down when they touch. High
region of influence of the bone. See “Bone Physics” on page 209.
friction objects (like a brick sliding on concrete) will generally
slow down faster than low friction objects (blocks of ice).
Springiness: When two objects collide, their springiness
values define how much they will bounce apart. A basketball
bouncing on a floor would have a high springiness value,
while a stick of butter would have a low springiness value.
Pivot on origin: This option sets an axle around the object’s
origin point. When another object collides with an object that
is set to pivot, the object will spin around its origin rather than
topple over.
Motor speed: Works in conjunction with motor torque,
which folllows. The motor speed is the number of degrees
per second the object will rotate (it can be negative to rotate
backwards). Depending if the object bumps into obstacles or
there are other influences, it may not actually rotate at that
speed, but in a zero gravity setup with no collisions, that will
be the speed of rotation.
Motor torque: Motor torque controls the strength of the
motor. With low torque, when a motorized object bumps into
other objects it may come to a stop, depending on the size
and density of the obstacles. With a high torque, it will tend
to push obstacles out of its way. Even with no obstacles, if a
motorized object is unbalanced (off center of its origin), a low
torque setting may mean that it can even lift itself up.
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Effects
Tutorial 6.1: Particles

This tutorial demonstrates Anime Studio’s particle layers feature. Particle
layers are used to create effects made up of many small objects flying
around. This includes effects like water, smoke, and swarms of insects.

For this tutorial, we’ll start with a project file that’s already started.
It’s named “Tutorial 6.1” and it’s located in the “Tutorials/6 - Effects”
There are four layers in this file, each containing a small gray blob-
shaped object. You can zoom in to look more closely at these objects.
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New particle layer.
A smoke particle. Play back the animation and see what we’ve got so far. The particles
should be flowing, although they don’t look much like smoke at this
point.
These blobs will be used to create a smoke effect, using a particle layer.
If you examine these blobs, you’ll see that they are all semi-transparent, Next, double-click the particle layer to bring up the Layer Settings dialog.
and have the soft edges fill effect applied to them. In addition, the blobs Click the tab marked “Particles”. In this area, set the following values
all have a simple animation applied to them - over the course of 48 and click OK:
frames, they spread out horizontally. You can play back the animation to
see this happen. • Particle lifetime: 48
• Orient particles: unchecked

Using A Particle Layer
• Velocity: 0.3
In the Layers window, create a new layer. Select “Particle” from the new
• Velocity spread: 0.05
layer popup menu. Particle layers are kind of like Group layers - they can
contain sub-layers. Drag all four of the original layers into the particle
• Acceleration: Turn knob to point to the right, or enter 0..5
layer, and your project should look like this:
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• Rate: 0.5 for 48 frames after being created, and that the particles should not
rotate to follow the direction they are moving in. Their initial velocity is
moderately slow, and there is a gentle acceleration to the right (a soft
breeze).
When you play back the animation now, the motion of the particles
should look more like the flow of smoke from a smokestack. You should
export the animation as a QuickTime or AVI file to see how the blur and
semi-transparent effects combine to create a smokey appearance. The
reason four different particle types were used is that each has a different
gray level, and combining them leads to a mottled, dirty effect.
Tutorial 6.2: Particle Tricks - Grass

and Crowds
This tutorial shows how to use particle layers for something other
than swarming insects, smoke, or fireworks. Using the correct settings,
particle layers can also be used to produce clusters of many objects, but
without making them fly around like particles usually do. Fields of grass
and crowds of people are just two possibilities that we’ll explore.

To get started quickly with this tutorial, start by opening the project file
named “Tutorial 6.2”, located in the “Tutorials/6 - Effects” subfolder
Particle settings. within the main Anime Studio folder. This file has a particle layer that
we’ll modify to simulate a field of grass. The layers in this file are set up
as shown:
These settings tell the particle system that each particle should last
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The particle layer “Grass” in this file is currently set up with the default
settings for a particle layer. The sub-layers (Layer 1 - Layer 6) are each a
single blade of grass. Each one has a slightly different color and shape to
create variety. If you play back the animation, you’ll see that the default
particle layer settings aren’t very good for a field of grass - the grass
particles fly up in the air and then sink downwards. All we have to do is
make a few small changes to get the grass to look right.
Changing Particle Settings

Double-click the Grass layer to bring up the Layer Settings dialog. Click
the Particles tab to access the settings for the particle layer.
The editing view should look like this to begin with: Below we describe why each of the settings is set the way it is. Any
settings that aren’t mentioned below don’t matter for this situation
(for example, orient particles doesn’t matter since the particles have no
velocity).
Change the settings to match the ones below and click OK.
• Particle Count: 500. We need a lot of particles for a field of

grass
• Preview Particles: 20. In the working view, only show a few

particles in order not to slow down Anime Studio
• Lifetime (frames): 0. A lifetime of zero means that particles

will never die out (disappear).
Starting point in editing view.
• Source width: 3. Make the source nice and wide to cover the
width of the screen
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• Source height: 0. It’s a flat field of grass, so the height is zero
• Source depth: 1. Spread the particles out in the Z direction for

a feeling of depth
• Velocity: 0. Set to zero to prevent the grass blades from flying

around
• Velocity Spread: 0. Set to zero to prevent the grass blades

from flying around.
• Acceleration: 0. Zero acceleration, again to prevent the grass

blades from flying around
• Rate: 0. Again to prevent the grass blades from flying around
• Randomize playback: Checked. Plays back the blades’

animations randomly, otherwise they would be in sync.
Grass particle settings

Besides scattering particles in the Z direction, when source depth is set
to a non-zero number, the particle layer will sort particles according to
depth - this is very important for the kinds of animations we’re working
with in this tutorial. We wouldn’t want far away blades of grass to
appear in front of closer ones. Randomize playback makes the grass
look better than if all the blades were moving in sync, but it can be even
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more important when working with a crowd of people, as we’ll see later In preview mode, it doesn’t look like much, so you may want to try
in this tutorial. playing back the result and rendering it out as a movie file:
OK, the grass is almost finished. All we need to do is use the Translate
Layer tool to move the Grass layer downwards so that it sits on the
ground:
Translate Layer\
Final render.
Crowds of People
Now we’ll show how to use the same general techniques to simulate a
crowd of people. Open the file named “Tutorial 6.2_2”, located in the
“Tutorials/6 - Effects” subfolder within the main Anime Studio folder.
Grass lowered into place. This file is already completed - there’s nothing you need to change in
this file, it just shows another example of using particle layers.
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The Crowd layer has the same basic settings we used for the field of
grass, only using fewer particles. Each of the sub-layers in the crowd
Tutorial 6.3: Using Pre-made
was created from one layer with a simple cycling animation. This one Particle Effects
layer was duplicated and had some colors changed just for variety. The
“Randomize playback” setting for the particle layer is really important This tutorial shows how you can use the included scripting commands to
for this crowd - if it was turned off, then each character in the crowd make use of pre-made particle effects like smoke or explosions.
would move in sync with all the others (you can try this yourself). This
may be desirable in some cases, but here we want each character
to move independently, even though they all have the same basic Start With a Sample File
movement. Play back the animation or render a movie file to see how it
all comes together. (By the way, depth of field is enabled in the Project
Settings dialog - that’s why some of the closer or farther characters
appear a bit blurry.)
Studio, expand the “Rocket Group” layer in the Layers window, and you
should see something like this:
A crowd as particles.
Try playing back the animation to see what we’re starting with - it’s just
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a simple animation of a rocket flying around the screen for a little while. in a group layer called “Smoke”. Move this new Smoke layer into the
When you’ve seen enough, rewind the animation back to frame 0. “Rocket Group” layer, just below the “Rocket” layer. The Smoke layer
should end up positioned like this:
Add the Smoke Effect

Now we’ll add a smoke trail behind the rocket. Select the Scripts >
Particle Effects > Smoke... menu command. A dialog will appear
asking you to customize the smoke effect. Use the settings shown below
for the smoke and click OK:
Smoke layer added to group.
The final step is to move the smoke into place. Activate the Translate
Layer tool and move the Smoke layer so that it sits just behind the
rocket. The smoke itself won’t immediately move until the animation is
updated, so watch the origin of the Smoke layer and line it up behind
the rocket. Feel free to zoom in close to get a better view:
Smoke settings.
The smoke script will then generate a bunch of layers that make up
the smoke effect. The combined layers will end up grouped together Translate Layer
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Smoke layer moved into position. The final result.
That’s it! You can now export the animation as a movie file to see the
fully rendered result. Some of the particle effects in the script menu,
including smoke, can take a long time to render. In “Tutorial 6.4:
Another Effect - Sparkles
Speeding Up Particle Effects” on page 144 we’ll show you a way to speed Here’s an example of another particle effect - the Sparkles script. A
up complex particle effects. great use of this effect is for magic wands. The fully finished file can be
opened in Anime Studio if you wish. It’s called “Tutorial 6.3_2”. Here’s
what the rendered result looks like:
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Open this file in Anime Studio and play back the animation. To see the
full effect, you would need to export the animation as a movie file. You
can try this now, but trust us, it’ll take a while to export this file. Here’s
what the final movie would look like:
The Sparkles effect.
Tutorial 6.4: Speeding Up Particle

Effects
In “Tutorial 6.3: Using Pre-made Particle Effects” on page 141 we showed
how you can use Anime Studio’s included particle effect scripts to easily
add effects like smoke and explosions. The only drawback to these The exported explosion.
effects is that they can take a very long time to render. In this tutorial,
we’ll show you a way to speed up the exporting of complex particle
effects.
Preparing a Movie for Re-use
Start With a Sample File Our goal is to re-use this explosion in another Anime Studio animation,
but make it a lot faster for rendering. To do this, we’ll export the
For this tutorial, we’ll start by taking a look at a finished animation of explosion animation as a movie file, using some special settings. Export
an explosion effect. Open the file named “Tutorial 6.4” located in the this animation as a QuickTime movie, using the following options:
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Compression options.
When the movie is finished exporting, you can try playing it back. You
can also open the file that is provided called “explosion.mov”, located
in the “Tutorials/6 - Effects” subfolder within the main Anime Studio
folder. You’ll see that it looks pretty strange - this is because we didn’t
Export options. premultiply the alpha channel. But don’t worry, once the explosion is
composited back in, it’ll look just right.
The key here is the “Do not premultiply alpha” option.
This prepares the alpha channel in the exported movie for further Using Movies in Image Layers
compositing. When the QuickTime compression dialog appears, select
the PNG codec, and “Millions of Colors+” as shown below. The “+” Next, start a new Anime Studio project file. In this new file, drag the
is QuickTime’s notation to include an alpha channel in the exported “explosion.mov” file into the main Anime Studio window. A new
movie. Image layer will be created. Use the Translate Layer tool to move the
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explosion off to the side a bit:
Translate Layer
A second explosion layer.
Repeat this process a few more times - advance the time a little bit, drag
in another explosion, and position the explosion in the frame. Do this
until the view is just full of explosions:
New explosion layer.
Next, advance the current time to frame 12, and drag the explosion.mov
file into the main Anime Studio window again. Another image layer will
be created - move this layer off to the other side:
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Lots of explosions.

When you’ve got as many explosions as you want, export the animation
as a QuickTime movie. Notice that even though the single explosion
took a long time to render, this combined set of explosions renders fairly Play back the animation to get an idea of what you’re starting with.
quickly. This is because the explosion effect has already been created - When you’ve seen enough, rewind the animation back to frame 0. What
for the combined effect, Anime Studio just needs to composite several we’re going to do in this tutorial is give Lenny a shadow.
explosions together. Using this technique, you can greatly speed up the
time it takes to export an animation that uses one or many complex
particle effects. Moving a Layer Into Perspective
We’re going to create a shadow that matches Lenny exactly. At Frame 0,
start off by duplicating the “Lenny Skeleton” layer, using the Duplicate
Tutorial 6.5: Perspective Shadows Layer button .
In this tutorial you’ll learn a little trick to create perspective shadows. Move this new copy below the original “Lenny Skeleton”, name it
This trick depends on Anime Studio’s layer masking feature, and uses it “Lenny Shadow”, and add a new vector layer inside it as shown below.
in a creative way. Make this new layer active, and name the new layer “Shadow.”
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New Lenny Shadow with Shadow layer.
In the new Shadow layer, draw a simple rectangle that takes up about
2/3 of the left side of the visible area, as shown below. Choose Black for Rectangle in Shadow layer.
the Fill and Stroke colors if they aren’t selected already. The idea is to
completely surround Lenny, with enough extra space for when he moves.
Shear Layer Tool
We’re going to temporarily hide the black shadow layer so that you can
use the copy of Lenny to shear and reposition him for the shadow. To
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hide the black rectangle, click the Visibility icon to hide the Shadow layer
as shown below.
Temporarily hide the Shadow layer.
Next, select the “Lenny Shadow” bone layer and use the Shear Layer
tool to shear the lower copy of Lenny so that he leans to the right as
shown below: You can also enter an X value of .60 or thereabouts in the Shear the lower copy of Lenny.
Shear Layer tool options in the status bar.
Now use the Scale Layer tool to scale the “Lenny Shadow” layer down
vertically. Be sure to leave it the same size horizontally - we just want it
shorter vertically, as shown below:
Scale Layer
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Scale down the shadow layer. Position the shadow layer.
The “Trick”
So far we have two copies of Lenny, with the lower one shifted into
perspective. Here comes the trick with layer masking.
Translate Layer First, click the Visibility icon in the Shadow layer to make the sheared
black rectangle visible again.
Next, use the Translate Layer tool to move the “Lenny Shadow” layer To turn on masking, double-click the “Lenny Shadow” layer and in the
into position so that the back heels of the two Lennys line up like this: Masking tab, set the “Group Mask” setting to “Hide all”.
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Mask settings for the Lenny Shadow layer.
Next, double-click the Lenny layer and in the Masking tab, set the “Layer
Masking” setting to “+ Add to mask, but keep invisible”. The result of
these settings is that the big black rectangle will now be masked against
the shape of Lenny himself:
The shadow mask effect.
The final touch is to refine the appearance of the shadow. Double-click

the “Lenny Shadow” layer. In the Layer Settings dialog, set the Blur
radius to 8 and Opacity to 50. That finishes the shadow effect - you can
Mask settings for the Lenny layer.
now export the animation as a movie file.
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two possibilities we’ll look at.

subfolder within the main Anime Studio folder. Render this file to see
what it looks like to start with:
The adjusted shadow, rendered.
The final result is also included as an Anime Studio project file. It’s called
“Tutorial 6.5 Final” - take a look at it if you have any trouble following
the directions above. It’s important when using this trick to animate your
subject first before you add the shadow - that way the shadow will also
be animated, leading to a more realistic effect.

Tutorial 6.6: Shadow Tricks
This tutorial shows you how the layer shadow options can be used to
create visual effects other than shadows. Glows and outlines are the
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Basic Layer Shadow

Before we try any tricks, let’s take a look at a basic layer shadow.
Double-click the only layer in this file, Layer 1, to bring up the Layer
Settings dialog. Go to the Shadows tab, and leaving all the other
settings alone, turn on the “Shadow on” checkbox. Click OK to dismiss
the dialog.
Layer shadow.
Layer Glow
Now we’ll change the shadow settings to create a glow effect. Double-
click Layer 1 again to bring up the Layer Settings dialog. Change the
Default shadow settings. Layer Shadow settings to match the values below:
Try rendering the scene again, just to be sure that you have an idea what
a regular layer shadow looks like in Anime Studio:
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Layer glow.
Glow settings.
An offset of 0 means the “shadow” will be centered under the layer Layer Outline
that is casting it. With an offset of 0, the shadow direction has no
significance. A high blur value gives the glow a nice soft edge. Finally, Let’s change the shadow options once again to create an outline effect.
the expansion parameter tells Anime Studio to expand the shadow, Some styles of animation use a heavier outline around the outside of
making it bigger than the layer itself. Without expansion, the glow objects than for interior lines. Adjusting the layer shadow values in the
would just barely extend beyond the edge of the layer. The exact color right way can make this style very easy to accomplish. Double-click Layer
you choose is not important - just be sure to make the color opaque 1 again to bring up the Layer Settings dialog. Change the Layer Shadow
(Alpha = 255). A transparent glow may be too faint to see. Render the settings to match the values below:
scene again, and it should look like this:
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Layer outline.
Outline settings.
Again, we use an offset of 0 to keep the “shadow” centered under

the layer. A blur value of 0 is used to keep a hard edge on the shadow.
Tutorial 6.7: Camera and Depth
Finally, the expansion parameter is used in this case to set the width of Effects
the outline effect. For this effect, it’s important to make the color totally
black and totally opaque (Alpha = 255) to match the interior lines. This tutorial demonstrates Anime Studio’s camera tools. These tools allow
Render the scene again, and it should look like this: you to move an entire scene around as if you were pointing a camera at
it. With a little setup work, you can even create different layers of depth
in the scene.
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Start With a Sample File grouped. When you move the camera around, it affects all the layers in
a project. In the tool options area at the top of the main Anime Studio
For this tutorial, we’ll start with a project file that’s almost finished. window, click the Reset button to reset the camera.
Studio, and you should see something like this: Creating Depth
Now we’ll introduce some depth into the scene. Activate the Translate
Layer tool and select the layer called “Right Hill”.
Translate Layer
Starting point for this tutorial. In the tool options area at the top of the main Anime Studio window,
change the Z value to -1 and press Enter. Below you can see where to
This file contains a few layers of simple scenery that we will move the set the Z value for the layer.
camera across. To do this, select the Track Camera tool and drag the
mouse around in the main editing area.
Setting a layer’s Z value.
Now select the “Left Hill” layer, and set its Z value to -2. Finally, select
“Sky”, and set its Z value to -20. When you’re finished, your scene
Track Camera should look similar to the following figure.
Notice how all the layers move together, even though they aren’t
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This tool allows you to examine your scene in 3D, from outside the view
of the virtual camera. In this case, notice how the different layers are
spaced apart in the Z direction - this is what creates the sense of depth
from the camera’s point of view. The camera itself appears as a small
blue wedge pointing in the direction of view.
Orbit Workspace
When you’ve seen enough, select the View > Reset menu command to
go back to the default camera view.
Right Hill, Left Hill, and Sky layers moved on the Z plane. Animating Camera Movement
Try dragging the Track Camera tool around again and notice the Now we’ll try animating the camera. Make sure the current frame is set
difference. It’s like driving in a car - nearby objects go by quickly, while to 0, and select the Track Camera tool.
distant objects seem to move slowly. In the tool options area at the top
of the main Anime Studio window, click the Reset button to reset the
camera.
Track Camera
Drag to the left in the main editing area until you set up a view that
Track Camera looks about like this:
Now try dragging the Orbit Workspace tool around the workspace.
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Camera view at frame 0.

Track to the left.
Next, set the current frame to 72, and drag to the right. This will pan the
Press the Play button in the timeline to play back this simple camera
camera to the left - keep going until you have a view that looks like this:
animation. Notice how the layers of the project seem to pass in front of
and behind each other. This is a simple way in Anime Studio to create a
sense of depth.
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Next, select the File > Import > OBJ 3D Model menu command.
Anime Studio will prompt you to select a file - choose the file named
“3dmodel.obj” located in the “Tutorials/6 - Effects” subfolder within the
main Anime Studio folder. Anime Studio will import the model into a new
3D layer, and you should see something like this:
Imported 3D model.
Tutorial 6.8: Using 3D Models
Use the Orbit Workspace tool to rotate around the scene. As you
Although Anime Studio is primarily a 2D program, it is possible to import rotate around the object, notice that it never appears flat from any side
3D models and use them in an Anime Studio animation. This tutorial (like a vector layer) - it is a true three-dimensional object.
will show you some of the things you can do with 3D models in Anime
Studio.
Import a Basic 3D Model

Orbit Workspace
First, we’ll try importing a basic 3D model. Start Anime Studio and create
a new, empty project.
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This object was created in a program called Wings 3D. Whether you Using 3D Models in a Face
choose create models in Wings 3D or another 3D program, be sure to
export them as OBJ files. OBJ is a common 3D file format that most 3D Next, we’ll show an example of how you can use a 3D model in the
programs support, and is currently the only 3D format that Anime Studio construction of a character’s face. One of the limitation’s of Anime
can import. Studio’s 2D nature is that it is difficult to rotate a head in 3D space.
Using a 3D model can solve this problem.
Open the file “Tutorial 6.8” located in the “Tutorials/6 - Effects”
subfolder within the main Anime Studio folder. This is a completely
finished animation - play it back to see what’s going on.
Side view of 3D model.
Face pointing up and right.

The colors of this model have been defined in the file “3dmodel.mtl”
- this is a “material” file that Wings 3D created along with the model
itself. You cannot change the colors of a 3D model within Anime Studio.
However, you can change the color and width of the outline in the Layer
Settings dialog, under the “3D Options” tab.
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Textures and Scenery

Anime Studio can also make use of textures on 3D models. You can’t
create the texturing within Anime Studio itself, but if your imported
3D model uses texture maps, Anime Studio will use them when it
imports the model. Now open the file “Tutorial 6.8_2” located in the
This scene makes use of the 3D model “simple_scene.obj”, which in turn
uses a texture map file:
Now pointing down and left.
Notice that unlike most faces in Anime Studio, this one can freely turn
from side to side. This is because the head and nose (the major 3D
structures in a face) are built as actual 3D models. The mouth, eyes, and
ears are all 2D vector layers that have been arranged in 3D space around
the head.
The only other trick involved in getting this character’s head to work
was sorting the head and ears. Notice that the main 3D head shape
and the ears are grouped together. This is so that those three shapes
can be depth-sorted. As the head turns from side to side, one of the
ears often needs to go behind the head layer and then come back in
A textured 3D scene.
front, depending on the head’s angle. Depth sorting is used to easily
accomplish this reordering.
One of the things you may notice in this scene is that the scenery has
detailed shadows and shading on it. Anime Studio does not provide
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lighting and shading for 3D models. Instead, these effects are part of the Examine a Finished Animation
texture map for this 3D model. In this case, a separate 3D program was
used to calculate the lighting effects and “bake them into” the texture For this tutorial, we’re going to examine an animation that is completely
map. finished. Open the file “Tutorial 6.9”, located in the “Tutorials/6 -
Of course, the other element in the scene is a regular Anime Studio Effects” subfolder within the main Anime Studio folder. The layers in this
2D animated character. Although this character is composed of 2D file are arranged as shown below:
vector layers, it can be positioned in true 3D space, so it is quite easy to
integrate it into the 3D scene.
Conclusion
We’ve looked at just a couple possible uses for 3D layers - with a little
thought you can probably come up with many more. Keep in mind that
Anime Studio is still primarily a 2D program, so don’t expect Anime
Studio to replace a true 3D modeling and animation program. However, Starting point for this tutorial.
for limited uses, like background scenery or a few parts of a character,
3D layers in Anime Studio can be very useful.
This animation relies on masking and blurring effects that aren’t
For further information on importing 3D objects within Anime Studio Pro apparent in Anime Studio’s editing view. To see what the final effect
please visit http://my.smithmicro.com/tutorials/. is, either export the animation as an AVI or QuickTime movie. (Because
blurring is a key part of this effect, exporting to SWF is not an option -
SWF export does not support blurs.)
Tutorial 6.9: Moon and Clouds
Effect
This tutorial shows you how to create the effect of clouds moving in
front of a moon. Layer masking and blurring is used to create an effect
that is not only good for a moon and clouds, but may inspire you to
think of new ways to use layer masking.
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The trick is to control which moon is visible at which point in time in

the final exported movie. To do this, we use layer masking. Try double-
clicking each of the layers in turn to bring up the Layer Settings dialog
- then, go to the “Masking” tab. You’ll find that the “Sky” group has
masking turned on - by default, all objects are invisible. The “Moon”
layer is set to be immune to masking, while the “Cloud” layer adds to
the layer mask.
The result of these mask settings is that first the “Moon” layer is drawn
- this is the regular, sharp moon - and is not affected by any masking.
Next, the “Cloud” layer is drawn on top of that. When the cloud moves
in front of the moon, it covers up the moon. Finally, the “Blurry Moon”
layer is drawn on top of the cloud. Because of the mask, the blurry moon
only appears on top of the cloud, it is not visible outside of the cloud
object. Even though the blurry moon is in front of the clouds, the effect
looks like the moon shining from behind the clouds.
The final result. Here’s another example of the same technique. In this case, we see a
character who appears to be blurred by the smoke passing in front of
Notice that the moon appears sharp until the cloud moves in front of it. him. The exact same blurring and masking trick is used as in the case of
Then, the parts of the moon obscured by the cloud become blurry. This the moon:
effect is easy to achieve using layer masking.
How It’s Done

There are two parts to this effect. First, there are actually two moons
in the animation: The “Moon” layer is the regular, sharp version of
the moon you see in Anime Studio’s editing view. Two layers up is the
“Blurry Moon” layer - this is a duplicate of the “Moon” layer, with some
layer blur applied.
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The final result.
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The Draw Tools

Draw tools are used to draw and modify vector artwork. The following
tools are available when you’re working with a vector layer. Most of
these tools are used by selecting them from the toolbar then clicking
and dragging in the working area of the main window - a few are used
simply by clicking on them, and this is noted below. If you hold the
mouse over a tool, a tooltip will appear with the name of the tool if you
need a quick reminder. Also, most tools have a shortcut key that can be
used to activate them. If a tool has such a shortcut, this will show up in
the tooltip as well.
If a tool has the following symbol next to it: , then it can be used for
animation - using the tool at different frames in the timeline will cause
the object you adjust to change over time.
Curves are rendered more smoothly in Anime Studio 7 (left). You can also choose
In Anime Studio 7, curves work very differently than in previous
releases. Their behavior is much smoother and more rounded, and legacy curves (right) for compatibility with older scenes.
is most noticeable where two points are close to each other. New
layers use the new curve style by default. You can manually choose
to use legacy curves in the Layer Settings dialog. Select the layer you
want to change in the Layers window, and open the Layer Settings
dialog to the Vectors tab. Check the Legacy Curves option to use the
old method of rendering curves.
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Select Points around the points you want to select. When unchecked, selects a
rectangular area.
• Flip Horizontally: Click this button to flip horizontally.
• Flip Vertically: Click this button to flip vertically.
Using the Select Points Tool

Select Points
Many of the following tools work only on the currently selected points.
This is the tool you use to select/de-select points. This tool can be used
in a few different ways. The most basic way to select points is to drag
Select Points options a rectangle around them. Also, using this tool you can click on a single
point to select it. The third method of selection is to click on a curve to
select the entire curve. Finally, clicking on a filled-in area will select an
entire object. Each of these selection methods is illustrated below:
Select Points Tool Options
• Select Group: Used to select a group that was previously
created with the Select Points tool.
• Text Field: Assigns a name to the currently selected group of

points.
• Create: Creates a group from the selected points.
• Delete: Deletes the currently selected group from the selection

list.
• Lasso Mode: When checked, allows you to draw a lasso

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Selection methods.
Different methods of point selection.
Below is a short movie clip showing the different ways to select points Modifier keys:
using the Select Points tool.
• By holding the Shift key, you can extend a selection. Otherwise,
you will always start a new selection when using this tool.
• Holding the Alt key will prevent this tool from selecting curves
or shapes when you click on them (sometimes when things get
crowded it’s hard not to click on a shape by accident).
• If you hold down the Ctrl key, this tool will work in “lasso” style.
(You can also activate lasso style selection by turning on “Lasso
mode” in the tool options area.)
The selection commands in the Edit menu are also very useful for
managing selections. These are described in “Anime Studio Menus” on
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page 311. • Position Y: Allows you to numerically enter a value for the Y
coordinate.
The currently selected points may be deleted by pressing the Delete or
Backspace keys. • Reset: If pressed at Frame 0, resets a layer back to its default
value. If pressed at any other frame, resets the layer to the value or
values set at frame 0.
Translate Points
• Auto Weld: When checked, automatically welds a new point to
an existing point. The existing point is highlighted when the mouse
hovers over a point that can be welded.
• Auto Fill: When checked, automatically fills a closed shape when

you create it.

Translate Points
Translate Points options. Using the Translate Points Tool

The Translate Points tool is used to move a group of selected points. It
operates only on the currently selected points, unless fewer than two
Translate Points Tool Options points are selected - then it operates on the nearest point to where you
clicked.
created with the Select Points tool. It’s important to note that this tool, like most of the Anime Studio
drawing tools, modifies points, not curves. If you select all the points in
• Position X: Allows you to numerically enter a value for the X an object and use this tool, the entire object will move. However, if you
coordinate. only select some of the points, then you’ll end up distorting the object
(which can be very useful). In the pictures below, the selected points are
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highlighted in red. Notice the effect of using the Translate Points tool on
these points.
After translation.
Top circle fully selected. Bottom circle partially selected.
Holding the Shift key while using the Translate Points tool will constrain
the selected points to only move vertically or horizontally.
The Translate Points tool can also be used in conjunction with Anime
Studio’s welding feature. To weld two points together, use the Translate
Points tool to drag one point on top of another (you must drag just one
point to weld, not a group of points). While dragging the first point on
top of the second, press the spacebar to weld them together into one
point.
If the “Auto-weld” option is turned on in the tool options area, Anime
Studio can automatically weld points for you. Only the endpoint of a
curve can be automatically welded. To automatically weld the endpoint
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of a curve, just drag it on top of another point and let go of the mouse.
Below is a movie demonstrating auto-welding. After dragging each Scale Points
endpoint into place, it becomes welded to the existing point, and the
two can be moved around
Scale Points
Scale Points options
Scale Points Tool Options

Using Translate Points and auto-weld. created with the Select Points tool.
Nudging: When this tool is active, you can “nudge” the selected point(s)
by small increments by holding down the Ctrl key and pressing the • Scale X: Allows you to enter a numeric value for scaling along the
arrow keys. Hold down Shift in addition to Ctrl to nudge the point(s) by X axis.
a greater increment.
• Scale Y: Allows you to enter a numeric value for scaling along the
Y axis.
• Modify: Click to apply the values entered in the Scale X and Scale
Y fields
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• Reset: If pressed at Frame 0, resets a layer back to its default

value. If pressed at any other frame, resets the layer to the value or Rotate Points
Using the Scale Points Tool Rotate Points
The Scale Points tool operates on the currently selected group of points.
Two or more points must be selected to use this tool. When this tool
is active, a red box will appear around the currently selected group of
points. The handles around the edges of this box allow you to resize Rotate Points Options
the points. Drag a corner handle in and out to scale the points while
maintaining their proportions. Drag one of the side handles to change
the horizontal scale, or the top or bottom handle to change the vertical
scale. If you hold the Alt key while dragging a side handle, Anime Studio Rotate Points Tool Options
will resize the selected points in such a way to maintain the overall
volume of the object - this can be useful for squash and stretch. • Select Group: Used to select a group that was previously
• Rotation: Allows you to enter a numerical value for rotation.
• Modify: Click to apply the value entered in the Rotation field

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• Flip Horizontally: Click this button to flip horizontally. Add Point Tool Options
Using the Rotate Points Tool
• Auto Weld: When checked, automatically welds a new point to
The Rotate Points tool also operates on the currently selected group an existing point. The existing point is highlighted when the mouse
of points. Two or more points must be selected to use this tool. Click hovers over a point that can be welded.
near the outer boundary of the selected group of points. Next, drag the
mouse in a circle around the selection to rotate the points. Holding the • Auto Fill: When checked, automatically fills a closed shape when
Shift key while using the Rotate tool will constrain the rotation to 45 you create it.
degree increments.
• Sharp corners: When checked, creates sharp corners when
changing the angle of a line. When unchecked, creates smooth
transitions when changing the angle
Add Point
Using the Add Point Tool
The Add Point tool is what you use to draw most curves in Anime Studio.
Just click and drag in the working area of the main window to create
a new curve segment. There are four variations to using the Add Point
tool - they differ in where the original click takes place. The first way to
Add Point use this tool is to click in empty space and drag - this will start a new
curve. The second technique is to click on the end of an existing curve
to add another segment to that curve. Third, click on a curve segment to
add a point there, then drag it to the final desired position. Finally, click
on a curve midpoint to add a new branching curve that is welded to the
Add Point Options
existing point. Each of these uses of the Add Point tool is shown below.
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Uses of the Add Point tool.

Closing a curve.
The Add Point tool can also be used to weld two points. Click and To prevent the Add Point tool from adding on to an existing curve
drag in one of the ways described above to add a new point. Drag the regardless of where you click, hold the Alt key to force the tool to start
new point on top of an existing point, and press the spacebar before a new line segment.
releasing the mouse. An example is shown below. (This works just like
the Translate Points tool, above. Read about that tool for more details The movie below demonstrates the Add Point tool. Notice how clicking
on welding.) on different parts of an existing curve causes the new point to be added
in different ways.
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Freehand Options
Freehand Tool Options

Prior to Anime Studio 7, the Freehand tool could create flat spots
and hard corners in areas. The Freehand tool has been improved to
give much smoother looking curves. As you draw with the Freehand
tool it looks like you are creating a lot of points, but as you let go
it only keeps the points that are necessary to represent the curve
smoothly.
Click the Freehand Options button in the Options toolbar to display the
Using the Add Point tool. Freehand Tool options dialog. The options are as follows:
• Freehand Options: Click this button to display the following

Freehand options
Variable line width: When set to None, does not vary
line width. You can also vary line width based on pen pressure
when using a pen tablet, or randomly. The line width will vary
between the minimum and maximum width settings that you
specify.
Freehand Width Variation: Controls the amount of difference

between the narrowest part of the stroke and the widest part
of the stroke.
Taper Start: When checked, tapers the start of the line.
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Taper End: When checked, tapers the end of the line. shape that has no outline.
Reset: If pressed at Frame 0, resets a layer back to its default • Auto close: When unchecked, closes a shape when the cursor is
value. If pressed at any other frame, resets the layer to the released over the beginning of the shape. When checked, connects
value or values set at frame 0. the shape from the current position to the start point when you
release the mouse button.
Using the Freehand Tool

The Freehand tool lets you draw complex shapes by just dragging the
mouse around. You can adjust the sensitivity of the Freehand tool in the
tool options area when this tool is active. In the “Freehand Options”
popup there are two adjustment parameters for this tool. The first is
the minimum distance between points when drawing a curve with the
Freehand tool. This setting is changed in the text box labeled “Pixel
tolerance”.
The second adjustment tells Anime Studio to simplify a freehand curve
by removing unnecessary points. This is controlled in the text box labeled
“Angle tolerance”. Points that deviate from the curve by less than that
angle will be automatically removed. To preserve every single point
• Auto Weld: When checked, automatically welds a new point to created by the Freehand tool, set the angle tolerance to 0.
an existing point. The existing point is highlighted when the mouse
hovers over a point that can be welded. After using the Freehand tool, you will often want to go back and use
the Translate Points tool to modify the result, delete unnecessary points,
• Auto Fill: When checked, automatically fills a closed shape when and weld points together. If you have a drawing tablet, the Freehand
you create it. tool can also use the pen pressure from your tablet to control the
thickness of the lines you draw (Windows and Mac OS only).
• Auto-stroke: When checked, automatically creates a stroke
around the shape that you create. Uncheck this option to create a
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Draw Shape Rectangle
Rectangle
The Rectangle tool is a shortcut for creating a rectangular shape. Just

click and drag to draw a rectangle. Hold the Shift key to constrain the
shape to a square. Hold the Alt key to make the click point the center
Draw Shape of the rectangle, instead of one of its corners. There’s nothing special
about rectangles created with this tool - they’re just four points and
four curve segments and can be manipulated just like anything else. You
could create the same shape with the Add Point tool, but for a simple
rectangle, this tool is quicker.
Draw Shape Options
Oval
Draw Shape Tool Options
• Auto Fill: When checked, automatically fills a closed shape when
Oval
you create it.
• Auto-stroke: When checked, automatically creates a stroke The Oval tool is a shortcut for creating an oval shape. Just click and
around the shape that you create. Uncheck this option to create a drag to draw an oval. Hold the Shift key to constrain the shape to a
shape that has no outline. circle. Hold the Alt key to make the click point the center of the circle.
There’s nothing special about ovals created with this tool - they’re just
four points and four curve segments and can be manipulated just like
anything else. You could create the same shape with the Add Point tool,
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but for a simple oval, this tool is quicker. Arrow
Triangles
Arrow
Click and drag to draw an arrow shape. Press the Shift key to constrain
Triangles
the arrow to a horizontal or vertical line.
The Triangle tool is a shortcut for creating a triangle shape. Just click and
drag to draw a triangle. Hold the Shift key to constrain the shape to an Spirals
equilateral triangle.
Stars Spirals
Click and drag to draw a spiral shape. The number of windings increase
Stars
as you drag outward. By default the spiral radiates in a clockwise
direction from the center. Press the Alt key to create a counter-clockwise
spiral.
The Stars tool is a shortcut for creating a star shape. Just click and drag
to draw a star. Hold the Shift key to constrain the shape to a star with
five equal points.
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Insert Text style, and it can be resized and positioned just like any other object.
Remember: there’s nothing special about a text object. It can be
manipulated just like anything else. This includes using any of the
drawing tools to distort its shape, or to add new points in the middle of
a character. This also means that in order to move or rotate a text object,
you need to select all the points in the object. This is easy to do using
the Select Points tool - just click on the filled in area of the text to select
all of it.
Insert Text
Scatter Brush
The Scatter Brush allows you to spray shapes into your scene. There
are a number of preset shapes, or you can also copy any shape to your
clipboard and spray multiple copies of that shape into your scene.
Insert Text Options

Scatter Brush
Using the Insert Text Tool

Insert Text Options
To create a text object, just choose the Draw > Insert Text... menu
command. Type in the text you want, select a font, and click OK. The text
will appear in your document, pre-filled with the current fill color and
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Scatter Brush Tool Options Using the Scatter Brush Tool

• Scatter Brush Options: Click this button to display the Copy a vector object into your clipboard, or select one of the preset
following options options from the Preset menu. Choose the vector layer that you want
to paint into. Set the Min and Max Width settings appropriately for the
Angle Jitter: Specifies the maximum amount of angle scale of the objects. Set other options in the Scatter Brush Options panel
variation in the objects that you spray. if you want to increase or decrease variation in the angle, spacing, or
color of the objects you are spraying.
Spacing: Specifies the minimum amount of space between
the objects that you spray.
Color Jitter: Specifies the maximum amount of color Delete Edge
variation for the objects that you spray.
Flip X: Check this option to flip the objects being sprayed
along the X axis.
Flip Y: Check this option to flip the objects being sprayed
along the Y axis.
• Preset Menu: Click the Preset menu to choose from a number Delete Edge
of different presets that you can spray into your scene. If you
choose Use Clipboard, the Scatter Brush tool sprays the contents of
your clipboard into the scene.
Using the Delete Edge Tool
• Min Width and Max Width: Sets the minimum and maximum
width of the objects that you spray. If you want all of the objects It’s easy to delete points - just select them and press backspace or
to be the same size, set both values the same. Higher values create delete. However, sometimes you may want keep two points, but break
larger objects. the curve connecting them. To do this, use the Delete Edge tool. Just use
it to click on the curve segment you want to delete and it will disappear.
Note: If the edge you delete makes up part of the outline of a fill shape,
that shape will also be deleted.
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Curvature Using the Curvature Tool

This tool works on the currently selected points, or on the nearest point
if less than two points are selected. It adjusts the level of smoothness of
the curves passing through the selected points. Drag to the left to make
the curves less smooth, and drag to the right to make the curves rounder.
Curvature
Magnet
Curvature Options
Magnet
Curvature Tool Options
created with the Select Points tool. Magnet Options
• Peak: Creates a peaked (or hard) transition between the curves at

the point that you click.
Magnet Tool Options
• Smooth: Smooths the transition between the curves at the point
that you click.
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• Magnet Radius: Sets the radius of the magnet.

Perspective Points
values set at frame 0.:
Using the Magnet Tool

The Magnet tool is similar to the Translate Points tool - it is used to Perspective Points
move points around. However, instead of moving the selected points, it
moves points based on the “strength” of the magnet. When you click
with this tool, the region of strength is displayed. Any points within this
region will move with your mouse, but the points closer to the center of
the mouse click will move the most. (The radius of the magnet’s strength Perspective Points Options
region can be adjusted in the tool options area.)
This tool is most useful for artwork that has lots of points. For example,
the Freehand tool can create curves with many points - the Magnet tool
can then move them around smoothly. Imported Adobe Illustrator files
Perspective Points Tool Options
and text objects can also be sources of many control points.

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Using the Perspective Points Tool Shear Points Tool Options

Click and drag side-to-side to add horizontal perspective to the selected • Select Group: Used to select a group that was previously
group of points. Click and drag up and down to add vertical perspective created with the Select Points tool.
to the selected group of points.
Although Anime Studio is not a 3D program, the effect of this tool is • Reset: If pressed at Frame 0, resets a layer back to its default
similar to rotating the points around a vertical pivot, so that one half of value. If pressed at any other frame, resets the layer to the value or
the group rotates into the screen and the other half out of the screen. values set at frame 0.
If you want to do a true 3D rotation, you should use the Rotate Layer Y
tool to apply true 3D perspective to a layer.
Using the Shear Points Tool
This tool works on a group of two or more selected points. Click and
Shear Points drag left, right, up, or down to shear, or slant the group of points.
Bend Points
Shear Points
Bend Points
Shear Points Options
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Noise
Bend Points Options
Tool Options
Noise

values set at frame 0: Noise Options
Using the Tool

Tool Options
Drag your mouse up and down to bend the selected group of points up
and down. For best results, the selected group of points should be wider • Select Group: Used to select a group that was previously
than it is tall. created with the Select Points tool.
Drag your mouse side to side to bend the selected group of points side
to side. For best results, the selected group of points should be taller • Reset: If pressed at Frame 0, resets a layer back to its default
than it is wide. value. If pressed at any other frame, resets the layer to the value or
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Using the Tool

The Noise tool works on a group of selected points. Click and drag to
move the points around in random directions. This tool can be used for
example when you want to duplicate an object using Copy and Paste,
but you don’t want the new object to look exactly like the original. Just
use this tool to distort it a little bit.
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Fill Tools Using the Tool

This tool is used to select an existing shape - either a fill or an outline.
Using the Fill tools for vector layers, you take the drawings you created Just click on the desired shape and it will be selected. At that point, you
with the Draw tools, and you tell Anime Studio which areas should be can press the Delete or Backspace keys to delete the shape, adjust
filled with color, where outlines should be placed, and what fill and line its properties in the Style Window (see “Style Window” on page 272), or
styles to use. change its stacking order using the fill modifiers described below.
The drawings created with Draw tools are only guides. As far as Anime After clicking on a shape to select it, you then have the option to select
Studio is concerned, they’re invisible and they won’t show up in the final shapes lower in the stacking order. Just hold down the Ctrl key and
rendered output. That’s where Fill tools come in. Draw tools define the press the down arrow key to select the next shape lower down at the
shape of objects, while Fill tools define the appearance of those point you clicked the mouse. Hold Ctrl and press the up arrow key to
objects. Of course, you’re always free to switch back and forth between select the next shape higher in the stacking order at that same point.
any of Anime Studio’s editing tools at any time.
Create Shape
Select Shape
Create Shape
Select Shape tool.
Create Shape Options
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Tool Options preparing the selection. A shape is only created when

the spacebar or button is pressed.
• Select Group: Used to select a group that was previously The picture below shows a selection in progress using the Create Shape
created with the Select Points tool. tool. Note that the figure on the left is not filled with a checkerboard
because its border points are not all selected. The checkerboard area
• Create Shape: Press the Create Shape button to complete indicates the region that would be filled if the user hit the spacebar
the shape. This is the same as pressing the Spacebar after your at this particular moment. The left figure would only receive a partial
selection is made. outline and no fill, since then entire border has not been selected.
• Lasso Mode: The Create Shape tool selects a rectangular area

by default. Check this option to select points by drawing a lasso
around the desired area.
Using the Tool

The Create Shape tool is used to select a region to be filled with color,
or a set of edges to be drawn as an outline. It operates exactly like the
Select Points tool described in “Select Points” on page 167. Using the
Create Shape tool, select all the points that form the outer border of the
shape you wish to create. If you select a set of edges that completes an
enclosed shape, a highlighted checkerboard will show you the extent of Selecting the curves to make up a shape.
the region you are creating. Otherwise, you will just see a highlighted
outline on the selected edges. The next figure shows the result of pressing the spacebar to actually
When you have the desired region selected, press the spacebar or press create the two shapes that were being prepared in the figure above.
the Create Shape button in the status bar to actually create a shape
from the selected edges. The Style Window (see “Style Window” on
page 272) can now be used to choose the shape’s color, line width, style,
etc. This is a very important step - until you press the
spacebar or use the Create Shape button, you are only
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Paint Bucket Options
Tool Options
• Fill: Select this option to affect fill only.
• Stroke: Select this option to affect stroke only.

The two resulting shapes.
• Both: Select this option to affect both fill and stroke.
After creating a shape, if you decide that you only want a fill, and not an
outline, you can un-check the “Enable outline” box in the Style window. Using the Tool
Similarly, un-check the “Enable fill” box in the Style window to make
your shape have only an outline, and no fill color. The Paint Bucket tool is used to fill a closed region with color. Just click
inside a closed shape to fill it with the current combination of colors and
styles. This can make it much easier and quicker to fill shapes than with
Paint Bucket the Create Shape tool, but keep in mind you’re still working with the
same requirements - a shape must be completely closed in order to be
filled. Also, the entire shape must be visible onscreen when you use the
Paint Bucket to fill it - if part of the shape is cut off on the edge of the
editing window, it can’t be filled. (You can always change the view to fit
a shape on-screeen before filling it.)
The paint bucket tool works by temporarily filling the region you click
Paint Bucket
in with a test color. Any edge that touches this test color is considered
selected, and becomes part of the final shape. If you hold the mouse
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button down and drag the mouse around, you can get a preview of how
the fill will look when you release the mouse button. Below are some
examples of sets of curves in Anime Studio, where the user might click
with the Paint Bucket tool, and the resulting fills. In each case, the shape
on the left is the starting shape, the red X indicates the point where the
user clicked with the Paint Bucket tool, and the result is the shape on
the right:
Clicking outside a closed outline (nothing happens - no fill).
Filling a basic closed outline.
A more complex shape. There are some dead-end curves, but the overall shape is still
closed.
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A shape with a hole in it. The shape is not closed (close, but not good enough) - no fill is created.
Clicking inside the hole fills just the hole. No fill will be created by any of these clicks. The paint bucket cannot fill an entire
enclosed outline in any of these cases.
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appearance. If you use this tool to delete a fill, the underlying points
and curves will remain. If you want to delete those as well, go back to
the Draw tools to work with the points and curves.
Eyedropper
Clicking here will not fill the circle, since some of it is off-screen. The paint bucket can
only fill shapes that are entirely on-screen. Eyedropper
Delete Shape Using the Tool

To use the Eyedropper, click on a shape to copy its parameters. Hold the
Alt key to push the current color.
Line Width
Delete Shape
Using the Tool

Using this tool, click on a fill or outline to delete it from the project. Line Width
Remember, in Anime Studio, the shape of an object is separate from its
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Hide Edge
Line Width Options
Tool Options
Hide Edge

Using the Tool
• Width: Allows you to enter a numerical value for the line width
Sometimes, you will have the need to create a fill shape with only a
partial outline. The Hide Edge tool makes it easy to accomplish this. After
Using the Tool creating the fill shape and setting the desired line width, simply click on
the edge(s) that you want to hide - those edges will simply disappear
The Line Width tool is used to adjust the width of a line as it passes from the outline, without affecting the fill. Below is a before and after
through a particular point. Using this tool, you can create lines that example:
taper at the ends, get thinner in the middle, or change width several
times along their length. To use it, just click on the point you want
to adjust, and drag the mouse left and right to adjust line thickness.
(Be sure you first either set up an outline through the point, or a fill
shape with a non-zero line width - otherwise this tool won’t do you
much good.) You can adjust more than one point at a time by selecting
multiple points with the Select Points tool from the Draw tool group.
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Tool Options
• Select Group:
• Start Percentage: Allows you to enter a numerical value for the

start of the curve, based on its distance from the start point
• End Percentage: Allows you to enter a numerical value for the

end of the curve, based on its distance from the end point
Using the Tool

The Curve Exposure tool is located in the Fill section of the tool box.
The Hide Edge tool in action. Normally, when you apply a stroke to a curve, you see the stroke along
the entire curve. With the Curve Exposure tool, you can click and drag on
a curve that has a stroke and control where the curve starts and ends.
Curve Exposure • Click and drag back and forth to set the end point of the stroke on
the curve. Dragging toward the left exposes less of the curve’s end,
while dragging toward the right exposes more of the curve’s end
• Alt-Click and drag back and forth to set the start point of the stroke
on the curve. Drag toward the right to expose less of the curve’s
end, and drag toward the left to expose more of the curve’s end.
Curve Exposure
This parameter can be animated so that you can expose the curve
over time, making this feature a good option for creating things like
handwriting or water flowing through a pipe.
Curve Exposure
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Curve Profile
Curve Profile
Tool Options
• Repeat Count: Used to control the number of times that the
profile shape repeats along the path.
Using the Tool

Curve profiles provide a way to add interesting detail to a shape. You
use the Curve Profile tool to create these details on a shape. You select a
shape on a layer. Additional curves that define the profile can appear on
the same layer. Curve profiles can be of any shape, but the start and end
of the profile should be along the same horizontal line. While you can
Exposing less of the curve’s end. create profile curves with or without a stroke applied to them, it makes
sense to draw them with Auto Stroke off, since you will be applying a
different pattern to the circle based on the style of the curve.
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Shapes and curves are drawn on a single layer A shape with a profile curve applied.
After you select the shape you want to apply the profile to (a circle in Even though the resulting shape appears to have more detail, it still has
this case, select the Curve Profile tool from the Fill section of the tool the same number of control points as the original shape. For example, if
box. Then click on the curve that you want to use as the profile. you applied the curve profile to a circle, the resulting shape still has only
the four original control points, even though it appears to have more.
You can edit the shape by repositioning one or more of the original
control points, and the curve profile will still be applied.
The Repeat Count setting in the options toolbar controls the number
of times that the curve profile repeats along the path. You can increase
or decrease this setting to add more or less detail to the shape.
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an outline can be any set of points you choose. The curve segments
between these selected points will form the outline.
Fills and outlines are stacked on top of each other in the order you
create them. This determines which fill or outline will be visible when
two or more overlap. There are tools that allow you to change the
stacking order of fills and outlines, but you’ll learn that you can save
yourself a lot of time by planning ahead and creating fills in the proper
order to begin with.
Color Picking
If the Select Shape or Create Shape tools are active and a shape
is selected, you can quickly set the shape’s color by picking it from
The Repeat Count controls the number of times that the profile curve repeats along another shape in the current layer. Just hold down the Alt key and click
the path. on the shape you want to copy the color from. The color (and style) will
instantly be applied to the currently selected shape.
To remove the curve profile from the shape, select the Curve Profile You can also “push” a shape’s color and style onto other shapes. If you
tool from the Fill section of the tool box and click on an empty hold down Alt + Ctrl and click on a second shape, the selected shape’s
background area. color will be “pushed” onto the shape you click on. This is an easy way
to propagate one shape’s color and style onto several other shapes in
the same layer.
Working with Fills The following Fill tools are available.
To define a region to be filled, you must first select all the points along
its boundary. That’s what defines a fill region - the set of points along Complex Fill Shapes
its outer edge. We’ll take a look at some examples later. You can also
create outlines using these tools. Outlines are less restrictive than fills When creating fills, Anime Studio tries to be clever and ignore selected
- an outline is not a set of points along an outer boundary. Instead, parts that can’t possibly be part of the outline of a fill, such as points on
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dead-end curves. However, there are times when Anime Studio needs a
little help from you. As an example, take the shape below:
A shape that can’t be filled.

A complex shape - two curves welded together.
The reason for this is that a fill is defined by the points along its
To fill this shape with color, your first thought might be to select the boundary. In this case, it’s not obvious to Anime Studio which boundary
entire group of points. Unfortunately, Anime Studio recognizes this as a you intended. Many times, Anime Studio can figure it out and provide
shape that can’t be filled, and will only allow you to create an outline: you with the fill you were after, but in a case like this, you have to be
more specific about what points define the boundary of the shape. The
definition of a fill hasn’t changed - but sometimes your intentions aren’t
as obvious to Anime Studio as they are to you. The following selection
contains only the boundary points of the desired fill region - the points
along the interior curve are not selected:
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Alternate shape 1.
A selection that can be filled.
Here are two other examples of possible fills based on the same set of
curves:
Alternate shape 2.
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Remember, when a fill shape doesn’t look right (or can’t be filled at The next picture shows a small variation on the one above. In this case,
all), make sure that you’ve only selected the points along the fill’s there’s a smaller circle inside the first one. The rule is the same - we’ve
boundary, and nothing else. just added more boundary curves to this fill.
Compound Fills
Remember how a fill is defined: a fill is defined by the set of points along
its boundary. With that in mind, let’s talk about fills with holes. To create
a fill shape with one or more holes inside it, just select the points along
the edge of the hole as well as the points on the outer boundary. The
picture below shows a selection made with the Create Shape tool. If only
the four points of the rectangle had been selected, then the fill shape
would have been a solid rectangle. However, by selecting the interior
curves as well, we can create a shape with holes in it - it’s simply a
matter of defining more boundaries for the fill.
Another compound fill.
There’s no limit to the kinds of shapes you can create this way. By
adding more boundary curves, you can create more and more complex
fills - feel free to experiment.
A Trick: Using Two Fills Instead of One

Sometimes you may want to create an object with parts that overlap in
complex ways. Consider the image below:
A compound fill.
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Two interlocking rings. The coloring shows three different shapes.
After the discussion about stacking order, is the red ring in front of or It takes a little more work to set up an object when you have to split it
behind the blue one? Well, the answer isn’t so simple. There is no way into two (or more) parts, but sometimes it’s the only way to achieve a
two objects could be arranged this way with simple stacking. (If Anime certain effect. The picture below shows the project in an Anime Studio
Studio were a 3D program, things would be very different.) The red ring window, so that you can see the arrangement of points and curves. Note
is in fact two objects - one behind the blue ring, and one in front of it. how the ring on the right has some extra curves set up so that it can be
The next image shows the same object, but colored differently so that split into two fills.
the two parts of the red ring stand out.
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Point and curve arrangement.
This technique is also useful in animation, for when you want an object
to bend backwards and overlap itself. Normally, this would cause the
fill that defined the object to get seriously distorted, or even to break
holes in itself. However, by building the object out of two or more parts
and stacking them properly, you can achieve this type of effect with no
problem.
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Bone Tools
The following tools are available when working with Bone or Switch
layers. If a tool has the following symbol next to it: , then it can
be used for animation as well. In general, tools that are used for bone
setup can only be used when the time is set to frame 0 - others can be
used at any time.
Select Bone
Bone Constraints Options
Select Bone Using the Tool

Using this tool, you can click on a bone to select it. You might want to
select a bone in order to delete it (press the Delete or Backspace keys
- all of its children will be deleted too). You also might want to select
Select Bone Options
a bone in order to add new child bones to it. Click anywhere besides a
bone to de-select all bones.
Tool Options
For detailed instructions and descriptions of the options in this dialog,
refer to “Bones” on page 59.
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Translate Bone
Using the Tool
This tool (along with the Rotate Bone tool) is used to reposition bones
after they’ve been created. If you’ve added a new bone in the wrong
place, or you just want to move it later on, click and drag it with this
Translate Bone tool. Clicking near the base of the bone will move its position, while
clicking near the tip will move the tip around, changing the bone’s
length and direction. Note that if the bone has any child bones, they will
be moved as well.
Translate Bone Options Holding the Shift key will cause the bone to only move horizontally or
vertically relative to its parent (if you click near the base), or to point in a
direction that is a multiple of 45 degrees (if you click near the tip).
Tool Options If any objects in other layers have been bound to the bone, they will not
move if the current frame is 0. At frame 0, you are modifying the bone
• Select Bone: Click this menu button to select a bone by name. layout - at later frames you are animating with this tool, and bound
objects will move with the bone.
• Position X: Allows you to numerically enter a value for the X Nudging: When this tool is active, you can “nudge” the selected bone
coordinate. by small increments by holding down the Ctrl key and pressing the
arrow keys. Hold down Shift in addition to Ctrl to nudge the bone by a
• Position Y: Allows you to numerically enter a value for the Y
greater increment.
coordinate.
• Length: Allows you to view or enter a numerical value for the

length of the bone.

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Scale Bone Using the Tool

The Scale Bone tool is used to change the length of a bone. This tool
is only available during an animation, not at frame zero. To change the
length of a bone at frame 0, use the Translate Bone tool and drag the
tip of the bone.
Scale Bone
Rotate Bone
Scale Bone Options
Rotate Bone
Tool Options
• Select Bone: Click this menu button to select a bone by name.
Rotate Bone Options
• Scale: Allows you to view or enter a numerical value for the length
of the bone.
• Reset: If pressed at Frame 0, resets a layer back to its default Tool Options
• Angle: Allows you to view or enter a numerical value for the

angle of the bone.
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• Text Field: Allows you to assign a name to the currently selected

Using the Tool bone
The Rotate Bone tool is used to change the direction a bone is pointing
in. Click the tip of a bone, and drag it in circles around its base to
change its direction. Hold the Shift key to constrain the bone’s direction
Using the Tool
to a multiple of 45 degrees. Use this tool to add new bones to a skeleton. The location you click will
be the base of the bone (the point it rotates about), and where you drag
to will be the endpoint. If another bone is selected before you click and
Add Bone drag, it will be the parent of the new bone you create. Otherwise, the
new bone will be parentless, a root bone.
Hold the Shift key to constrain the new bone to point in a direction that
is a multiple of 45 degrees.
Note that bones don’t have to be touching to have a parent-child
relationship. In the example shown in “Bone Layers” on page 216, the
Add Bone upper arm bones are children of the spine, even though they are
separated from it by a small distance. This will often be the case - arms
should rotate about the shoulders, not the neck, even though they move
when the spine moves.
Add Bone Options
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Reparent Bone Bone Strength
Reparent Bone Bone Strength
Tool Options
Bone Strength Options
Using the Tool Tool Options

Sometimes when building a skeleton, you may accidentally add bones to • Select Bone: Click this menu button to select a bone by name.
the wrong parent. Later, when you discover the error, deleting bones and
adding new ones is just too much work. Instead, use the Change Parent • Bone Strength: Allows you to view or enter a numerical value
tool to change a bone’s parent. First, select the bone whose parent you for bone strength.
want to change (using the Select Bone tool). Then, using this tool, click
on the new parent bone. (The new parent will become highlighted in
blue.) If you want to turn the selected bone into a root bone (one that Using the Tool
has no parent), just click on the background.
When using bones to control the points in a vector layer or to warp
an image layer, by default every bone has some degree of influence
over every point in the vector layer (or image). The Bone Strength tool
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lets you adjust how much influence each bone has. When this tool is
activated, a semi-transparent region appears around each bone - this Manipulate Bones
region indicates the strength of the bone. If you drag side to side on a
bone with the Bone Strength tool, you cause the region of influence to
shrink or grow. Points that are closer to the center of this region move
more when the bone itself is moved.
Although by default, all bones have some influence over some points,
you can change this behavior. In the Layer Settings dialog, under the Manipulate Bones
Bones tab, there are two options, “Flexible binding” and “Region
binding”. Flexible binding means that every bone will influence every
point. Region binding, on the other hand, means that a point will only
move under the influence of the bone(s) in whose region of influence Using the Tool
it lies. If that point only lies in one bone’s region, it will only move with
that bone - if the point is overlapped by the regions of two bones, it will The Manipulate Bones tool has two purposes. First, when the current
move with both of those bones. frame is set to 0, it is used to test whether a skeleton is set up and
working properly. Although it moves bones and points around, the
Flexible binding is the default setting for new bone layers because it changes it makes are only temporary. When you switch to another tool,
works reasonably well almost automatically. The downside is that it the skeleton is reverted back to its original shape.
leads to “rubbery” movement of the attached vector artwork. Region
binding will give you cleaner movement, but takes a little more work to The second use of this tool is at frames greater than 0. If the current
set up. The Tutorials section of this manual shows you how to use the frame is greater than 0, then this tool will move the skeleton in the same
Bone Strength tool together with both types of binding to quickly set up way, but the move will introduce a keyframe for animation.
a character’s skeleton. To manipulate a skeleton, just click and drag the various bones that
make it up. If points or other layers have been bound to the bones, they
will move as well. The way the skeleton and the bound points move with
this tool is exactly the same whether at frame 0 or a later frame. If some
part of the skeleton doesn’t move correctly, you can find out with this
tool and fix it before you start animating.
Note: If you only want to rotate a single bone, it’s better to use the
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Rotate Bone tool. The Manipulate Bones tool will move a whole chain
of bones, which is definitely not what you want if you plan to rotate a
Bind Points
single bone.
Bind Layer
Bind Point
Using the Tool

Bind Layer
The Bind Points tool operates exactly like the Select Points tool described
in “Select Points” on page 167. Use it to select a group of points to bind
to a bone. In order to use this tool, a bone must first be selected.
Using the Tool When a bone is selected, the points that are currently bound to it are
automatically selected as well. Use this tool to add or remove points
Other layers can be contained within a bone layer. For example, you
from that selected group. When the correct group of points is selected
could create a “hand” layer and place that within an “arm” layer. To
that you want to bind to the bone, press the spacebar - this tells Anime
bind the hand to the arm, use this tool. Just click on the bone in the
Studio to perform the binding.
parent layer that you want to connect to, and the entire layer will move
with that bone. In the arm/hand example, you would click on the bone This tool used to be very important for setting up connections between
nearest the wrist to bind the hand to the end of the arm. bones and points in Anime Studio. However, starting with Anime Studio
5.0, we don’t usually recommend using the Bind Points tool. Instead,
Use this tool to bind an entire layer to a single bone. If you would rather
the best way to attach points to bones is to use automatic bone binding,
bind certain points in a vector layer to certain bones, then you should
together with the Bone Strength tool. This technique is demonstrated in
use the Bind Points tool instead.
the Tutorials section of this manual.
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Offset Bone Using the Tool

The Offset Bone tool lets you add an extra amount of bone movement
starting at frame 1 of your animation. The reason you might want to
do this is to simplify the setup of a complex character. Often, parts of
a character such as arms and legs overlap, making it difficult to set up
bones and attach the proper parts of the character’s body to them. The
Offset Bone tool lets you draw the parts of a character in disconnected
Offset Bone
positions, set up bones, and then move them all back into position.
It’s difficult to describe the usefulness of this tool without a hands-on
example, so look in the Tutorials section of this manual for character
Offset Bone Options setup examples.
Bone Physics
Tool Options
• Animation Offset X: Allows you to numerically enter a value

for the amount of offset on the X axis.
Bone Physics
• Animation Offset Y: Allows you to numerically enter a value
for the amount of offset on the Y axis.
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• Bone Physics Region: With physics, bones are represented • Lock Tip: When physics are in affect, if a bone has its tip locked
internally with a kind of pill-shaped region around them, the it acts as though the endpoint of the bone has been nailed to a
“physics region”. You can enter a number numerically, but stationary point.
generally you would just use this tool to click and drag on
individual bones to control the size of the physics region, trying
to get it to match the underlaying character as closely as possible. Using the Tool
When you play back the animation, the bone physics regions
are what is used in collisions, not the character artwork. (This is When objects that have bones are added to a Group layer that has
because the bending of the character is not directly physics related. physics applied to it (as mentioned in “Basic Physics” on page 130), the
The physics pushes the bones around according to the physics bones will respond to the physics properties that you have set for the
regions, and the bones then move the character just like they object. Physics are applied to each bone based upon the bone’s area of
would if you were hand-animating.) influence, as set by the Bone Strength tool.
• Motor Speed: . The motor speed is the number of degrees

per second the object will rotate (it can be negative to rotate
backwards). Depending if the object bumps into obstacles or there
are other influences, it may not actually rotate at that speed, but
in a zero gravity setup with no collisions, that will be the speed of
rotation.
• Motor Torque: Motor torque controls the strength of the

motor. With low torque, when a motorized object bumps into other
objects it may come to a stop, depending on the size and density
of the obstacles. With a high torque, it will tend to push obstacles
out of its way. Even with no obstacles, if a motorized object is
unbalanced (off center of its origin), a low torque setting may mean A boned character placed into a physics group.
that it can even lift itself up.
Once a boned object is placed inside a Group layer that has physics
• Return to Neutral: Check this option to return the bone to enabled, the Bone Physics tool becomes enabled and the options
neutral position. mentioned in the previous section become available in the Options bar.
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You can assign different physics properties to the bones by clicking each
bone with the Bone Physics tool.
For additional information on configuring groups and objects for

physics, see “Basic Physics” on page 130.
After you set up the objects in your scene, and the bones in your
character, you can press the play button to see how the character
responds to the physics as it comes into contact with the other
stationary and physics-enabled objects in the scene.
The boned character responding to other objects in the scene.
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Layer Types background scenery, a character, or a title. Some layers can even contain
other layers, so a more complex object, such as a character, might
contain separate layers for each arm and leg.
Drawings in Anime Studio are vector-based. Vector drawings are Anime Studio currently supports the following types of layers:
different from pixel-based images (like a photograph) in that they use
lines and curves to represent a picture, rather than a grid of colored • Vector Layers are used to hold vector-based artwork. These are
pixels. This difference makes a lot of things easy in Anime Studio that the main type of layer you will use to create drawings. See “Vector
would be difficult or impossible to do with a pixel-based image. Layers” on page 214 for more information.
First of all, since an Anime Studio drawing is represented as a bunch
• Image Layers can be used to bring in images from other
of curves, you can reshape the curves at any time, without ever losing
applications. Image files created in 3D programs or photo editing
precision. Also, Anime Studio projects are relatively small, even for
applications can be used in Anime Studio with Image Layers. See
complex animations - this means Anime Studio doesn’t require much
“Image Layers” on page 215 for more information.
memory even when working on a long movie. Vectors also have benefits
when it comes to animation. By moving just a few points, you can • Group Layers (Anime Studio Pro only) are used to group
totally change the shape of an object over time. together multiple layers. If you created 20 layers with trees for
You’re not restricted to vector artwork, though - Anime Studio also has example, you could put them all in a Group Layer and call it a
Image Layers. Using this type of layer, you can work with regular images forest. Group layers are a useful tool for organizing a complex
within an Anime Studio project. So, Anime Studio is not strictly vector- project. See “Group Layers” on page 216 for more information.
based, but you will probably still use mostly vector layers, as image
layers are not as flexible when it comes to animation. • Bone Layers contain skeletons that are used to control the
artwork in your vector and image layers. You manipulate skeletons
Of course, most standard image and movie formats are not vector- as if they were “puppets” by bending arms and legs to make a
based, so when you’re done working on a Anime Studio project, it must character move. See “Bone Layers” on page 216 for more information.
be “rendered” to create a traditional pixel-based image. During the
rendering process, Anime Studio can apply various effects to the objects, • Switch Layers are just like Bone layers, except they will only
such as shading and blurring. display one of their sub-layers at a time. Switch layers are an
Anime Studio is designed in such a way that projects are split into excellent way to perform lip-sync animation. Which sub-layer gets
“layers”. You can have many, many layers in a Anime Studio project, displayed is controlled by a switch data file. You can create this
each representing a different element in a scene or animation, such as data file by hand, or better yet, use a lip-syncing program like
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Papagayo. See “Switch Layers” on page 218 for more information. Enhanced Layer Alignment
• Particle Layers (Anime Studio Pro only) are used as a way to Features
simulate water, sparks, smoke, crowds, or any number of effects
that can be made up of many small objects. A Particle layer behaves The Layer Alignment features in Anime Studio have been improved to
somewhat like a Group layer, but instead of displaying each of assist in alignment when using 2D to 3D conversions. When you added a
its sub-layers, it can display many, many copies of each sub-layer new layer to a project in Anime Studio 6 or earlier, the layers aligned on
arranged in sort of a “spray” formation. The sub-layers appear to be the X (horizontal) and Y (vertical) planes. In Anime Studio 7, new layers
moving outward from the origin of the Particle layer. See “Particle align to face with the current camera view. This allows you to create
Layers” on page 220 for more information. more complex 3D objects in your Anime Studio scenes.
• 3D Layers (Anime Studio Pro only) can be used to import 3D To demonstrate, try this:
objects that were created in a 3D modeling program. 3D models 1. Create a new Anime Studio scene.
can be a good source of background scenery. Or, use a 3D model
for a character’s head, and decorate it with eyes, mouth, etc. 2. Use the Draw Shape tool to draw a box in the scene.
created with Anime Studio’s vector layers. See “3D Layers” on page
222 for more information. 3. Use the 2D to 3D conversion features to extrude the 2D box into a
3D box. To convert a 2D vector layer to 3D, double click on the layer
• Note Layers (Anime Studio Pro only) are like sticky notes in in the Layers Window and click on the 3D Options tab. Then select
Anime Studio. You might use a note layer when you want to leave ‘Extrude’ from the 3D Conversion drop down menu.
a note for yourself or another animator. For example, you might
create a note layer at a particular frame that needs some work, or 4. Rotate the camera so that you are looking at the 2D box from a
to describe why a character is set up in a particular way. See “Note different angle.
Layers” on page 223 for more information.
5. Create a new layer, and add another extruded box on that layer. The
• Audio Layers allow you to add a sound file to your project. new box faces the current angle of the camera. Rotate the camera
When adding an audio layer you will be prompted to select an so that you can see how the two boxes relate to each other.
audio file.
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Vector Layers
New layer alignment features The tools available for working with vector layers essentially make
up a 2D drawing program. You can draw lines and curves, re-shape
existing curves, and manipulate objects in various ways. There are a
couple ways that Anime Studio differs from other drawing programs.
Vector Layers First, everything you draw in Anime Studio is a set of points and curves.
In many programs, when you draw a circle, you get a circle object, or
Vector layers are the most common layer in Anime Studio projects. you may type some text to create a text object. In Anime Studio, once
Artwork that you create in Anime Studio is always contained in a vector you’ve created the circle or the text, there’s no difference between
layer. Tools are available for drawing and editing curves, setting up fills them whatsoever - they’re both collections of curves. One happens to
and outlines, and connecting your drawings to bones. be in the shape of a circle, and the other in the shape of some There
are advantages in treating all objects the same: first, you never have to
worry about what type of object you’re working with - the answer is
always the same: a set of points and curves. The other advantage is that
any operation you can perform on hand-drawn curves can be performed
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on text, or a circle, or whatever.

The other feature of Anime Studio’s drawing mode that is different from
many other drawing programs is the concept of “welding”. In Anime
Studio, two points can be “welded” together into a single point. In fact,
any number of points can be welded together. When points are welded
together, moving one of them moves them all, along with any curves
that pass through that point. This is particularly useful when you start
to animate objects. For example, if you want to move a character’s nose,
then welding it to the face might not be a bad idea. That way, however
you distort the nose or the face, they’ll always stay connected.
Image Layers
Image Layers
Image layers are a way of importing artwork into Anime Studio that
was created in other programs. Any program that can produce image
files can be used together with Anime Studio this way. For example, a The best image format to use with Anime Studio is PNG. PNG files have
painting program, photo editor, or 3D modeling program can produce high quality, good compression, and support full alpha channels for
images that can be used in an Anime Studio image layer. You can’t edit transparency effects. Although PNG is the preferred format for use with
the pixels of one of these images in Anime Studio, but you can move, Anime Studio, you can also use JPEG, BMP, Targa, or GIF images.
resize and rotate image layers, and attach them to skeletons for more Image layers can also be used to bring external movies into Anime
complex animation. Studio. Instead of selecting a still image, select a movie file when
creating a new image layer. Anime Studio can import QuickTime
(Windows and Mac OS) or AVI (Windows only) movies as image layers.
When importing a movie file, Anime Studio will use the movie’s alpha
channel (if present) to composite the movie with other elements in the
scene.
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Group Layers Bone Layers

Group layers are used to group together multiple sub-layers so that Bone layers are similar to Group layers - they can both group together
they can be manipulated as one. They’re also very useful for organizing multiple sub-layers that can then be manipulated as a single object.
complex projects. You can think of a group layer as a “folder” that can However, bone layers have an additional feature: In a bone layer, you
contain files (layers) and other folders (more group layers). When you can set up a skeleton that can be used to manipulate your artwork. A
move a group layer, turn it invisible, or apply an effect (such as a layer skeleton is exactly what it sounds like - an internal structure that can
shadow), these are all applied to every layer contained within the group. move the outer, visible portion of your artwork.
Bone Layers
Group Layers
Setting up bones is sort of a pre-animation phase. You don’t draw
shapes in Bone layers, you set up controls that will help you animate
later on. The purpose of setting up bones is exactly what you might
think: creating a rigid skeleton inside your drawing. Later on, during
animation, when you want to move an object, bones make the job easy.
By moving a single bone in the arm of a character, for example, the
whole arm will move with it. Around the elbow, the drawing of the arm
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will bend and stay smooth (as long as the bones were set up well with
the Bone editing tools).
Bones by themselves don’t really do much of anything: you can move
them around, but they’re invisible in the final Anime Studio output. To
really make use of bones, they need to be attached to objects in other
layers. This process is covered in “Bones” on page 59, and also “Bone
Tools” on page 202.
When you create a skeleton out of a group of bones, the bones have a
hierarchical relationship. Each bone has a single parent (or maybe no
parent at all, in which case it’s called a root bone), and each bone may
have multiple children. The relationship between parent and children is
that when a parent bone is moved, all of its children move with it. When
a child bone is moved however, it’s parent remains unchanged.
Below is a picture of a skeleton created in Anime Studio. Red arrows
have been added that point from each bone to its parent (the spine has A skeleton hierarchy.
no parent and is referred to as the root of the skeleton). Note that the
currently selected bone is highlighted in red, and its parent (if it has one)
is highlighted in blue, as shown below. When you use bones with a vector layer, you need to consider how the
bones and curve control points will interact. When a bone moves, it
moves the points around it as well. Each bone has a region of influence
(which you can adjust). Points move mostly with the bone whose region
of influence they fall within, although other bones can still have an effect
on them. Below is a picture of some points and bones. Notice the region
of influence around each bone. The second picture shows the same
object after the bones have been moved. Notice how the points follow
the bones according to regions of influence (and how the curves pass
smoothly through the points, wherever they move to).
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Moving bones moves the curve control points
A bone and vector setup
Switch Layers
Switch layers are used to group together multiple layers, much like
Group layers. However, switch layers have an interesting twist: only one
of their sub-layers can be displayed at a time.
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10 B
22 A
37 C
40 C
• The first line is a header that just tells Anime Studio that the file is
a switch data file.
• The following lines contain two items each:

the first item is a keyframe.
Switch Layers The second item is the name of one of the switch group’s
sub-layers. (In this example, the switch layer should have three
One reason you might want to do this is for lip-sync animation. In this sub-layers, named “A”, “B”, and “C”.)
case, each of the sub-layers would correspond to a mouth shape for a If you make changes to the switch data file outside of Anime Studio, and
particular sound (“A”, “O”, “TH”, etc.). To control which sub-layer gets you want to incorporate those changes, you will need to re-load the data
displayed at which frame in an animation, you can to assign a “switch file. To do this, double-click the Switch layer in the Layers panel, and in
data file” to the switch layer. An excellent way to create this data file the dialog that opens up, go to the Switch tab, press “Source Data” and
is by using a lip-sync program. A great (and free!) lip-sync program is re-select the data file.
Papagayo.
You don’t have to use a data file to work with Switch layers - you can
You can also create a switch data file by hand. To do this, the data file also control them manually from within Anime Studio. To control which
should look like this: sub-layer is displayed at any frame in your animation, just right-click on
MohoSwitch1 the Switch layer in the Layers panel. A pop-up menu will appear that lets
you choose which sub-layer to display.
1 A
Anime Studio includes several sample mouth sets for doing lip-sync with
2 A Papagayo - take a look at those files to see how a switch layer should be
set up. Also, check out the lip-sync tutorials included in this manual.
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Switch layers have a feature that allows for “smooth” switching. To

use this feature, all the sub-layers need to be Vector layers, and they
need to have the same number of control points. Then, when switching,
Anime Studio can smoothly transition between sub-layers. To enable this
feature, turn on “Interpolate sub-layers” in the Switch layer’s properties
dialog. An example of using this feature is included in one of the mouth
sets mentioned above.
Finally, switch layers can be set up with skeletons, just like bone layers.
More accurately, a switch layer is a bone layer, just a specialized one.
If you add bones to a switch layer, you can use them (for example) to
change the shape of a mouth as it speaks, bending it into a smile or a
frown.
Don’t feel restricted to lip-sync animation with switch layers. They have a
lot of potential uses (controlling eyes, syncing to music & sound effects, Particle Layers
switching between different hand gestures, etc.) - get creative!
The direction that a particle layer sprays its particles is illustrated below.
Particle Layers
Particle layers are a way to simulate such effects as flowing water, fire,
bubbles, or other effects that you can imagine are made up of many
small objects. A particle layer is like a group layer in that it can contain
sub-layers. However, instead of just displaying its sub-layers as they are,
a particle layer will automatically animate its sub-layers so that they
appear to be flowing outward from the particle layer’s origin.
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working view from slowing down too much)
• Lifetime (frames): The number of frames before a particle is

“recycled” and sent back to the source. If set to zero, the particles
will keep going for the duration of the animation.
• Source width: The width of the spray source
• Source height: The height of the spray source
• Source depth: The depth of the spray source. If set to a number

greater than zero, then some particles will appear closer to the
camera than others.
Particle spray direction.

• Velocity: The speed that particles start at (a value of 2 will cause
a particle to cross the entire screen vertically in one second)
During an animation, a particle layer can be turned on or off. When it is • Velocity spread: The amount of random variation in the
turned off, no more particles will be created, but those that already exist particles’ velocity
will continue to the end of their lifetime. To turn a particle layer on or off,
right-click its entry in the Layers panel. A popup menu will appear to let • Damping: This acts kind of like “air resistance”, or backwards
you turn the particle layer on or off. acceleration
The complete list of settings for a particle layer is as follows. These
• On at start: Whether the particle layer should be on at the start
settings are accessible in the Layer Properties dialog, under the
of the animation
“Particles” tab:
• Full speed start: If the layer is on, this checkbox indicates if it
• Particle Count: The total number of particles visible at any one
should be running at “full speed”, or just starting
time
• Orient particles: If checked, then the particles will rotate to face
• Preview particles: The number of particles displayed in the
the direction they’re moving in
working view (a smaller number than “Particle count” keeps the
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• Free-floating: If un-checked, then the particles will be tied to When importing OBJ files, Anime Studio will also load any associated
the particle layer if it is moved material file, importing the objects’ colors and texture maps.
• Evenly spaced: if checked, then the particles will be released in 3D layers can also be used with skeletons. Using a bone layer, you can
even time increments warp a 3D model by moving bones around. Keep in mind that while
3D layers are truly three-dimensional, bone layers are only 2D. So, any
• Randomize playback: Normally, particles will start their manipulation you do with bones is going to be limited to some degree.
animation from the beginning when they are first created. If this Because Anime Studio is not a true 3D program, not all 3D features are
box is checked, then particles will start playback at a random time. supported. In particular, lighting. Any 3D model you import will be flat
This is useful when simulating things like crowds of people (see shaded. However, because Anime Studio does support texture maps,
“Effects” on page 135). you can simulate lighting if a texture map has lighting effects “baked”
into it.
• Direction: An angle indicating direction to spray particles in (see
above figure) There are lots of quality 3D programs we recommend for use with
Anime Studio Pro. The following are products that will work well with
• Spread: How wide the spray should be (see above figure) (a value Anime Studio Pro:
of 360 will cause particles to spray in all directions)
• Poser
• Acceleration: The direction of acceleration (straight down
simulates gravity) • Amapi
For further information on importing 3D objects within Anime Studio Pro
• Rate: The rate of acceleration please visit http://my.smithmicro.com/tutorials/.
P.S. When preparing a 3D model for use with Anime Studio, it’s usually
3D Layers a good idea to triangulate the model before exporting it as an OBJ file.
This will eliminate any problems with concave or complex faces.
3D layers are a way for you to import true 3D models into Anime Studio.
When a 3D layer is rotated in space (or the camera moves around it),
you actually see that backside of the model. Anime Studio supports
importing OBJ files into 3D layers - OBJ is a common 3D file format that
most 3D programs can read and write.
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Note Layers Audio Layers

Anime Studio’s Note layers work kind of like sticky notes. You can add a Audio layers allow you to add an audio file to your project. You will
note layer to remind yourself of something you need to work on, or to be prompted to select a file after choosing this layer type. A graphic
explain to other animators some important aspect of your project file. representation of the audio file appears in the timeline after the file is
If you add a note layer at a frame other than zero, the note will only selected.
appear starting at that frame. That way, you can add notes that refer to
specific parts of your animation (ex. “Use more exaggeration here!”).
Audio Layers
Note Layers
By default, Note layers do not appear in final rendered output, so your

audience doesn’t need to see your comments to yourself. However, if for
some reason you do want a note to appear in the final product, you can
do that by un-checking “Don’t render this layer” in the Layer Settings
dialog.
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Layer Tools Tool Options

• Position X: Allows you to numerically enter a value for the X
The following tools are available to be used with any type of layer. Their coordinate.
purpose is to modify an entire layer, not just an individual object in that
layer. • Position Y: Allows you to numerically enter a value for the Y
coordinate.
animation - using the tool at different frames in the timeline will cause • Position Z: Allows you to numerically enter a value for the Z
the object you adjust to change over time. coordinate.

Translate Layer value. If pressed at any other frame, resets the layer to the value or
• Show Path: Check or uncheck this option to display or hide the

motion path
• Flip Layer Horizontally: Click this button to flip horizontally.

Translate Layer • Flip Layer Vertically: Click this button to flip vertically.
Using the Tool

Translate Layer Options
Use this tool to move the entire layer. It doesn’t matter what objects are
selected - everything in the layer will move when you use this tool.
Holding the Shift key while using the Translate Layer tool will constrain
the layer to only move vertically or horizontally. Holding the Alt key will
move the layer forward and back (changing its depth, or Z value).
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If you are familiar with versions of Anime Studio prior to version 7,

there is a small change in the way the Translate Layer tool works in Scale Layer
Anime Studio 7. Normally the Translate Layer tool moves an object
side to side and up and down in its own plane.
When you are working with a 3D camera, the original plane of the
object might not be the best place to move the object. In Anime
Studio 7, you can use the Pan and Tilt camera tools to position the
camera along the plane in which you want to move the object, and Scale Layer
then use the Translate Layer tool to move the object along the plane
of the camera’s current view.
If the “Show Path” box in the tool options area is checked, then the Scale Layer Options
motion path for the current layer will be displayed in the working area
when this tool is active. This makes it easier to visualize and plan out the
motion of a layer.
Direct Path Editing: To edit the motion path directly, hold down the Ctrl Tool Options
key, then click and drag anywhere on the motion path to adjust the
curve that the layer will follow through space. • Scale X: Allows you to enter a numeric value for scaling along the
X axis.
Nudging: When this tool is active, you can “nudge” a layer by small
increments by holding down the Ctrl key and pressing the arrow keys. • Scale Y: Allows you to enter a numeric value for scaling along the
Hold down Shift in addition to Ctrl to nudge the layer by a greater Y axis.
increment.
• Scale Z: Allows you to enter a numeric value for scaling along the
Z axis.

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• Flip Layer Vertically: Click this button to flip vertically.

Rotate Layer Z Options
Using the Tool

Use this tool to resize the entire layer. When this tool is active, a red box
Tool Options
will appear on top of the current layer. The handles around the edges of
this box allow you to resize the layer. Drag a corner handle in and out • Z Rotation: Allows you to enter a numerical value for rotation
to scale the layer while maintaining its proportions. Drag one of the side along the Z axis.
handles to change the horizontal scale, or the top or bottom handle to
change the vertical scale. If you hold the Alt key while dragging a side
handle, Anime Studio will resize the layer in such a way to maintain the
overall volume of the objects in the layer - this can be useful for squash
and stretch effects. • Flip Layer Horizontally: Click this button to flip horizontally.

Rotate Layer Z
Using the Tool
Use this tool to rotate the entire layer. Holding the Shift key while
using the Rotate Layer Z tool will constrain the rotation to 45 degree
increments.
Rotate Layer Z
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Set Origin
Using the Tool
Click anywhere in the layer to set the origin to that point. The origin of a
layer is indicated by the crosshair displayed when editing that layer. The
origin is the point that the layer rotates around when using the Rotate
Layer tool, and the point that the layer resizes around when using the
Set Origin
Scale Layer tool. The location of the origin can also define how a layer
will move when it is attached to a group of bones.
Although you can change the origin at any time, the position of a layer’s
origin is not animated. We recommend setting the layer’s origin just
Set Origin Options once, and then leaving it alone for the rest of the animation - otherwise
unpredictable movement can occur. In most cases, you will never need to
change the origin of a layer at all.
Tool Options
• Origin X: Allows you to view or enter a numerical value for the
Follow Path
X origin
• Origin Y: Allows you to view or enter a numerical value for the

Y origin

value. If pressed at any other frame, resets the layer to the value or Follow Path
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Tool Options
Follow Path Options
• Percentage: Allows you to enter a numerical value for the

position of the object on the path. A value of 0 places the object at
the beginning of the path, while a value of 100 places the object
at the end.
Using the Tool

This tool allows you to assign any layer to follow a path in your scene.
You will need two layers, one with the path, and the other with the
object that will follow the path. Two layers, one with a path, and another with a character or object
To use the tool, select the layer that contains object that you want
to follow the path. Then select the Follow Path tool from the Layer
section of the toolbox. The path appears in the scene after you select the
Follow Path tool. Click the path in the scene to reposition the object to
the beginning of the curve.
You can click and drag left or right with the Follow Path tool to position
the object along the curve at any point. You can then move to a later
frame in your animation and set the object to a new position. This
allows you to animate the object travelling along the path.
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Check the Rotate to Follow Path option in the Layer Settings dialog to orient the object
The fish before and after it is placed on the path with the Follow Path tool to the path.
You can set the object to rotate so that it follows the path. Double-click You can also combine path following with the Curve Exposure tool,
the object’s layer in the Layers window, which opens to the General and expose the stroke of the curve while the object moves along
tab. Check the Rotate to follow path option in the Options section the path.
of the Layer Settings dialog and click OK. This causes the object to
automatically orient itself to follow the path to which it is assigned. If you hold down the Alt key while clicking on a curve, the object will
now bend along the curve. This allows for text bending, characters that
warp along a path (like a snake), and so on. You can animate this effect.
For example if you go to another point in the timeline, you can Alt-click
somewhere else on the curve.
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Tool Options
• X Rotation: Allows you to enter a numerical value for rotation
along the X axis.
• Y Rotation: Allows you to enter a numerical value for rotation

along the Y axis.

Press the Alt key while using the Follow Path tool to bend the object along the path. Using the Tool
Click and drag up and down to rotate the layer around the X
(horizontal) axis. This is a true 3D rotation, so that one half of the layer
Rotate Layer XY rotates into the screen and the other half out of the screen.
Click and drag side-to-side to rotate the layer around the Y (vertical)
axis. This is a true 3D rotation, so that one half of the layer rotates into
the screen and the other half out of the screen. You can verify this by
using the Orbit Workspace tool to change your view of the scene.
Rotate Layer XY
Rotate Layer XY Options
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Shear Layer Using the Tool

Use this tool to shear the current layer horizontally or vertically. Click and
drag to shear, or slant the current layer to the left, right, up, or down.
Poser
Shear Layer
Shear Layer Options

Poser
Tool Options
Using the Tool
• Shear X: Allows you to view or enter a numerical value for shear
Poser 7 or later must be installed on your system in order for this feature
along the X axis.
to work. In addition, the scene that you import into Anime Studio must
• Shear Y: Allows you to view or enter a numerical value for shear contain objects that are contained within your Poser library folders. Refer
along the Y axis. to your Poser documentation on how to use, add, and maintain content
in your Poser library folders.
• Shear Z: Allows you to view or enter a numerical value for shear After you create your scene in Poser, save it to a folder on your hard
along the Z axis. disk. The file will be saved with a .PZ3 or .PZZ extension, depending on
whether you use compressed files or not. In Anime Studio, choose the
File > Import > Poser Scene command, and select the scene that you
saved from Poser.
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Poser scenes that use dynamic hair are very resource intensive. If
your Poser scene uses dynamic hair or other resource-intensive
features, be careful not to use extreme settings.
Andy, Poser’s mannequin, imported into an Anime Studio scene.
After the Poser scene has been imported, the Poser tool is enabled in
the Layers section of the tool box. You can click one of the body parts to
Rotate or scale Poser actors with dials in the Poser Parameters dialog
rotate it with the Poser tool, or you can use the Poser Parameters dialog
(Window > Poser Parameters) to rotate or scale the selected body
part through the use of sliders. The parameters for each body part can be animated. For example, you
can pose the figure on one frame in your timeline, and then move to a
frame that appears later in the timeline and reposition the body part.
Anime Studio will then animate the in-between frames by interpolating
the motion between the keyframes that you set.
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Switch Layer Particle Layer

This is a specialized tool for use with Particle layers only. This tool has
no effect if you click and drag in the workspace. What it does is supply
a checkbox in the tool options area that lets you control whether the
particle layer is turned on or not (emitting particles or not).
Options that appear in the Particle Options dialog are discussed in detail
Switch Layer in “Particle Layers” on page 220.
Switch Layer Options

Particle Layer
Tool Options
• Active Child: Use this menu to select the active layer for the Particle Layer Options
switch function
Using the Tool

This is a specialized tool for use with Switch layers only. This tool has
no effect if you click and drag in the workspace. What it does is supply
a popup menu in the tool options area that lists all the sub-layers of a
switch group. You can change the active layer by selecting it from the
menu.
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import into Anime Studio.
Image Masking tool
Tool Options
Particle Options
• Clear Mask: Click the Clear Mask button to remove all areas
from the mask and restore the image to its unmasked state.
Image Masking
Many Anime Studio users do not use Photoshop or other similar
programs, making it difficult to create images with transparent
backgrounds. The Magic Wand tool assists with this task. This tool helps
you clear out and remove background areas from images that you
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Import an image into your Anime Studio scene. Click with the Image Masking tool to mask out areas of the image that you want to hide
After you import an image, select the Image Masking tool from the
Layers section of the tool box. Click on an area that you want to
remove from the background. Click and drag left or right to control the Video Tracking
sensitivity of the tool. Drag toward the left to decrease the sensitivity,
and toward the right to increase it. Release the mouse button when you To use the video tracking feature, you need to have a movie file in your
have masked out the desired area. project. Either import a movie into an existing project or open a movie
file from scratch. The following sections describe the process of how the
video tracking feature works
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Adding Tracking Points

Assume that you have imported a video, and you want to eventually add
an object that will follow the position and rotation of a person’s thumb
and wrist. The first step of the process is to add tracking points that
identify the two points you want to follow. The Primary tracking point
controls the position of the object’s origin. The Secondary tracking point
controls the angle or scale of the object. To add the tracking points,
select the Video Tracking tool from the Layer panel.
The first tracking point is added to the thumb
Now we add the second tracking point for the wrist, and name it
Video Tracking tool (appropriately) “Wrist.”
Click on the first point you want to track. You can click, and then drag
to position the point exactly where you want to place it. It is optional,
but recommended, that you name the tracked point in the Tracker Name
field of the status bar. For example, since we are tracking a thumb here,
we name the tracking point “Thumb.”
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The second tracking point is added to the wrist
After you place your tracking points, make sure the Video Tracking
Tool is still selected. Play the video back and watch the tracking points After the tracking points are added, keyframes are generated in the timeline
follow the points you selected. Playback runs a little slower during video
tracking.
As you play the video back, you’ll notice keyframes being added to the Fine-tuning Marker Positions
timeline. While the video is playing, watch for any problem spots in the
way that the tracking points follow the items you want to track. When You might notice some places where the tracking points seem to drift
you see a problem, don’t worry ... there are ways to fix them! away from the marker, or stop following it entirely. If this happens, stop
the video playback. Go back to the beginning of the movie. Zoom in
more closely to the video and use the Video Tracking tool to reposition
the markers that need to be adjusted.
Choose View > Reset to reset the zoom level of the video back to the
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default. Play the video again and watch for any other problems. Keep of the paper on the wall, there are similar colors in the paper that cause
making adjustments until you are happy with the results. The following the tracking point to go out of sync with the thumb. Fortunately, there is
movie shows our markers after they have been adjusted. a way to fix that. The next movie shows one of those problem areas.
Markers after they are adjusted. The tracking point loses focus after reaching the paper on the wall.
To fix this type of problem, you scrub through the timeline until you find
Re-syncing Tracking Points the point where it loses track. In the next figure you see the spot where
the thumb appears to blend in with the paper. This is the area that
You may also find instances where the tracking points go out of sync causes the tracking point to lose sync with the thumb.
with the tracked object. The most likely cause for this is when the
tracked area touches or passes over another area in the video that is
very close in color. For example, when the tip of the thumb goes in front
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Find the point where the point loses focus. Advance the video to a clear spot and adjust the tracking point.
After you find the problem frame, advance ahead a couple of frames Sometimes color similarities occur for a period that is longer than a
until you reach a point where there is more contrast. Then drag the couple of frames. For example, in our video there is a segment where
tracking point to position it where it should be. When you press Play, the the thumb passes across the face. This is a much larger area where there
tracking point will continue tracking from there. is very little color contrast between the tracked object and the area it
passes over.
The solution here is slightly different. You can use interpolation to
calculate the path between two good points. First, move back to find the
last good point before the thumb crosses the face. Delete the keyframes
from that point until the thumb passes across the face and reaches the
other side.
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Here we move to the point just before the thumb passes over the face ...
On the other side of the face, we reposition the tracking point to a good spot.
... and we delete the keyframes that occur until the thumb reaches the other side of the Adjusting Tracking Point Sensitivity
face.
When you add tracking points, you can change the sizes of the inner
and outer rings to adjust the falloff. Click and drag on the edge of the
Jump ahead in the video to a point after the thumb passes over the
rings to change the size. The inner ring defines the region that you are
face and reposition the tracking point. When you play the video back,
trying to track. For example, if you are trying to track an eye, adjust the
Anime Studio will interpolate the motion between the keyframes that
inner ring so that it surrounds the eye.
are missing.
The outer ring represents how fast the object can move. From one frame
to the next, the outer ring represents the maximum distance that you
want the object to move. If you have a fast-moving object you may
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need to increase the size of the outer circle for tracking. Expanding the your scene (in this case, there is only one).
search area too much can lead to further errors, so you want to keep it
as narrow as possible. The default settings are generally sufficient for
most cases.
Select the movie to track, then choose the primary and secondary tracking points.
First we’ll assign the Primary Tracking Point, which is associated with the
origin point of the tracked layer. We want the origin of the exclamation
point to track the Wrist point. So, we select “Wrist” here and choose
Two rings control the sensitivity of the tracking point. OK. When we play the result, the origin of the exclamation point
(represented by the crosshairs) tracks the wrist.
Assigning the Tracked Layer

After you set the two points on the object you want to track, you can
then assign the layer that will track those points. In our example, we
returned to Frame 0 and added an exclamation point to a new layer.
Now we want the exclamation point to follow the hand in the video.
To assign the layer that will track the points, choose Animation >
Track Layer to Video. The Motion Tracking dialog lists the videos in
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The secondary tracking point can control the angle or scale of the tracked layer. We
The crosshairs of the exclamation point, representing the origin, now follow the want the thumb to control the angle of the exclamation point.
primary tracking point.
The following movie shows the results of our selections. Now when you
The secondary tracking point is optional. You can use it to control either play the movie, the origin of the exclamation point follows the wrist,
the angle or scale of the tracked layer. In our case, we want the thumb and the angle of the exclamation point is follows the angle line from the
to control the direction of the exclamation point, so we select the thumb wrist (primary tracking point) to the thumb (secondary tracking point).
as the secondary tracking point. Then we check the option to control
Angle.
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You can offset the object from its origin with the Translate tool.
Once you have applied video tracking points to another layer, the two
layers are totally independent. The tracking feature creates standard
The exclamation point now follows the wrist, and points in the same direction as the keyframes. You can edit, add or remove keyframes to the tracked object.
thumb. You can also hide or delete the video layer that was used to initially
create the tracking points and keyframes. The layer that was tracked to
the video will still continue to follow the motion. This allows you to use
a video file as a reference whether or not you want to see the video in
Offsetting the Origin your final project.
You can use the Translate tool in the Draw panel to move the tracked
object away from the origin. The origin still tracks to the two tracking
points, but the object that you are tracking can be offset.
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Camera and Workspace Tools (depth) effects (see the tutorials section for an example). Holding the
Shift key while using the Track Camera tool will constrain the camera
to only move vertically or horizontally. Holding the Alt key will move the
camera forward and back.
Camera Tools If the “Show Path” box in the tool options area is checked, then the
motion path for the camera will be displayed in the working area when
Moving around a scene this tool is active. This makes it easier to visualize and plan out the
motion of the camera. (The camera’s motion path is only visible when
The following tools let you move a virtual camera around in a scene. the Orbit Workspace tool has been used to view the scene from outside
Although layers in Anime Studio are primarily 2D, Anime Studio’s camera the camera.)
can be moved around in true 3D space. The camera tools affect all layers
in the document, not just the currently active layer.
Zoom Camera
animation - using the tool at different frames in the timeline will cause
the object you adjust to change over time.
Zoom Camera Tool

Track Camera
Using the Tool
This tool zooms the camera in and out on the scene, just like the zoom
Track Camera Tool control on a real camera. Technically, the Zoom Camera tool is changing
the field of view angle (or focal length) of the virtual camera.
Using the Tool

This tool moves the camera up and down, and side-to-side. By giving
the project’s layers different depth values, you can create parallax
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sitting somewhere among the layers, not viewing them from a distance.
Roll Camera
Workspace Tools
Change your view of the workspace
Roll Camera Tool
The last group of tools in the toolbar is always available, regardless
of the current layer type or the current selected object. These are the
Using the Tool Workspace tools, and are used to control your view of the project, but
don’t actually modify the project itself.
This tool rolls the camera side to side. Try tilting your head side to side,
and you’ll understand this tool immediately.
Pan Workspace
Pan/Tilt Camera
Pan Workspace Tool
Pan/Tilt Camera Tool

Using the Tool
Using the Tool When the Pan Workspace tool is selected, you can click and drag in the
working area to move the project side to side and up and down. Note
This tool changes the viewing angle of the camera. Drag the tool up and that this isn’t the same as moving the objects in your project - only your
down to change the tilt angle of the, and drag side to side to change view of them is changing, not where they appear in the final image. A
the pan angle. Hold the Shift key while using this tool to constrain the shortcut for the Pan Workspace tool is to click and drag in the working
camera to only one direction of rotation. area using the right mouse button - it’s a quick way to pan, regardless of
This tool is most useful when you’ve set up a scene in 3D (different what tool is selected in the toolbar.
layers at different depths), and have placed the camera so that it is
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Zoom Workspace in a similar way - sometimes (especially with the Freehand drawing
tool) it may be helpful to orient the workspace in a different direction.
A shortcut for the Rotate Workspace tool is to click and drag in the
working area using the right mouse button while holding down the
control key - it’s a quick way to rotate, regardless of what tool is
Zoom Workspace Tool selected in the toolbar.
To get back to the normal view of the scene, you can select Reset from
Using the Tool the View menu, click the Reset View button in the tool options area of
the Anime Studio window, or press the Home key to reset the view.
The Zoom Workspace tool is similar to the Pan Workspace tool: it moves
your view of the project, without modifying the objects themselves. With
this tool, dragging the mouse zooms your view of the project in and out. Orbit Workspace
A shortcut for the zoom tool is to click and drag in the working area
using the right mouse button while holding down the shift key - it’s a
quick way to zoom, regardless of what tool is selected in the toolbar.
Orbit Workspace Tool
Rotate Workspace
Using the Tool
The Orbit Workspace tool allows you to view your scene from outside
the camera. It’s like holding the scene in your handing and turning it
Rotate Workspace Tool
around to look at it from different angles. This tool is mainly useful
when you’re working on a scene with 3D elements (layers with different
Using the Tool depths, complex camera moves, etc.). Hold the Alt key while using this
tool to move your view forward and back.
The Rotate Workspace tool is used to temporarily rotate the workspace. After using this tool to change your view of the scene, a blue wedge
Think of drawing on paper - sometimes you might rotate the physical will be visible in the scene, representing the location of the camera. To
paper to draw from a different angle. The Rotate Workspace tool works get back to the normal view of the scene, you can select Reset from the
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View menu, click the Reset View button in the tool options area of the
Anime Studio window, or press the Home key to reset the view.

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Windows

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Anime Studio’s Main Window
Overview
The Anime Studio interface has various windows that are used for
controlling different aspects of a Anime Studio project. In this chapter
we’ll briefly describe some general components of the Anime Studio
project window. The more complex parts of the Anime Studio interface,
such as the Layers window, have their own chapters that follow this
one. Although this chapter will describe how the main window works,
it won’t go into detail about creating a drawing or animation. For that,
please refer to one of the chapters in the section entitled Using Anime
Studio.
Anime Studio Pro’s interface.
Working Area
Most of the Anime Studio project window is taken up by the working
area. This is the region where you will create and view your drawings
and animations. In every project, even an empty one, two items will
be displayed in this area. The first is a cross marking the center of the
currently active layer. The second is a blue rectangle that indicates the
visible region of the project. Only objects that are within this rectangle
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visibility rectangle. This is a helpful feature meant to allow you to trace

the image with the drawing tools.
The real work that happens in the working area is not covered here, but
is described in the sections “Anime Studio Tools” on page 165, and“Anime
Studio Windows” on page 248..
Toolbar
The toolbar to the left of the main Anime Studio window is where you
select which tool you want to work with. The available tools will change
depending on whether you’re currently animating, which objects are
selected, and what type of layer is currently active. The purpose and use
Working Area.
of each tool is described in the following chapters:
• Draw Tools: See “The Draw Tools” on page 166

Although every project has a fixed image size (for example 640x480
pixels), the working area is basically an endless flat space on which you • Fill Tools: See “Fill Tools” on page 186
can draw and animate. The blue visibility rectangle mentioned above
indicates the actual image area for the project. While working, you • Bone Tools: See “Bone Tools” on page 202
may want to zoom in or out to see more or less detail in your project. A
quick way to do this is by using your right mouse button. By dragging • Layer Tools: See “Layer Tools” on page 224
the right mouse button in the working area, you can move around from
side to side. If you hold down the shift key while right-dragging, you can • Camera Tools: See “Camera and Workspace Tools” on page 244
zoom in and out. If you want to restore a reasonable overall view in the
• Workspace Tools: See “Camera and Workspace Tools” on page 244
working area, press the Escape or Home keys, or choose Reset from the
View menu (see “View Menu” on page 353).
The background of the working area is usually just a blank color, but
if you drag an image file into the working area, it will appear in the

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Status Bar
Playback Buttons
Near the bottom-left of the main Anime Studio window are a set of
playback buttons that allow you to play/stop/rewind/etc. your animation.
Anime Studio Pro Tools
Status Bar
The status bar along the top of the Anime Studio window displays a
short description of the currently active tool in the toolbar. If you don’t
know what a tool does, the best thing is to read this manual. However,
if you just need a quick reminder, the status bar can be helpful.
Playback controls.

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Display Quality • Fast buffer: Turns on a faster method of drawing. However, color
reproduction in this mode is not totally accurate.
Near the bottom-right of the main Anime Studio window is a popup box
that lets you customize the level of display quality in the editing area. • Paths: Display points and curves for vector layers.
The Display Quality popup lets you control the following options.
• Fills: Display the fill colors of vector shapes.
• Strokes: Display the outlines of vector shapes.
• Shape Effects:
• Images: Display images in image layers.
• Smooth images: Display images with higher quality alpha

blending.
• Masking: Display masking effects.
• Transparency: Display shape transparency.
• Brushes: Display brush effects applied to shape outlines.
• Antialiasing: Draw shapes with smooth edges.

A little way to the left of the Display Quality popup is another popup
box labeled “Current Layer”. This popup contains similar options to
those found in Display Quality. The options in “Current Layer” apply
Display Quality options
only to the current layer, while “Display Quality”’s options apply to the
entire project. So, for example, if you wanted to display fill shapes for
Note that this only applies to the editing view - when rendering your all layers except one, you would leave “Fills” turned on in the Display
final project, everything will be drawn in full quality, regardless of the Quality popup, but turn it off in the Current Layer popup for the layer in
following settings. question.
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Layers Window
An Anime Studio document is composed of layers, each of which can
be independently edited and animated. Layers can be thought of as
transparent sheets of plastic. You can draw separately on each of these
sheets, and the final picture is the composition of all the sheets stacked
on top of one another.
Layers can be added, removed, copied, and re-ordered. The Layers
window is where all these operations take place in Anime Studio, and is
the topic of this section.
Overview
The Layers window has two sections of interest. As seen below, these
consist of the toolbar and the layer list.
The Layers window.
The Layer List

Most of the Layers window is taken up with the layer list. This is
a vertical scrolling list of all the layers in the document. The layers
are stacked in order from bottom to top. That is, when the project is
displayed, the lowest layer in the list is drawn first, followed by the
second from the bottom, and so on up to the top. When two layers
contain objects that overlap, this ordering determines which object is in
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front and which is behind. box, the layer will turn invisible and will not appear in the main Anime
Studio window. This can be a convenient way to remove clutter in the
Each layer is represented in the list with an entry that looks something
main window when you don’t need to see all the layers at once. Also,
like this:
only visible layers will appear when you render a view of the project
or export an animation - you can generate test movies much quicker if
you turn some layers invisible that don’t involve what you’re currently
working on. Note: the visibility box of the currently active layer behaves
differently. The currently active layer is always visible (how could you edit
it if it wasn’t?), and clicking its visibility box (while holding the Alt key)
will turn all the other layers at the same level visible or invisible.
To the right of the visibility control is an icon that indicates what type of
layer each entry in the layer list is. The different types of layers include
vector, image, group, bone, switch, particle, 3D, and note layers.
Certain types of layers act as “groups”, and can contain other layers
within them. (You can think of them like folders on your hard drive.)
These layers have a triangle on their left side. Clicking this triangle opens
and closes these group layers, allowing you to access or hide the sub-
A single layer in Anime Studio.
layers they contain.
Layers can be re-ordered simply by dragging one layer above or below
Only one layer can be edited at a time in the Anime Studio working area.
another layer. Just click and drag the layer you want to move - you will
The layer currently selected for editing (the active layer) is displayed
see a red insertion bar indicate where the layer will be placed when you
in a highlighted color. To select a different active layer, just click on its
drop it. When the insertion bar appears at the location you choose, just
entry in the layer list. A layer’s entry provides you with three pieces of
drop the layer and you’re done. You can also use this method to drag
information: what type of layer it is, its name, and whether the layer is
sub-layers into or out of group layers. Layers can be re-ordered at any
visible.
time, although their order is not dynamic over time. That is, the layer
At the left side of a layer’s entry in the list is a visibility control, which ordering cannot change in the middle of an animation, for example to
controls whether a layer is visible or not. If a pair of eyes is visible in make one object appear to move in front of another object.
this box, any objects drawn in the layer will appear in the main Anime
The last thing you can control in the layer list is the property set of any
Studio window, as well as in any rendering of the project. If you click this
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layer. By double-clicking a layer in the list, a dialog will appear with layers inside it will be duplicated also.
various options controlling the appearance and behavior of the layer.
This dialog is described in the Layer Settings section below. • Delete Layer: Deletes the current active layer. This operation
cannot be undone, so you will be asked to verify if this is really
what you want to do.
Layer Toolbar • Layer Settings: This command brings up a dialog with various
At the top of the Layer panel is a toolbar that provides several layer controls to modify the layer’s appearance and behavior. The next
operations. The buttons in the toolbar are described below: section, Layer Settings, goes into detail about these options. The
Layer Settings dialog can also be invoked by double-clicking the
current active layer in the layer list.
Layer Settings
The Layer Settings dialog can be invoked either by double-clicking a
layer in the layer list, or by selecting a layer, then clicking the Layer
Settings button in the layer toolbar. The various controls are grouped
into tabs that we’ll describe in order.
Layer Toolbar General Tab

This tab is available for all layer types, and controls general layer
• New Layer: Adds a new, empty layer to the project. A popup properties.
menu allows you to choose the type of layer you want to add. The
new layer is placed directly above the current active layer.
• Duplicate Layer: Makes a copy of the current active layer and

adds it to the project. This new copy is placed directly above the
current active layer. If you duplicate a group layer, all of the sub-
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layer names might be “Background”, “Body”, or “Head”.
• Hide in editing view: Turn on this checkbox to hide the layer

while editing. The layer will still appear in rendered output, but will
be invisible in Anime Studio’s edit view. This can be useful to reduce
clutter and improve performance. Things you might consider hiding
in the editing view are background details, texture and detail layers,
or special effects like particle layers. Note that if a hidden layer is
the currently active layer, it will temporarily un-hide itself so that
you can edit whatever it contains.
• Don’t render this layer: If this box is turned on, then the
layer will not appear in any rendered/exported movies. This option
is usually used for some kind of “helper” layer. For example, you
might draw a layer with some guide lines to help you draw and
animate a scene, but you don’t want those guides to appear in the
final output. Note layers have this option turned on by default.
• Allow animated layer effects: When checked allows you to

animate layer effects by varying settings through the timeline. When
unchecked, layer effects do not animate.
Compositing Effects
General Layer Settings This group of controls allow you to change certain layer properties over
time. When you modify any of these at a frame greater than 0, you will
add a keyframe to the corresponding layer effects channel. For example,
• Name: This field allows you to change the name of the layer. You
if you go to frame 1 and un-check “Visible”, then go to frame 20 and
can type in any name for the layer you want here, and the name
re-check Visible, that layer will not appear in the final animation until
will appear in the layer list after you click the OK button. Good
frame 20.
names make working with large projects much easier. Examples of
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• Visible: Controls whether a layer is visible in the final output.

It is important to note that this checkbox is totally independent
of the visibility box displayed in the layer list: these are two
separate notions of visibility, and don’t affect each
other at all. The visibility control in the layer list is meant for
your editing convenience: you can turn one layer off while you
work on another. The visibility checkbox in this dialog is meant to
allow certain effects during an animation. For example, if you had
a layer with a drawing of a glowing lightbulb, you could un-check
the visibility of this layer at frame 1, then turn it on at frame 10, off
at frame 20, on at frame 30, etc. to create the effect of a blinking
light.
• Blur radius: Lets you apply a blur (in pixels) to an entire layer to Without Auto Shading
simulate such effects as camera focus. The blur can be animated
over time to make a layer look like its coming in and out of focus.
• Opacity: Allows you to modify the transparency of an entire layer.

An opacity value of 100 will not affect the layer at all, while a value
of 0 will make it totally transparent. By changing the value from
0 at frame 1 to 100 at frame 10, the layer will seem to gradually
appear out of nowhere, which in some cases is more desirable than
the type of on/off visibility provided by the “Visible” checkbox.
• Auto shading radius: Allows you to simulate 2D ambient

occlusion effects. Double-click the desired layer, or highlight a
layer in the layers panel. Turn the Auto Shading option on and
set the radius to a value other than zero. A good starting point is
somewhere between 8 and 16 pixels. With Auto Shading
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• Flip horizontally and Flip vertically: Clicking these boxes • Embedded Script File:
flips the entire layer in the direction specified. (If the layer is a group
layer, then the sub-layers inside it get flipped as well.) This can be • Scale compensation: When this box is checked (as it is by
convenient in the case where you want to duplicate a layer and default), and you scale an entire layer larger or smaller, the lines in
have the second copy face the first one as a mirror image. the final rendered output will automatically get thicker or thinner
so that they retain their relative weight in the overall image. Also,
Options layer effects like blurs and shadows will become larger or smaller to
match the scale of the layer.
• Rotate to follow path: When this checkbox is turned on, the
• Immune to camera movements: Sometimes you may
layer will automatically rotate to follow its direction of movement.
want to make some layers ignore camera movements. For example,
(Specifically, the “up” direction will turn to follow the direction of
certain backgrounds or title or logo layers you may want to stay in
layer translation.) This can be useful for creating things like flowing
one place on the screen even while you move the camera around.
arrows that need to point in their direction of movement.
• Immune to depth of field: The depth of field function (in
• Rotate to face camera: When this checkbox is turned on,
the Project Settings dialog) lets you simulate the blurring of objects
the layer will automatically rotate around its vertical axis so that
with different distances from the camera. This option allows you to
it always faces the camera. This can be useful when using Anime
turn off this effect for any particular layer.
Studio’s 3D camera - especially for scenery-type objects. Trees, for
example, that always face the camera can save you a lot of work. • Layer blending mode: Normally, layers are composited on top
of each other simply according to the transparency of each layer.
• Use HSV modifier image: This checkbox lets you use an
The layer blending mode popup lets you select a different blending
image file to distort the colors of the layer. Sometimes you may
mode for each layer. This can be very useful for simulating shading
want to do this to break up the solid colors in your project and
and lighting effects.
make it look less computerized. The exact behavior of this feature
is difficult to explain. The best way to try it out is to use one of the
HSV modifier images included with Anime Studio. These images Shadows Tab
should be pretty close to 50% gray. Other images may produce
bizarre, unexpected results. Feel free to experiment - you can always The controls in this tab allow you to apply automatic shadows and
turn off this checkbox if you don’t like the results. shading to an entire layer.
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• Shadow On: Checking the “Shadow on” checkbox will make all
objects in the layer cast shadows on the layers underneath.
• Offset: Controls how far the shadow appears from the actual
objects. A larger offset makes objects appear higher up above the
layers below them.
• Blur: Determines how hard or soft the edges of the shadow

appear.
• Expansion: Allows you to expand the reach of the shadow. This

can be useful for halo-type effects. Try an Offset of 0, Blur of 8, and
Expansion of 8.
• Shadow Color: Clicking on the “Shadow color” color swatch

lets you change the color of the shadow that is being cast. You can
also modify the transparency of the shadow with this control.
• Shadow Direction: Controls the direction the shadow is cast.

Just drag the knob in circles to change the direction of the shadow.
Layer Shading
This section is similar to the “Layer Shadow” section above. However,
Shadows Layer Settings instead of producing a shadow effect behind the layer, these controls
let you apply a shading effect on top of the layer.
• Shading On: Checking the “Shading on” checkbox will make all
Layer Shadow objects in the layer appear shaded, giving them a rounded edges
effect.
This section lets you apply a drop-shadow effect to a layer.
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• Offset: Controls how far inside the layer the shading appears. A
larger offset makes objects appear to have more “rounded” edges.
• Blur: Determines how hard or soft the edges of the shading

appear.
• Contraction: Allows you to pull the shading further into the

center of the layer.
• Shading Color: Clicking on the “Shading color” color swatch

lets you change the color of the shading that is applied. You can
also modify the transparency of the shading with this control.
• Shading Direction: Controls the direction the shading appears.

Just drag the knob in circles to change the direction of the shading.
Position the origin point at “ground” level.
3D Shadow
The settings for perspective shadows are as follows:
Anime Studio allows you to easily create perspective shadows for the
objects in your scene. Select a layer from the Layers window and open • Perspective Shadow On: Check this button to turn
the Layer Settings dialog. Click the Shadows tab, and adjust the settings Perspective Shadows on. Uncheck it to turn Perspective Shadows
in the 3D shadow area. You can animate this feature by applying off.
different settings at different points in the timeline. You will not see the
shadow until after you render the current frame, or all or part of a movie. • Blur: Sets the amount of blur on the perspective shadow. Higher
values create a softer shadow.
The position of the shadow is determined by the Set Origin tool in the
Layer section of the toolbox. When you set a perspective shadow, pay • Scale: Controls the “depth” of the shadow. Higher values make
attention to the location of the origin of the object. The shadow is cast the shadow seem more elongated, while lower values make the the
from the origin point. The origin represents the ground point, so you can shadow shorter
position it to make the object look as though it is resting on the ground,
or as if the object is floating in the air. • Shear: Allows you to control the slant of the shadow (the direction
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that the light source is coming from).
• Color: Allows you to select a color for the shadow. Default color
is black.
Motion Blur Tab

The controls in this tab control the motion blur effect for this layer.
Motion blur can be turned on and off during the course of an animation.
Motion Blur Layer Settings
• Motion Blur On: Checking “Motion blur on” turns on the

effect. The default settings work pretty well for a basic motion blur
effect.
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• Frame Count: Controls how many copies of the layer should

trail behind itself. The higher this number, the longer it will take to
render your animation. Sometimes a high number may be used for
an exaggerated anime or cartoon effect.
• Frame Skip: Controls the separation between blur frames. A

larger number will cause the blur effect to trail farther out behind
the current position.
• Start Opacity and End Opacity: Control how the blur fades
away behind the layer. Generally, a motion blur effect will fade a bit
as it trails behind the layer. For some special effects, however, you
may not want the motion blur to fade at all. In those cases, set both
values to 100 to keep the motion blur completely opaque.
• Blur Radius: Controls the radius (in pixels) of the motion blur
effect.
Masking Tab
This tab is used to control layer masking. Layer masking controls the
visible region of a layer - objects in a layer that are not within the visible
region of the mask will not appear in the final output.
Masking Layer Settings
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If the layer is a group or bone layer, then the following options are • + Clear the mask, then add this layer invisibly to it:
available:
• Exclude Strokes: Check this option to exclude outlines from
• No masking in this group: Means that no masking will occur the mask.
in this group.
The masking controls are simple but powerful options that can be used
• Mask on - reveal all: Means that masking is on, and by for all kinds of creative tricks. The best way to explain these is with a
default all sub-layers will be fully visible. hands-on example that you can try out in the Tutorials section.
• Mask on - hide all: Means that masking is on, and by default

all sub-layers will be invisible (this is the most common option Vectors Tab
when using layer masking).
This tab is only available for vector layers, and controls the appearance
All other layers inside a group will have the following options for layer of lines and fills in the layer. The controls here enable the vector “noise
masking: effect”. By adding “noise” to a layer, you can make it look more hand-
drawn, or at least get rid of some of that pesky computer precision. Of
• Mask this layer: Clip this layer against the current mask. course, that’s up to artistic interpretation: if you like computer precision,
the noise effect may not be the feature for you.
• Don’t mask this layer: Skip all masking operations for this
layer.
• + Add to mask: Add this layer to the mask. Any higher layers
will be visible wherever this layer is visible.
• + Add to mask, but keep invisible: Add this layer to the

mask, but don’t show it in the final output.
• - Subtract from mask: Use this layer to cut a hole in the

current mask.
• + Clear the mask, then add this layer to it: This makes
the mask identical to the transparency value of the current layer.
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didn’t stay in the lines. The circle displayed on the right side shows
a preview of what your noise effect settings will do to the final
drawing. (The best way to understand this feature is to just start
clicking the checkboxes and watch the circle.)
• Animated noise: Controls whether the noise factor will

vary over time in your animation. This can lead to either a very
distracting look, or a very sketchy, free-form one, depending on your
tastes. Again, experiment with this and watch the circle.
• Extra Sketchy:
• Offset: Determines how far in pixels (on average) your drawing

will be distorted from its original shape.
• Scale: Determines the “jaggedness” of the distortion. Larger scale

numbers will result in smoother, lumpier distortion, while smaller
numbers will give you a more scribbled look.
• Line Count: Tells Anime Studio to draw a number of lines,

distorting each in a different way.
Depth Sort Tab

Vectors Layer Settings
This tab is only available for group and bone layers. Depth Sort has two
controls that can be used with Anime Studio’s 3D features.
• Noisy Outlines and Noisy Fills: The first two checkboxes
turn on noise for outlines and/or fills. If you turn on both of these,
all the shapes in the layer will become distorted. However, if you
check only one, the effect will look like someone was coloring but
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they are from the camera. See the Tutorials section for an example
of using this feature. Typically, layers are sorted by their depth from
the camera, but if you’re trying to create a 3D object using multiple
Anime Studio layers (like a cube or pyramid), you may want to turn
on
• Sort by True Distance: Tells Anime Studio to sort layers by

the distance from the camera to the layers’ origins, rather than by
depth. Usually this option will be left un-checked.
Image Tab
This tab is only available for image layers. There are five options in this
tab.
Depth Sort Layer Settings
• Sort Layers by Depth: Allows sub-layers to move in front of

and behind each other during an animation. Normally, layers are
drawn in the order they appear in the Layers panel. However, with
this option turned on, layers are displayed according to how far
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• AVI movie has alpha: Turn this on if the image layer is using
an AVI movie, and that movie includes an alpha channel.
• Loop movie indefinitely: When checked, the movie plays in a

loop for as long as required in the animation. When unchecked, the
movie plays once and stops when it reaches its end.
• Movie FPS: Sets the speed of the movie in Frames per Second
• Warp using bones: If this box is checked and the image layer
is placed inside a bone layer, the bones can be used to warp the
image as if it were printed on a rubber sheet.
Toon Settings
The Toon Effect filter is used with images and movies. Load an image or
movie into a new layer. Open the Layer Settings dialog to the Image tab
and check the Toon Effect option. The image or movie will be processed
through the Toon Effect filter.
Image Layer Settings
• Source Image: Lets you select the image to be used in the

image layer. Use this if you want to change the image, or if it got
lost for some reason.
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Toon settings in the Layer Settings Image tab.
Toon effects on an ocean photograph.

• Edge level: Controls the width of the edges in the toon effect.
Increase the setting to make the edges wider, and decrease to
When used with videos, the processing can take quite a while. When make the edges thinner.
working with videos, open up the movie file and apply the toon effect
filter. Immediately afterward, import the animation as a new movie • Gray level: Darkens the middle areas of the toon effect.
file. Use the new movie file, with the toon effect applied, in your final
project. • Black level: Darkens the dark areas of the toon effect.
Some types of images work better than others. Faces should be pretty • Saturation: Increases or decreases the amount of color. Negative
large in the image. If the face is small then a lot of detail will be lost or values make the toon more black and white.
blurred together.
The Toon Effect filter has several parameters in the Image tab: • Lightness: Increase the setting to make the image appear more
faded.
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Switch Tab wide open. The volume of the audio file will control which
mouth shape is used at which frame. If you do use an audio
This tab is only available for switch layers. file to control the Switch layer, you can either use automatic
volume gain (recommended) or set the gain manually. The
gain controls how wide the mouth gets. When using manual
gain, start with a value of 1 - if the mouth seems too wide, try
smaller values (0.75 or 0.5). If the mouth isn’t wide enough,
try higher gain values (1.5 or 2). See the Tutorials section for
an example of using this function.
• Interpolate sub-layers: If this box is checked Anime Studio

will do smooth transitions between the sub-layers as long as they’re
all vector layers and contain the same number of points.
Particles Tab
Switch Layer Settings This tab is only available for particle layers. The description for how these
controls affect a particle layer can be found in “Particle Layers” on page
220.
• Select Audio Sync Source: Lets you select a data file used
to control the switch layer. A data file is not required (you can
control a Switch layer manually by right-clicking its entry in the
Layers window), but if you do want to use a data file you have two
choices:
You can create a switch data file for lip-syncing using the free
program Papagayo.
If you want a quicker lip-sync solution, you can use an audio
file as a data file. In this case, your switch file should contain
several version of a mouth shape, ranging from closed to
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3D Options
This tab is only available for 3D layers.
Particles Layer Settings
3D Options Layer Settings
• Default color and Edge color: Allows you to adjust the color
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of the 3D model. If you imported a 3D model that includes colors

and textures, then those will be used instead. The default color is
only used when no color is defined by the model itself.
• Polygon orientation: Allows you to adjust whether the

polygons in your model are oriented clockwise or counter-clockwise.
After importing a model, if it looks turned inside-out or otherwise
distorted, try switching the polygon orientation.
• Edge offset: Lets you fine-tune how much offset is used to draw
the anime or cartoon edges around your 3D model. A value of zero
corresponds to no cartoon edge at all.
• Warp using bones: If this box is checked and the 3D layer is

placed inside a bone layer, the bones can be used to warp the 3D
model. Be aware that although the model is three-dimensional,
bone layers are only two-dimensional, so you will be limited in the
ways you can control the 3D object using bones.
• Reset Z buffer:
Note Tab
This tab is only available for note layers, and lets you change the text
label in the note.
Notes Layer Settings
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Style Window Fill

These controls allow you to set the appearance of a shape’s fill region.
The Style window is where you set up colors, line widths, fill effects, and First, be sure that “Enable fill” is turned on or off, depending whether
other properties to control the appearance of your vector artwork. The you want that shape to be filled or not. Click the fill color rectangle to
Style window has a lot of controls, but it’s not too hard to understand if pick a new color for the fill. A color picker dialog will appear. In addition
you break them down into sections: to the actual color of the fill, you can choose the level of transparency in
the color picker dialog.
The Style window has two views. With the Advanced option unchecked,
the following options appear:
Anime Studio’s color picker.
If a style has been applied to this shape, the style’s color will be used
Style window
instead of the shape’s color. Turn on the checkbox to the left of the color
swatch to override the style’s color.
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Below the fill color are two popup menus that allow you to choose one • Shadow Color: Allows you to choose the shadow color from a
or two fill effects to be applied. These effects include such things as color color palette.
gradients, spots, and shading effects. Just pick an effect from the menu
to apply it to the fill. If you choose two effects, they will be applied in • Shadow Only: Check this option to only display the shadow,
order, one on top of the other. For example, you could choose “Gradient” without the object that is used to generate the shadow.
for the first effect and “Spots” for the second effect. The result would
be a color gradient for the background of the fill, with spots drawn on
top of it.
To the right of the fill effects are buttons that allow you to control
the specifics of the fill effect. If a fill effect has been chosen from the
popup menu, these buttons will bring up dialogs that are described in
the following sections. Some fill and line effects can be animated, with
keyframes being added to the timeline when you change colors, blur
radius, angles, offsets, blurs, and more.
Shaded Fill Effects

When you choose Shaded Fill effects, a dialog displays the following
options:
• Light Angle: Provides a dial that allows you to change the

direction that the light is coming from. You can also enter a
numerical value. Zero degrees is located at the bottom of the dial.
• Offset: Allows you to assign a value for how far the shadow is
offset from the filled area Shaded Fill Options
• Blur: Controls the softness of the shadow.
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Soft Edge Fill Effects Halo Fill Effects

When you choose Soft Edge Fill effects, a dialog displays the following When you choose Halo Fill effects, a dialog displays the following
options: options:
• Blur Radius: Allows you to increase or decrease the softness, or • Onset Radius: Adjusts the radius of the inner area
blur, around the edge of the fill.
• Blur Radius: Adjusts the softness around the halo
• Halo Color: Click the Color chip to select a color for the halo.
• Halo Only: Check this option to only add the halo effect to the
layer.
Soft Edge Fill Options
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• Type: Allows you to choose one of four types of gradient effects::

Linear, Radial, Reflected, or Angle. The preview shows an example
of each type.
Below that are two controls for the colors at each end of the gradient.
Finally, a preview area: after modifying the other controls, this region will
display a small preview of the effect. You can also add additional colors
to the gradient. Select an existing color marker, and press the Alt key
while you drag a copy of it to a new location on the gradient bar. Then
click the color chip to choose a new color for the marker.
Halo Fill Options
Gradient Fill Effects Gradient Fill Options
Gradient fill effects can be animated and can also respond to bone
warping. You can animate the location and color of all of the color
markers in the gradient. All changes in color will show up in the timeline Image Texture Fill Effects
when added.
When you choose Image Texture Fill effects, a dialog displays the
This is the dialog used to control the gradient effect. The following following options:
options appear:
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• Select Texture: Click this button to choose an image file to be Drop Shadow
used as a texture fill.
The Drop Shadow feature allows you to quickly and easily create a drop
• Tile: Choose this option if you want the image to repeat more shadow for your objects. The feature allows you to set the angle from
than once to fill the selected area which the light shines, how much the shadow is offset from the object,
and the blur radius (or softness) of the shadow. In addition, you can set
• Don’t Repeat: Choose this option if you do not want to repeat the color of the shadow through a color swatch.
image used for the fill. The image will be rescaled proportionally as
needed to fit the width or height of the area that will be filled. When you choose a Drop Shadow, a dialog displays the following
options:
• Light Angle: Provides a dial that allows you to change the

direction that the light is coming from. You can also enter a
numerical value. Zero degrees is located at the bottom of the dial.
• Offset: Allows you to assign a value for how far the shadow is
offset from the filled area
• Blur: Controls the softness of the shadow.
• Shadow Color: Allows you to choose the shadow color from a

color palette.
Image Texture Fill Options
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shape, the style’s color will be used instead of the shape’s color. Turn on
the checkbox to the left of the color swatch to override the style’s color.
Stroke Options
Below the line color is a text field used to set the line width in pixels. If
a style has been applied to this shape, the style’s line width will be used
instead of the shape’s. Turn on the checkbox to the left of the line width
to override the style’s width setting.
Drop Shadow Fill Options
To the right of the line color is a box that displays a preview of the brush
used to draw the line. Click the box to select a brush from the Brush
A preview of the settings appears in the preview window as you adjust Settings window.
them. When you are satisfied with the appearance of your shadow, click
OK to apply the settings. You will need to preview the frame (Cmd/
Ctrl+R) or export the animation (Cmd/Ctrl+E) to see the results.
Stroke
These controls allow you to set the appearance of a shape’s outline.
First, be sure that “Stroke” is turned on or off, depending whether you
want that shape to have an outline or not. Click the line color rectangle
to pick a new color for the outline. If a style has been applied to this
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Color Picker
Finally, at the bottom of the Style window is a color picker. You can use
this as a shortcut for selecting colors for your objects. Just click a color
in this palette to assign it as the selected shape’s fill color. Right-click a
color swatch to assign it as the selected shape’s outline color.
There are three buttons that we’ve classified as “other” controls:
• Press “Copy” to copy the properties of the selected shape or style.
• Press “Paste” to apply a previously copied set of properties to

another shape or style.
• Press “Reset” to switch back to editing the default fill and line
properties - if a shape or style is currently selected, it will be de-
selected.
Brush Options
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Color Picker
Color Swatches
The “Swatches” popup menu lets you select from different sets of color Swatches
swatches. These color swatches are just image files stored in a folder
called “swatches”. You can add your own image files to this folder, and
they will appear in the Swatches popup menu the next time you start
Anime Studio. Or, you can select “Custom Image...” from the popup Advanced Options
menu and Anime Studio will prompt you to select an image file to use.
To view the advanced options, check the Advanced option that appears
at the bottom of the Style window. The following additional options
appear:
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If you have converted 2D shapes to 3D shapes, using the 3D Conversion

feature found in the 3D Options tab of the Layers window, you can use
the Style window to apply textures to the extruded shapes.
Use the Effect 1 and Effect 2 dropdowns in the Style window to select
the textures that you want to apply. . You can use the texture handles to
translate, rotate, or scale the texture on the 3D object.
Advanced Style Options

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Shapes you make now will apply to just that one shape.
You can assign names to the shapes that appear in the editing window. • When a style is selected, the label will say “Style” - any changes
To name a shape, simply select it in the editing window and enter a you make to a style will not only affect that style, but also any
name into the Name field found in the Style section of the Advanced shapes that use that style.
Style window. After you assign names to shapes, you can use the Shapes
popup menu to select a shape in the current layer. Only named shapes
appear in this menu. Styles
A style is the same set of information used by a shape (color, line width,
line brush, effects, etc.), but it doesn’t actually appear on its own in your
animation. Instead, after creating a style, you can apply that style to one
or more shapes. For example, you might create a “Skin” style, and apply
it to all the body parts of a character. Later, if you want to change the
color of the character, just modify the Skin style, and any shapes that
use that style will change instantly. Use the Style popup menu to create
new styles and to select a style for editing. The Tutorials section of this
Color Picker manual will walk you through the process of creating and using styles.
The Style popup menu provides you with a list of all styles in the
document.
Just above the Name field is a text label that indicates the currently-
selected shape or style.
• When no shape or style is selected, this label will say “Defaults.”

This means that any changes to fill color, line width, etc. that you
make in the style window will be applied to any new shapes you
create.
Styles
• When a shape is selected, the label will say “Shape.” Any changes
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Below the Outline controls are two popup menus used to apply styles to
a shape. By selecting styles from these menus, you can apply up to two
styles to a shape. The applied styles will be used to control the shape’s
color, line width, brush, fill effects, etc.
Style popup menus
Styles are very useful when you want to re-use the same appearance on
several objects in a scene - if you later need to modify those objects, all
you need to change is a single style. These popup menus let you apply
styles to a shape - to create or edit styles, use the Styles popup menu at
the very top of the Style window.
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The Library Window • Use the Up and Down arrow keys to move higher or lower in your
content tree.
The Anime Studio Library window provides access to all of the content • Use the Right and Left arrow keys to open and close folders.
that ships with Anime Studio such as characters, props, images, audio,
• Click or select an item in the list to expand the display and view a
etc. It has three tabs: the Library tab that provides access to the
larger preview of the content item.
content categories, the Search tab which allows you to search your
content folders for specific files, and the Favorites tab where you can
gain easy access to your frequently used or favorite content items.
For Windows users, the Library Window discussed in the first part of
this chapter requires Internet Explorer 7 or later to run. You will see
a message in the Library window that you need to install Internet 7
or later to take advantage of all of the new features in the library.
If you do not have an Internet connection and if you cannot update
your browser to Internet Explorer 7 or later, you can configure Anime
Studio to use the old style library, discussed later in this chapter in
“Using the Old Style Library” on page 293.
The Library tab contains eight categories, discussed below. Each

category is further divided into subcategories. You can create and
remove categories and subcategories, and can add and remove content,
including your existing content libraries, to/from the Library palette.
Anime Studio can also automatically search for content on Content
Paradise, allowing you to easily locate and purchase content for your
Anime Studio projects.
The following figure shows the various controls and options that are
The Anime Studio Library window
contained in the library palette. avigate through the Library list as
follows:
1. Library Tabs: Allows you to switch between three views in the
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Library Palette: Library, Search, and Favorites. library window
2. Category Icons: Allows you to select one of the eight library 10. Add to Favorites: Adds the item that is currently highlighted in
categories. From left to right, they are Figures, Props, Images, the library to the library’s Favorites tab.
Audio, Video, Effects, Scenes, and 3D.
11. Delete from Library (-): Click this button to delete the
3. Collapsed folder: Click the right arrow to expand the contents library content item that is currently selected. Note that this button
of the folder. The number that appears in brackets at the beginning completely removes the library item from the Library, not from your
of the folder name designates the number of items that are scene.
contained within that folder.
12. Save to Library (+): Click this button to save the scene item
4. Expanded folder: Click the down arrow to collapse the that is currently selected into the Library.
contents of the folder. The number that appears in brackets at the
beginning of the folder name designates the number of items that 13. Create New Folder (+}: Click this button to create a new
are contained within that folder. folder or subfolder beneath the currently selected library folder.
5. Content preview: If a content item is not selected, a smaller 14. Category Selection: Allows you to select a library category
preview icon appears beside the name of the file. Click once to (listed above in Category Icons) by name.
select the item to view its details.
6. Selected item: The currently selected item is highlighted, and

displayed with a larger icon. File details appear at the left of the
Displaying the Library Window
icon that indicate file name and other details if available. If the Library Window is not open, select Window > Library. You can
drag either side of the Library palette across your screen to the desired
7. Double Checkmark (Add button): Click the double-
width.
checkmark icon to add the currently selected item to your scene.
8. Ticker: Displays up to date messages from Smith Micro.
9. Library Options widget: Click to display or hide the Library

Options palette, which allows you to control the appearance of the
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Loading and Managing Items • Delete from Library: Clicking the Delete from Library (-)
button removes the selected item from the Library palette.
using the Library Icons
• Add to Favorites: Click to add the currently highlighted library
The Library icons appear as shown in the following figure. These icons item to your Favorites list.
appear at the bottom of the palette.
From left to right, these icons are:
About Library Palette Categories
Poser’s new library allows you to quickly select categories and the items
contained within them:
• Click a Category icon to select a Content category. Then drill

down in the hierarchical list in the Library list to select the item you
want to add to your scene.
Library Icons
Category Icons
• Double checkmark: The Add to Scene (double check) button

adds the selected item to your scene. After you choose a content • You can also drill down through the Category menu to select
category and locate the item you want to use in your scene, click an item. Click the arrow in the upper-right section of the Library
the Add to scene icon to add the item to your project. window to open the Category menu, then drill down through the
menus to make your selection. In the following figure, the menu
• Create New Folder: Click the Add a Folder (+) button to drills down from Video > Particle Effects > Particle Effects to
create a folder beneath the currently selected Library folder. list all of the available items in that folder.
• Save to Library: Clicking the Save to Library (+) button adds

the selected item to the Library palette.
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You can navigate through the Content pane as follows:
• When you reach a content folder that contains items, you can
navigate through the contents in the folder using your arrow keys.
Click to activate a selection in the Content pane, then use the Left
and Right arrow keys to collapse or expand folders, and the Up and
Category Menu Down arrow keys to navigate through the folder contents.
The default categories are broken down by content type: Figures, • The Category menu displays nested menus, but you can also click
Props, Images, Audio, Video, Effects, Scenes, and 3D. When on a folder or category to switch to it, and then highlight an item
you switch between categories, the Library remembers which item was to load it.
selected the last time you used a specific category.
The content items are shown as a series of thumbnails arranged in a tree
hierarchy. This area is called the Content pane.
Maintaining Your Library Palette
You can maintain your Library palette by adding and removing items to
and from the Library palette, as described below.
Creating Subfolders
You can create new subfolders in the library to store your content. Follow
these steps:
1. Click the category icon that applies to the subfolder you want to
create. For example, if you will use the new folder to store your own
characters, select the Characters category.
2. Highlight the folder beneath which you want the new folder to
appear (such as the Anime Characters folder shown in the following
Content Pane figure.
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3. Click the Create New Folder icon located at the bottom of the 1. In the Layers palette, locate and highlight the item that you want
Library palette. You are prompted to enter a name for the new to save to the library. Assign a descriptive name to the object, if
folder. necessary, as the Library uses the layer name to identify the Library
object name..
4. Enter a new folder name and choose OK. The folder appears in the
Library window. 2. In the Library window, select the desired category/subcategory
by clicking the appropriate Category icon (Figures, Props,
Images, Audio, Video, Effects, Scenes, or 3D).
3. Click the Save to Library icon (+) at the bottom of the Library
palette. The object is saved to the Library folder that you selected.
Library Icons
Creating a Subfolder
Adding Items to the Library Deleting Items from the Library Palette
Saving an item to the Library palette adds the appropriate item to the To delete an item from the Library palette, select it by clicking its
currently selected category/subfolder. To add an item to the Library preview image, then click the Delete from Library icon (-) at the
palette: bottom of the palette (see below for an image of the Library icons).
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folder name in the library.
• Tool Tip Delay (ms): Drag the slider left or right to adjust
the amount of time between hovering over a library name and
displaying its path tool tip. Time delay is adjustable from 100 to
1000 ms.
• Show Folder Counts: Check or uncheck this option to show or

hide the number that represents the number of items in a folder.
When checked, the number of items contained in the folder appears
Library Icons within parentheses.
Deletions are permanent! Be sure you really want to delete the

selected item. If you have not saved your content elsewhere (such as
archiving the source files), the deleted content will be permanently
lost. You cannot undo content deletions.
Changing the Library Appearance

General Options
A widget appears at the bottom of the Library palette, just beneath the
library buttons shown in the previous figure. Click this widget to expand
the Library palette to view the following library display options: Display Options
Check or uncheck the options listed below, to show or hide the various
General Options
areas in the Library Palette as desired. These areas are labeled in the
following figure.
• Reopen Folders: .
• Show Path Tool Tip: Enable or disable the tool tip that displays
the path to a library folder when you hover your mouse over a
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in multiple rows and columns that adjust to the width and height
of the Library palette. Check or uncheck this option to show or hide
the item list panel.
• Extended Details Panel: Displays information about the selected

item. Check or uncheck this option to show or hide the extended
details.
The Extended Details panel will also display additional metadata

about a library item if it has been added by the author of the
content. Metadata can include additional information such as author
name, copyright information, usage instructions, and more.
• Breadcrumbs: Displays the path to the selected library folder.

Check or uncheck this option to show or hide the breadcrumbs.
When breadcrumbs are displayed, you can use the Up arrow

icon (at the right of the Breadcrumb trail) to navigate to the next
highest folder level in the path. You can also click any folder in the
breadcrumb trail to move up to the selected level.
General Options
• Ticker: When checked, displays a ticker that updates with the
latest news from Smith Micro at the bottom of the Library window.
• Tree: Displays a hierarchical view of the contents of your library. Uncheck this option to hide the ticker.
Check or uncheck this option to show or hide the hierarchical tree
in the Library Palette. If the Item List Panel is turned off, thumbnails
appear in the tree.
• Item List Panel: Displays the folders and content thumbnails for
the folder that is selected in the tree. The thumbnail display appears
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appear within and beneath library folders.
• Show Folder Thumbnails: Check or uncheck this option to show

or hide Folder icons in the library. When unchecked, only the name
of a folder will appear in the library. When checked, a small Folder
icon appears beside the folder name.
Display Options
Tree Options
Thumbnails and additional product details appear in the Tree if you have
Tree Options
selected to disable the Item List Panel. The options in the Tree Options
section control the size of preview and selected item thumbnails, details,
and other items in the Tree. List Options
• Thumbnail Size: Drag the slider left or right to decrease or When the Item List is enabled, thumbnails appear in multiple columns
increase the size of the preview thumbnails. that adjust to fit the width of the panel. Settings in the List Options
section control size of the thumbnail and the placement of text around
• Selected Thumbnail Size: Drag the slider left or right to decrease
the thumbnail.
or increase the size of the thumbnail for selected library items.
• Thumbnail Size: Drag the slider left or right to decrease or
• Show Item Details: Shows or hides the File Name, Size, Installed,
increase the size of the content thumbnails.
and Modified details that appear beside the currently selected
library item. • Label Height: Adjusts the amount of vertical space between the
thumbnail rows to allow for labels that have multiple lines.
• Tree Indentation: Drag the slider left or right to decrease or
increase the amount of indentation for items and folders that
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• Horizontal Gap: Adjusts the amount of horizontal space between

the thumbnails
Searching the Library
The new Search tab in the library allows you to perform a keyword
search in all of your content libraries, or in selected categories.
List Options
Details Options
• Show Image: When checked, displays an image of the selected

item in addition to the text details in the Extended Details panel.
• Max Image Size: Allows you to adjust the size of the Details
image with a slider.
Library Search Tab
To perform a search, follow these steps:

1. Switch to the Search tab in the Library.
Details Options
2. Enter a keyword (such as Jace) or a series of keywords (such as

outdoor scene) in the Search For field.
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3. Check or uncheck options as follows:
To perform a search throughout all Library categories, check

the All Categories option.
To perform a search in specific categories in your Library,
uncheck the All Categories option and then check or uncheck
Characters, Props, Images, Audio, Video, Effects,
Previous and Next search buttons
Scenes, or 3D as needed to find the content you are looking
for.
Favorites Tab
The Favorites tab allows you to quickly add your favorite content to
library folders that you create yourself.
To add an item to the Favorites tab:
1. Highlight the library item that you want to add to favorites.
Searching specific categories
2. Click the Add to Favorites button at the bottom of the Library
4. Click the Search button. Anime Studio performs a search for the palette. An Add to Favorites menu appears above the selected item.
content that you specified, and search results appear in the Content
pane. 3. From the menu, select an existing Favorites category, or choose
<<New Folder>> to create a new Favorites folder. When the New
5. To scroll forward or backward to view previous or later searches, Library Name dialog appears, enter a name for your new folder and
you can use the arrow keys to the right and left of the Search click OK. The new folder appears in the Favorites tab and your item
button. appears within it.
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In Anime Studio 6 you could access content in a library window that

appears as shown below. To use this library in lieu of the newer style
library used with Anime Studio 7, choose the Edit > Preferences
command, and check the Use Old Library option in the Options tab of
the Preferences dialog.
After you choose to use the old style library, you access this library in
one of two ways
• Choose Window > Library
• Click the Library button in the top-right corner of the Status bar.
Add to Favorites button
Using the Old Style Library

In previous versions of Anime Studio, you could access the library by
choosing Import > and selecting content from one of the various
subcategories. This is the method used in Anime Studio 5 and earlier.
The Old Style Library Window

Selecting content from the File > Import command
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The Content library opens to display items in your library. Icons display
movies, folders, sound files, and other Anime Studio documents in your
library.
• Use the zoom tools in the upper right corner of the Content Library
window to increase or decrease the size of the icons.
• Double-click a folder icon to open the folder. The contents within

that folder will be displayed.
• Double-click a content item to insert it into your project.

The status bar at the top of the Content Library displays buttons that
allow you to back up to previous levels.
Use buttons in the top toolbar to navigate backward to previous folder levels
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Other Windows • Add to Project: Once you are satisfied with the recording, click
this button to save the recording as a WAV file. The WAV file also
appears in the Layers window as a new audio layer, and in the
timeline of your current project.
Audio Recording
Anime Studio allows you to record audio tracks within the application.
Select Window > Audio Recording to open the Audio Recording
palette. You will see the following controls and settings:
• Record Button: Press the Record button to start a recording. After

you have recorded the content you want to record (speech, sound
effects, etc.), press the same button to stop the recording.
You can start a recording at any selected frame in the timeline.

Simply select the frame at which you want the recording to begin,
and start your recording at that frame.
• Play Button: After the recording is complete, press the Play button
to hear the recording.
• Sync with Timeline Playback:
• Microphone Dropdown List:
• Pitch Shifting: Use the Pitch Shifting slider to raise or lower the
pitch of the recording. Move the slider toward the left to lower
the pitch, or toward the right to raise the pitch. The Reset button Audio Recording Window
returns the recording to its original pitch.
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Timeline Window changes, layer translation, layer scale, layer rotation, and color changes
whether or not they were actually being used. If you were looking for a
particular change, it could be hard to find what you were looking for.
Overview The timeline view is now much simplified. Changes are not displayed in
the timeline until you actually create a keyframe change in a channel. For
The Timeline window is used when animating in Anime Studio to control example, you won’t see a change in the Bone channel until you actually
the current time, and to control objects’ keyframes. move a bone.
Animation channels are not displayed in the timeline until you add them to your project.
If you then rotate the layer, you’ll see the Rotation channel added to the
timeline, along with its keyframe.
The Anime Studio timeline. A rotation channel added to the timeline.
The Timeline window only displays information about the currently active There is a Preferences option that allows you to consolidate timeline
layer in the project. When you switch to a new layer, the timeline panel channels. This option is off by default in Anime Studio Pro 7, and on by
will update its display to show the new layer’s keyframes. default in Anime Studio Debut 7.
There are several new features in the way that keyframes are displayed.
In previous versions of Anime Studio, all keyframe types were displayed
in the timeline. For example, you would see keyframe types for bone
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A timeline that is not consolidated (top), and a consolidated timeline (bottom)..
NOTE: The consolidated timeline view displays a keyframe when

there is a change in any of the consolidated layers. If you delete
a keyframe, you may not be sure which type of keyframe you are
deleting , or whether or not there are multiple keyframes being
deleted at that point. Be sure to uncheck the Consolidate Timeline
Channels option in the Preferences dialog before you remove any
keyframes from your timeline.
Uncheck the Consolidate Timeline Channels option before you delete keyframes.
This option combines all changes on a single layer into one line in Controlling Time
the timeline. The following image shows an example of a layer that
has several channel changes (top), and what the layer looks like if the The top of the Timeline window has controls for setting the current
Consolidate Timeline Channels option is active (bottom). time. Whenever you modify an object in Anime Studio, the modification
is recorded at the current time. The process of modifying an object,
changing the time, and modifying it again is how an animation is
created in Anime Studio. Time in Anime Studio is expressed in terms of
“frames”, where there are x number of frames in a second. By default, a
new Anime Studio project has 24 frames per second, although this value
can be adjusted in the Project Settings dialog.
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The first set of controls for adjusting time is a set of VCR-like playback new value here and pressing enter.
buttons. (These are actually at the bottom of the main window, not in
Directly below the frame field is a sort of ruler that measures time. This
the Timeline window itself.) From left to right these buttons are: rewind,
time ruler has small tick marks, one per frame, and has labeled frame
step back, stop, play, step forward, and jump to end.
numbers at intervals along its length. The time ruler also displays the
current frame with a red triangular marker above the current frame’s
tick mark. The time ruler is used both as an indicator of the current time,
as well as a control to adjust it. By clicking (or clicking and dragging)
anywhere on the time ruler, you can change the current frame.
A certain range of frames in the time ruler are shaded with a darker
color. This shaded region indicates the length of your animation. When
you play back your animation in Anime Studio or export it as a movie
file, this shaded region is the part that will play back. You can change
the start and end frames of your animation in the Project Settings dialog,
or you can Alt-click in the time ruler to set a new start and/or end time.
Alt-Click with the left mouse button to set the start of your animation,
and Alt-click with the right mouse button to set the end.
Next, just below the time ruler, is the onionskin controller. It has tick
marks that line up with the frames in the time ruler. By clicking one of
Playback controls. these tick marks, you can turn on an “onionskin” frame. An onionskin
frame appears as just an outline superimposed on the current frame, and
Rewind sets the current frame to 0, while jump to end sets the current is used to compare your animation at two different times at once. This is
frame to the last one in the animation (the length of the animation is helpful for lining up certain complex motions. Click an onionskin marker
defined by the shaded area in the time ruler). The step forward and back again to turn it off. If you turn on the “Relative frames” checkbox in the
buttons advance and back up by one frame. The play button plays back Onionskins popup box, Anime Studio will move the onionskin frames
the animation in the main editing area, repeating playback in a loop. along with the current time so that they maintain the same relative
Finally, the stop button stops playback. distance from one another. You can also turn on the “Selected layer
only” checkbox to tell Anime Studio to display onionskins for just the
At the top-left of the Timeline window is a text control that indicates the
currently active layer. Anime Studio can display up to 8 onionskin frames.
current frame number. You can change the current frame by typing in a
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Playing a Partial Segment be displayed at once in the timeline. For example, you won’t often have
to refer to the Layer Shading channel in the timeline. Hidden channels
Sometimes, you may want to play back just a short segment of the are still doing their work behind the scenes, they just aren’t displayed in
timeline, instead of your entire animation. For example, you may be the timeline.
working on one small move, and you want to play it back over and over
while you make small changes to see when you’ve got it just right. Layer Motion Channels
To set a limited segment of the timeline for playback, hold down the
Ctrl key while you click in the time ruler. Click with the left mouse
button to set the beginning of the segment, and click with the right
mouse button to set the endpoint. To remove the limited playback
segment, Ctrl-click on the segment endpoints to remove them from the
timeline.
Animation Channels
Most of the timeline panel is taken up with animation channels, drawn
as horizontal bars below the time ruler. Each animation channel displays
a certain type of motion or effect that can take place in an Anime
Studio animation. Different types of layers have different animation
channels available. For example, vector layers are the only ones with a
point animation channel, and bone layers are the only ones with bone
animation channels. At the left end of each animation channel is a small Layer Motion channels.
icon that indicates what type of channel it is. Shown below are the icons
for the various types of animation channels. Note that the red-colored
channel icons represent animation for the currently selected object. (If
you’re ever unsure about which channel an channel icon refers to, just
hold your mouse over it momentarily for a tooltip reminder.)
Note: To help reduce visual clutter, not all animation channels have to
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Layer Effect Channels Vector-Only Channels
Layer Motion channels.
Camera Channels
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Bone-Only Channels Particle-Only Channels
Along the length of an animation channel are displayed keyframes. A

keyframe represents a point in time at which you, the animator, made
a modification to an object. For example, if you set the current time
to frame 24, then scale the layer, a keyframe will appear in the layer
scale channel at frame 24. Keyframes appear as small markers on the
channels. At points in time that lie in between keyframes, Anime Studio
automatically calculates how to move an object from one keyframe
position to the next.

Working with Keyframes
Keyframes are not just static elements displayed in the animation
channels. They can be moved, deleted, and copied. To modify a
Switch-Only Channels
keyframe, first it must be selected. This is accomplished simply by
clicking a keyframe in the timeline panel. A selected keyframe shows up
in a highlighted color. Multiple keyframes may be selected by holding
the shift key while clicking on keyframes. Alternatively, you can click and
Layer Motion channels. drag a rectangular selection box around the group of keyframes you
want selected.
To delete selected keyframe(s), either click the “Delete” button in
the timeline, or press the Alt+Backspace keys. Deleting a keyframe
removes motion from an object. Keyframes can also be moved by
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dragging them forward and back in time. If you want some motion to Sequencer
take less time, drag its keyframe to the left. To take more time, drag it to
the right. The sequencer provides another view of the timeline. It displays each
As mentioned before, Anime Studio automatically calculates what layer as a block of time. Keyframe changes are not displayed in the
happens in between keyframes. However, you do have some control over sequencer, but you can create keyframe changes in this view.
this. By default, Anime Studio will compute a smooth transition from one
keyframe to the next - most of the time, this is probably what you want.
However, you can change the transition type by right-clicking a keyframe
and choosing a new method from the popup menu that appears. The
transition methods are: smooth (the default), ease in/out (also a smooth
motion, but the object starts off moving kind of slowly and slows down
again as it approaches the next keyframe), linear (motion is straight from The Sequencer.
one keyframe to the next, leading to a somewhat mechanical look to the
motion), step (there is no transition at all - the object just jumps from The Sequencer allows you to easily move a layer forward or backward
one keyframe to the next), noisy (the object moves in a slightly wobbly in time. Move the clip toward the left to have it start sooner, or toward
motion), and cycle (the value from this keyframe to the next will be taken the right to have it start later. The green arrow in the time ruler, located
from some earlier section of the timeline). at the top of the Sequencer timeline, indicates the frame at which the
Another way of creating keyframes is to copy an object’s position from currently selected clip will start.
another point in time. To do this, first select the keyframes you want to
copy. Next, click “Copy” in the timeline (or press Alt+C). Now, set the NOTE: You can also reposition your clips in the Channels timeline
view. Select the channel you want to move, then right-click in the
current frame to when you want the copied keyframe to appear (using
Time Ruler to drag the green arrow to the right or left. You’ll notice
the time ruler or the step forward/back buttons). Finally, click “Paste” the keyframes and arrow relocate with the mouse.
in the timeline (or press Alt+V) to place a copy of the keyframes at the
current time.
For example, you can reposition a layer from frame 1 to frame 38,
causing the animation in that layer to start at a later time. To move a
layer and its sublayers, click the topmost layer and move all of them at
the same time. To move a sublayer, click the desired sublayer to move it
on its own.
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Select a layer to move it and its sublayers.
You can also move a sublayer by itself.
You can also use the sequencer to show or hide a layer at any time
during the movie. Advance to the frame where you want the layer to
become invisible. Open the Layer Settings dialog for the layer that you
want to hide, uncheck the Visible checkbox, and close the Layer Settings Check or uncheck the Visible setting in the Layer Settings dialog to show or hide a
dialog. The contents in the layer will disappear in the project window, layer.
and the track in the sequencer will appear as though it ends at the point
where it was hidden. To make the layer reappear later in the timeline, repeat the process.
Select the layer you want to unhide, open the Layer Settings dialog, and
check the Visible checkbox. After you close the Layer Settings dialog the
layer will reappear in the sequencer.
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Motion Graph
In the Motion Graph in the Timeline window, you can enable Anime
Studio’s graph mode. In graph mode, the animation channels of the
current layer are displayed graphically, rather than just as points along a
line. In the example below you can see what graph mode looks like:
The sequencer shows a break where the layer is hidden.
If you import an audio file, it has a fixed duration in the sequencer. You The Timeline window in graph mode.
can see where the sound effect will happen. Say you want a pop to
happen when your character disappears from the scene. You can place The main body of the timeline is now a graph, showing the value of
the pop in the right place. the animation channels as curves. The horizontal dimension represents
It works the same way if you import a video layer. For example, if you time in frames (just as in the regular timeline mode), and the vertical
want an explosion to happen just before the pop, you can import a video dimension represents the value of the animation channels. If all
layer and place it just before the sound effect. animation channels were displayed at once, the graph would become
too cluttered to be useful, so it’s up to you which channels to display at
any given time. To turn the display of a channel on and off, click its icon
on the left side of the timeline. Channels that are turned on become
highlighted in the color of their respective curves in the graph - in the
above example, two channels are turned on: Layer Scale and Layer Z
Rotation.
To further reduce clutter, only one channel can be active in editing mode
You can precisely place audio and video files in Sequencer view.
at a time. The active channel’s icon on the left is outlined to indicate this
- here the Layer Z Rotation channel is active. Double-click a channel icon
to activate it. The active channel is the only one that has its keyframes
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displayed in the graph - the keyframes look the same as in regular For a hands-on example of using the timeline in graph mode, see the
mode. Tutorials section.
Depending on the values in your animation channels, the curves on the
graph may be too large to view, or too small to work with easily. You
can change the vertical scale of the graph in the following ways: First, Actions Window
you can set the vertical scale numerically in the “Scale” text field in the
In Anime Studio, “actions” are short clips of animation that can be
Graph Mode popup. Second, pressing the Page Up/Page Down keys
inserted into the timeline and re-used over and over again. You might
will zoom in and out vertically. If you hold the Shift key while pressing
use actions to create little bits of animation that you don’t want to
Page Up/Page Down, you can move the graph up and down. Finally,
have to re-create each and every time you use them - for example, eye
if you press the End key, the graph will automatically scale itself to
blinks, head turns, walk cycles, etc. The Actions window (as you may
accommodate the currently active channel.
have guessed) is where you create and use actions. The Tutorials section
In graph mode, you can still add keyframes (use the popup menu of this manual will show you step-by-step how to use actions in Anime
through the right mouse button), delete keyframes, and move keyframes Studio.
back and forth. In addition, you can move keyframes vertically - that is,
When you start up Anime Studio, the Actions window is hidden. To bring
change the value of keyframes. To restrict the movement of keyframes,
it up, select “Actions” from the Window menu. The Actions window
hold down the Ctrl key while dragging keys to move them horizontally,
looks like this:
or hold the Alt key to move them vertically.
Something that will become apparent in graph mode is that some
channels have more than one value for every keyframe. For example, the
Layer Translation channel has separate values for X, Y, and Z translation.
These values will appear as separate curves in the graph, although they
have the same color. Each of these curves is thicker than the last - the
thinnest curve represents the X value of the channel, the medium Y, and
the thickest curve, Z.
Another thing you may notice when using animation cycling: A channel
that cycles will have a repeating curve, without more keyframes after
the one that cycles. This is illustrated in the above picture for the Layer Z
Rotation channel.
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layers.
Creating a New Layer
Editing Actions
The Actions window. To edit an action, double-click it - this will switch an action into editing
mode. (When you create a new action, it also starts off in editing mode.)
Across the top of the window are four buttons: New Action, Insert You can tell which action is in editing mode by the red arrow to its left,
Reference, Insert Copy, Delete Action. Below the buttons is the actions as seen below.
list, which contains a list of all actions available for the current layer.
New layers have no actions, just “Mainline”, which represents the main
animation timeline.
Creating New Actions

To create a new action, just click the New Action button. Anime Studio
will prompt you to name the action. The new action is created in the
current layer and, if the layer is a group-type layer, in all of its child
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Using Actions
When you simply create actions, they won’t appear in the final
animation - they need to be used in the main timeline. To use an action,
you just need to insert it into the main timeline, which is a simple
process. First, make sure the “Mainline” action is active (double-click it
so that it has a red arrow next to it). Second, set the current time to the
frame at which you wish to use the action. Next, click once on the action
you wish to use to highlight it. Finally, click either the “Insert Reference”
or “Insert Copy” buttons in the Actions window. This is what the Actions
window would look like just before inserting the “Step” action:
The Blink action in editing mode.
When you’re editing an action, you’ll also notice a couple things change
in the Timeline window. First, the title bar of the timeline will indicate
the active action. Second, the background of the timeline changes color
to remind you that you’re editing an action, and not the main timeline.
As you edit an action, the timeline works like normal, but instead of
working on your main animation, you’re working on a little reusable clip.
Actions by themselves do not appear in your final animation - they only
appear if you use them in the main timeline. To switch back to the main
timeline, double-click on the “Mainline” action in the actions window.
(Mainline is not really an action - it’s just a way to refer to the main Inserting an action.
animation timeline.)
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If you insert an action by reference, Anime Studio will insert a special Deleting Actions
keyframe in the Mainline that refers back to the action you used. Later,
if you make changes to the action, these changes will automatically be To delete an action, click once to make sure it is highlighted, then click
reflected in the mainline. On the other hand, if you insert an action by the Delete Action button. When you delete an action, if that action
copy, Anime Studio will simply copy all of the keyframes in the action to was inserted by reference into the mainline at any point, those inserted
the mainline, and they will act just like other normal keyframes. If you references will also disappear. If you inserted the action as a copy, those
later modify the action, any changes you make will not appear in the copies will remain unchanged.
mainline.
If you create actions for objects in your scene you can assign shortcuts to
those actions. You can assign the shortcut when you create an action, or
Creating Morphs
you can right-click on an existing action and assign a shortcut. Anime Studio 7 allows you to blend several different morph targets
The shortcuts make it easy to reuse the actions in an animation. You can together to create a combination of actions or effects. For further
press the shortcut keys while an animation is playing back to insert the information on this feature, see “Blend Morphs” on page 344.
action into the timeline. To create morph that you can use with the Animation > Blend Poses
command, choose Window > Actions to open the Actions window.
This window allows you to create little reusable clips of single-frame
animations.
Setting an Action Shortcut.
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Assign a name for your morph.
Then, move some points around in your scene to represent the morph
that you are creating. The following shows an example of the scene
before and after the Happy changes are made:
The Actions window.
To create a new morph, click the New Action button (the first button in
the Actions toolbar). Enter a name for your morph in the Action Name
dialog.
Default state (left) and Happy morph (right).
After you create your new morph, click the Mainline (top) line in the
Actions window. The character should return to its default state. Select
the Happy action again in the Actions window, and notice a single-
frame action in the Channels tab of the timeline. Notice that all of the
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keyframes are on Frame 1. This is very important when blending poses.

A general action can have as many keyframes as you like … but if you
want to blend poses, the action can only contain a single keyframe at
Frame 1.
Select the Happy morph in the Actions window, and notice a single keyframe in the
timeline. You can morph any type of value. The Angry morph will change the color of the face in
addition to changing the facial features.
Continue creating additional actions that you want to blend together.
In our demonstration, we have created two additional actions – Angry,
and Sad – both shown in the following image. Note that your action can
change keyframes for anything. In addition to moving some points, the
Angry action also changes the color of the face. Now you should have a
number of actions, all with single-frame animations that have keyframes
on frame 1.
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Menus

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File Menu Open...

Prompts you to open a Anime Studio project file that was previously
saved to disk.
Open Recent
Displays a list of recent files that you can reopen.
Close
Closes the current project.
Save
Saves the current project to disk.
File Menu
Save As...
New Prompts you for a name and location, then saves the project to disk.
Creates a new, empty Anime Studio project.

Gather Media
When you import something into an Anime Studio project, such as an
image, movie, or audio file, the original locations of the imported objects
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are only referenced within the Anime Studio project. In other words, they After choosing the command, you are prompted to select or create a
are not actually part of the project file itself, rather the project file links folder in which to store the project-related files. You then enter a name
to the files on your disk(s). for the gathered project and click Save to save it to the selected folder.
When you look in the folder, you will see the Anime Studio project file,
If your project contains many external files, we recommend that you
along with Audio, Images, and/or Movies folders that store the collected
place them in a common folder. When you do that, you have a self-
media associated with it.
contained folder that you can copy, archive, or move the project and the
project will still work. The Gather Media command is also used in conjunction with the
If you haven’t kept your files in a single folder, the File > Gather StuffIt Connect feature, which allows you to archive and send a
complete project and its media to others, both safely and securely.
Media command allows you to create a single location for all related
project files. This is very useful if you need to send your project to
someone else for collaboration or for technical support. Poser scenes will not get gathered, due to the complex structure of
the Poser library folder hierarchy.
Gather Media command
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StuffIt® Connect is a cloud based file delivery service. A one year

subscription to StuffIt Connect is included with your purchase of
Anime Studio 7 (you will receive a StuffIt® Connect serial number
with your purchase). Further subscription time is available for an
additional fee.
Once your StuffIt Connect account is configured in the Preferences

dialog, your project will automatically be uploaded to the account any
time you select this command.
Project Settings...
Brings up the project settings dialog. As seen below, the project settings
dialog lets you control the pixel width and height of the project, as
well as the number of frames per second. You’re free to change these
values at any time, although it’s easiest if you set up the values you
A Gathered Media folder want before you start creating your animation (particularly the frame
rate). Also in this dialog, you can set the start and end frames of your
animation, defining how long the overall animation will be.
Upload to StuffIt Connect

Choose File > Upload to StuffIt Connect to upload your Anime
Studio Project to http://www.stuffitconnect.com.
Before you upload your file to StuffIt Connect, a dialog prompts you
to configure your StuffIt Connect account if you have not yet done
so. Press OK to open the Preferences dialog to the Web Uploads tab.
This tab is discussed in “Preferences...” on page 332.
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PAL D1/DV Widescreen: 1050 x 576 pixels, 24 frames

per second
HDV/HDTV 720p: 1280 x 720 pixels, 24 frames per second
HDV 1080p: 1440 x 1080 pixels, 24 frames per second
HDTV 1080p: 1920 x 1080 pixels, 24 frames per second
VGA: 640 x 480 pixels, 24 frames per second
Web: 320 x 240 pixels, 24 frames per second
Web Widescreen: 426 x 240 pixels, 24 frames per second
YouTube: 480 x 320 pixels, 24 frames per second
YouTube HD: 1280 x 720 pixels, 24 frames per second
iPhone: 480 x 320 pixels, 24 frames per second
iPad: 1024 x 768 pixels, 24 frames per second
The Project Settings dialog.

Droid: 854 x 480 pixels, 24 frames per second
• When you select a preset, the following settings appear below.

• Dimensions: Allows you to set Custom dimensions, or choose Width: The width, in pixels
from a wide variety of presets. Presets include the following:
Height: The height, in pixels
Custom: Allows you to enter or edit your own settings.
Frame Rate: The number of frames per second in the
NTSC D1: 720 x 534 pixels, 24 frames per second animation.
NTSC D1 Widescreen: 872 x 486 pixels, 24 frames per Start Frame: The starting frame of the animation.
second
End Frame: The ending frame of the animation.
PAL D1/DV: 788 x 576 pixels, 24 frames per second
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• Constrain Proportions: This option allows you to maintain • Sort Layers by Depth: The “Sort layers by depth” checkbox
the aspect ratio of your animation project. When the option is allows top-level layers in Anime Studio to move in front of and
checked, you can enter a new width or height, and the other behind each other during an animation. Normally, layers are drawn
dimension will automatically change to maintain the same in the order they appear in the Layers panel. However, with this
width-to-height aspect ratio. If you choose one of the preset option turned on, layers are displayed according to how far they
configurations from the Dimensions drop-down list, it will ignore are from the camera. See the Tutorials section for an example of
the Constrain Proportions option and resize your project to the using this feature.
dimensions specified in the selected preset.
• Sort by True Distance: Typically, layers are sorted by their
• Background Color: Sets a background color for the project - depth from the camera, but if you’re trying to create a 3D object
just click on the color swatch. using multiple Anime Studio layers (like a cube or pyramid), you
may want to turn on “Sort by true distance”. This tells Anime
• Depth of Field: Depth of field simulates a camera, where a Studio to sort layers by the distance from the camera to the layers’
certain range of objects are in focus, while closer or more distant origins, rather than by depth. Usually this option will be left un-
objects become blurry checked.
Enabled: Check this option to enable or disable the Depth
• Noise Grain: With the “Noise grain” field, you can set up some
of Field feature in your project.
noise grain for the project. Noise grain is a subtle film grain-type
Focus Distance: The focus distance value is the distance effect that adds slight variations to the pixels in your project and
from the camera to the plane of perfect focus. leads to a more natural look to the final image. It can also increase
the visual quality in some kinds of movie compression when you
Focus Range: Objects that are within the “focus range” generate an animation. If you want to try out noise grain, a value
distance of this plane will also appear in focus. For this of 16 is a good start for a subtle noise effect.
feature to work correctly, you need to set up multiple layers
with different depth values so that some can be in focus, and • Enable Stereo (Red/Blue) Rendering: Check this option
others out of focus. If you move the layers (or the camera) in to create a stereoscopic video with simulated 3D effect. When
your animation, the focus will automatically change based on you render or preview your project with this setting enabled, you
distance from the camera. will see 3D objects rendered as a red/blue stereo pair. You will
Max Blur Radius: Sets a maximum value for the blurriness need special red/blue stereo 3D glasses to see the object in three
of your scene. dimensional space.
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Choose View > Stereo to see a live preview of the Red/Blue settings for all new projects.
stereo effects. This makes it easier to preview and reposition your
3D objects • Restore Defaults: Resets the project to the default values.
Import
Anime Studio can import several kinds of other media files into an
animation project. The commands in this sub-menu let you import these
files.
• Anime Studio Object: This command will ask you to choose a

Anime Studio project file. Once you’ve chosen a file, a list of layers
in the project will show up in the dialog
• Extra SWF Frame: Check this option to add an extra frame at

the end of the video
• Save as Defaults: When you create a new project in Anime

Studio, your animation defaults to 320x240 pixels at 24 frames per
second. If you create most of your projects at different settings, you
can change these defaults. Just type in new values in this dialog,
The Insert Object dialog
and click “Save As Defaults” to make the new settings the default
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Select one of the layers to add it to your own project (a Studio will also import native Moho files (files ending with .moho).
preview of the selected layer appears on the right side of the
dialog). The entire layer will be copied into your open project, • Adobe Illustrator File: (Anime Studio Pro only) Asks you to
including any animation in the layer. This is an easy way to select an Adobe Illustrator (.ai) file. Anime Studio will import the
share objects between project files and reuse bits of animation bezier curve shapes in this file into a new Anime Studio vector layer.
here and there. These objects can then be further edited and animated in Anime
Studio. When creating a file in Illustrator, save it in Illustrator 8 (or
Several files are included with Anime Studio that contain earlier) format for use with Anime Studio. Anime Studio can import
scenery, characters, props, etc. You are welcome to include vector artwork created in other vector illustration programs. These
these in your own projects by using this menu command. files must be in either Adobe Illustrator or EPS format. If your files
are in Illustrator format, make sure that you save them as Illustrator
• Image Imports an image file as a new Image layer. The most 8 (or earlier) format.
common type of file to import into Anime Studio is images. It
doesn’t matter how the images are create, so feel free to use • EPS File: (Anime Studio Pro only) Imports an EPS (Encapsulated
pictures from digital cameras, backgrounds from scanned drawings PostScript) file as a new Anime Studio vector layer.
or painted on the computer, textures, computer-generated 3D
scenery, etc. The image formats supported by Anime Studio are: • Tracing Image: (Anime Studio Pro only) Loads an image file
JPEG, BMP, Targa, GIF, and PNG. Generally, we recommend PNG, to be used for tracing purposes. The image formats supported
since the PNG format provides for variable levels of transparency, by Anime Studio are listed in “Product Comparison” on page 360.
allowing you to create non-rectangular images that can blend in The Tracing Image command is the same thing as “Select Tracing
smoothly with other elements in the scene. Image” in the View menu.
• Movie: Imports a movie file as a new Image layer. Anime Studio • Audio File: Loads a sound file to be used as a soundtrack for the
supports importing QuickTime (Windows and Mac OS) and AVI current animation. The audio formats supported by Anime Studio
(Windows only) movie files. A movie that you import into Anime are listed in “Product Comparison” on page 360. This command is
Studio will play back along with the Anime Studio animation, the same thing as “Select Soundtrack” in the Animation menu.
allowing you to combine 2D and 3D elements, or to composite an Anime Studio has limited support for audio, but you can import
Anime Studio animation on top of a pre-recorded video sequence. a single sound file as a soundtrack for your animation. Anime
On Windows, if you have problems importing QuickTime movies, Studio uses libsndfile to handle sound files, so any format that
then you probably need to download and install QuickTime. Anime libsndfile supports is fair game. Generally, it’s best to stick with
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uncompressed WAV or AIFF files.
• OBJ 3D Model (Anime Studio Pro only) Imports a 3D model as

a new Anime Studio 3D layer. Anime Studio can import 3D files that
are in OBJ format. More information about 3D layers can be found
in “3D Layers” on page 222. Finally, Anime Studio can import 3D files
created by 3D modeling programs. At this time Anime Studio can
only import OBJ files, but it’s a quite common format, and most 3D
programs can export to OBJ. OBJ files can include texture maps, and
if your model uses one, Anime Studio will import and use it as well.
If you’re new to 3D, and you’re looking for a program to create 3D
models for use with Anime Studio, we recommend Poser.
• Poser Scene: If you already own Poser, you can import Poser
scenes directly as discussed in “Poser Integration” on page 320.
Improvements have been made to the 3D algorithms. When you import They are also editable in the Style window. You can turn the stroke on or
an OBJ file or Poser scene into Anime Studio, the edges are displayed off, and adjust the width of the stroke.
better.
Many OBJ files and Poser objects have multiple materials. The
multiple materials will show up as Shapes in the Style window. Select
a material from the Shapes dropdown (discussed in “Shapes” on
page 281) and change material settings if desired. If you select None
from the Shapes dropdown it controls the default material and
stroke.
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Materials appear as Shapes in the Style windo
When you are using a 3D layer, you can open the Layers window
and go to the 3D Options tab to control some additional properties.
See “3D Options” on page 270 for more information.
Poser Integration
An imported Poser object
Anime Studio 7 allows you to import Poser scenes into your Anime
Studio projects. In order for this feature to work, Poser 7 or later must
be installed on your system, and content used in your Poser scene Poser must be installed in order for the Poser integration features
to work.
must be installed into a Library rolder taht is recognized by your Poser
application.
When you rotate the integrated Poser content, the display of the
Choose File > Import > OBJ 3D Model. You will be allowed to character switches to Box mode to reduce demand of your computer
choose OBJ files or Poser scenes (PZ3). Locate the file that you want to resources.
import. After a brief wait, the Poser file will be imported into your scene.
It appears as a 3D layer, so you will be able to control the appearance of The Poser integration features also import any animation associated
the Poser content by opening the Layer Settings dialog and clicking the with the Poser scene. The Poser tool, located in the Layer section of the
3D Options tab. tool box, allows you to select a Poser figure or actor (such as a body
part) within the scene, and then modify the parameters of the selected
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item. You will be able to edit many of the same parameters as you can Import Notes and Tips
in Poser. For example, you can select a body part and then adjust the
Bend, Twist, Front-Back, or Side-Side parameter to rotate the body part
to a different position. You can also use the Window > Poser Parameters Referenced Files
command to open the Parameters window for the selected body part.
When you move a body part, keyframes appear in the timeline. Please note that Anime Studio references the directory location of
images, OBJ’s, sound files and movies files that have been imported
If the Poser project used a BVH motion capture file to generate the for use. When exporting into movie format, Anime Studio continues
animation on the character, you will see keyframes on every frame.
to reference this directory location. Moving referenced items from one
You can select and delete some or all these keyframes and edit the
animation within Anime Studio if desired. A new keyframe will be
location to another will prevent the item from being displayed or heard.
added at any point in the timeline when you make a change in the We recommend that all items used in your animations or artwork
Poser Parameters palette. accompany it’s native file format (ANME) and final exported format.
Startup Folder
Adding your own .anme file to the “Startup Folder” (located in the root
directory of your Anime Studio installation) will always make Anime
Studio open this .anme document first when it’s initially launched. Please
make sure to rename your .anme file to “StartupFile.anme”.
Moho Files
Anime Studio will also import native Moho files (files ending with
.moho).
Library Content
Please read Section 6 of the EULA (End User License Agreement) for
Use the Poser Parameters window to adjust scale or position of body parts. rules on using the content that has been supplied with your version
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of Anime Studio. Please note that when importing existing content/ Photoshop Tips
movies from the Anime Studio Content Library using the File > Import
option, some animations/movies exceed the default “End Frame”. This
will prevent you from seeing the full movie. To adjust the default “End Advice for working with Anime Studio and Photoshop
Frame” settings, please select File > Project Settings and change the
field beside “End Frame”. The default is typically 72 frames. You can also Anime Studio is equipped with a Photoshop export script that will
double click the movie/content file you would like to view from within give you the ability to take your PSD files and export them into .ANME
the Content Library. To access the Library, select Help > Open Content format. The .ANME format is the native Anime Studio format. This
Library. process helps users from having to re-draw or export individual layers as
images into Anime Studio.
The Library content files (characters, props, etc.) are installed in
a shared documents location on both Windows and Macintosh.
This allows multiple users on the same computer to share library
What does the Script Do?
resources, and to install additional content that they might
download (from Content Paradise, for example). On Windows Basically, the script converts PSD formatted files to .ANME files. It
systems in particular, it can be difficult to add new files to the exports every layer that was created originally in Adobe Photoshop and
Program Files directory when running newer versions of the makes it completely readable when imported into Anime Studio. All
Windows operating system, which is why the shared documents versions of Adobe Photoshop since version 7 should support this script.
location is used.
How does the Script Work?

Importing 3D OBJ’s (Anime Studio Pro only)
The script exports the following 2 things: Firstly, it converts the PSD file
Please note that loading 3D OBJ files may take some time. Loading into a .ANME file. Secondly, all the individual layers of the PSD file are
times depend on the complexity of the OBJ file. converted into individual PNG files and are placed in a folder of the
same name as the .ANME file. The folder with the PNG’s and the newly
converted .ANME file will be located side by side. It is important to
note that whenever you open the .ANME file, it will reference the PNG
folder. So please keep them side by side. If the PNG folder and the newly
converted .ANME are not located in the same folder, the layers within
your newly opened .ANME will not work properly in Anime Studio.
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Where is the Script located and how do you use it? The PSD to ANME
script is named “Export Layers To Anime Studio.jsx”. To access this script,
Exporting Movies
please make sure you’ve installed Anime Studio. The script is available Most often, you’ll export an animation as a movie file. You have two
in the installation directory of Anime Studio, in a folder labeled “Extra choices:
Files”.
To use the script within Adobe Photoshop, please make sure you have • QuickTime (Windows and Mac OS): QuickTime is a very flexible
it installed on your computer. Copy the “Export Layers To Anime Studio. format for working with movies. We generally recommend using
jsx” to your .../Photoshop/Presets/Scripts folder. You should then be able QuickTime with the Sorenson 3 codec for the best combination of
to open up a Photoshop document, run this script from File > Scripts low file size and quality. If you choose QuickTime, Anime Studio
> Export Layers to Anime Studio, and it will generate a new Anime will also export the soundtrack (if you have applied one to the
Studio file complete with an image layer for each original Photoshop animation). On Windows, if you don’t see QuickTime as an option,
layer. then you need to download and install QuickTime.
• AVI (Windows only): On Windows you can also export movies in

AVI format.
Preview
When exporting a movie, Anime Studio will include an alpha channel if
Generates a preview image of what your project will look like. If you’re the codec you’re using supports it. This makes it possible to composite
in the process of animating your project, the image will be of the current Anime Studio movies with other media in a video editing program.
frame in your animation. A preview image does not contain all the fill
If you’re using QuickTime, set the color depth to “Millions of Colors+”.
styles, and is of lower quality, but is quicker to generate than a fully
The “+” is QuickTime’s indication of an alpha channel. The codecs that
rendered image.
support this include Animation, None, PNG, TGA, and TIFF.
When the Preview window opens up to display your work, you can
AVI on Windows doesn’t include any built-in codecs that support alpha
save the preview as a still image, using the popup menu in the Preview
channels. However, at least one such codec does exist, and you can
window.
download it for free - the Huffyuv codec.
Anime Studio can only export to a maximum size of 768 pixels x
768 pixels and 3000 frames. (Anime Studio Pro does not have this
limitation.)
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Export Animation... free to keep working while the animation is being drawn. A progress
bar at the top of the animation window will inform you of the export
This command brings up a dialog that lets you export an animated progress.
sequence and save it to disk. The Anime Studio project file is where The Export Animation dialog also has several options for adjusting the
your work is saved, but to view the animation as a movie, to put it on output quality of your animation. These default to the highest quality
the web, or to work with it in other programs, you have to export the rendering, but you may sometimes want to lower the quality to increase
animation. rendering speed or to output animations with smaller file sizes for
streaming over the internet. The rendering quality options available are:
• Start Frame: Enter the start frame for your exported movie here.
• End Frame: Enter the end frame for your exported movie here.
• Entire Animation: Press this button to reset the start and end
frames to include all frames in the movie
• Output Format: Choose from AVI Movie, QuickTime Movie, or

Flash (SWF). You can also export sequenced image files in JPEG,
BMP, Targa, PNG, or PSD formats.
• Antialiased edges (Anime Studio Pro only): Normally, Anime

Studio renders your shapes with smoothed edges. Uncheck this box
to turn this feature off.
The Export Animation dialog. • Apply shape effects (Anime Studio Pro only): If this box is un-
checked, Anime Studio will skip shape effects like shading, texture
The dialog asks for a starting and ending frame (these default to the fills, and gradients.
entire animation), and an output format. You can output a sequence of
• Apply layer effects: If this box is un-checked, Anime Studio
frames, a movie file, or a Flash SWF file. Anime Studio will then ask you
will skip layer effects like layer shadows and layer transparency.
where to save the result. Once the animation begins exporting, you are
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• Render at half dimensions: Check this box to render a Exporting Flash

smaller version of your movie. This makes rendering faster if you
just want a quick preview, and is useful for making smaller movies Anime Studio can also export Flash files in SWF format. Flash is a
for the web. common vector animation format on the Web. When exporting Flash,
Anime Studio will also include the soundtrack (if any), if the soundtrack
• Render at half frame rate: Check this box to skip every other is in MP3 format. If you plan on exporting Flash files, it is important to
frame in the animation. This makes rendering faster, and results in read “How to Create Efficient Flash Files” on page 326.
smaller movie files.
Flash Tips
• Reduced particles (Anime Studio Pro only): Some particle
effects require hundreds of particles to achieve their effect. Check Advice for working with Anime Studio and Flash
this box to render fewer particles. The effect may not look as good,
but will render much faster if all you need is a preview. Among the other export formats that Anime Studio offers, you also have
the option to output Flash SWF files. SWF is a format created by Adobe
• Extra-smooth images: Renders image layers with a higher as a way to deliver animated vector artwork and interactive applications.
quality level. Exporting takes longer with this option on. Flash animations are very common on the web, and most users already
have the Flash player installed on their computers. Because Anime Studio
• Use NTSC-safe colors: Automatically limits colors to be NTSC is also vector-based, there are enough similarities to make it possible for
safe. This is only an approximation - you should still do some testing Anime Studio to export SWF files.
to make sure your animation looks good on a TV monitor. However, Anime Studio and Flash are not completely compatible.
Therefore, not all the features of Anime Studio can be exported
• Do not premultiply alpha channel: Useful if you plan to
successfully to Flash. In addition, because Flash is a web format, small
composite your Anime Studio animation with other elements in a
file size is important - there are certain issues to keep in mind when
video editing program.
working with Anime Studio if Flash is your intended output format.
• Variable line widths (SWF) (Anime Studio Pro only): Exports When exporting SWF files, you may want to use Macromedia’s Flash
variable line widths to SWF. See “Flash Tips” on page 325 for more authoring tool to combine multiple SWF files, add extra elements, sound,
information about variable width lines and Flash. etc. Be aware that Anime Studio’s SWF files are compatible with Flash
MX and later - Flash 5 and earlier are not able to load Anime Studio-
created SWF files.
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What Can be Exported What Can’t be Exported

Most common objects in Anime Studio can be exported to Flash. These On the other hand, some things in Anime Studio are just not compatible
include: with Flash, and cannot be exported to a SWF file. The following list
covers the most important of these objects and effects.
• Vector layers
• Brushes
• Fills/Outlines/Colors
• Fill and line effects (except gradients)
• Transparency
• Layer effects (shadows, shading, layer blur, motion blur, etc.)
• Gradients
• Image warping or 3D movements in image layers
• Variable-width lines (try to use these sparingly - see below)
• Image layers that use progressive JPEG images (Flash can’t handle
• Bone warping of vector layers progressive JPEG images)
• Image layers (PNG and JPEG only, and only if they are not warped • Layer masking
by a bone layer)
• 3D layers
• Particle layers (careful - a complex particle effect can easily
overwhelm Flash) • Multiple audio tracks, or audio tracks other than MP3 format
• A soundtrack can be exported if it’s in MP3 format, and at either How to Create Efficient Flash Files
44100 Hz, 22050 Hz, or 11025 Hz sample rate. If you want your
SWF file to contain audio, make sure that your project contains When you’re creating an animation with the intent to produce an SWF
only one audio track, and that the audio track is in MP3 file as output, there are several things to keep in mind. An important
format. In order for Anime Studio to play MP3 format audio files, concern with SWF files is keeping the file size down. The key way to do
you must have QuickTime installed this in Anime Studio is to keep as many layers “optimized” as possible.
An optimized layer when exported to SWF will take up much less space
than a non-optimized one. (For other formats, like QuickTime or AVI, it
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doesn’t matter.) You can tell which layers are optimized by looking for a • Uneven scaling in the X and Y directions
little red dot next to the layer’s icon in the Layers window:
• Point animation
• Bone animation is a common cause of non-optimized layers.

What’s happening is that because Flash doesn’t have a bone
system like Anime Studio, Anime Studio needs to export a lot of
extra information for Flash to be able to produce the same effect.
One way to use bone animation and to stay optimized is to attach
a vector layer to a single bone, instead of letting the bones warp
all the points in the vector layer. The vector layer will then remain
optimized. While you can’t do this in all cases, sometimes you can
break up a character into multiple body parts - some parts will be
warped with the bones, and some will be attached to a single bone.
Notice the red dot by the optimized layer. At least some parts of the character can remain optimized.
Here are some other things to think about when exporting to SWF:
A new layer is optimized to start with, but depending on the effects
you apply, that optimization can go away. The following things will “de- • Consider using a lower frame rate (12 fps, for example) for your
optimize” a layer. Note: a non-optimized layer will still export to Flash, it animation. Fewer frames means a smaller file.
just won’t be nearly as efficient.
• If some of your layers can do without any animation at all, or
• 3D camera movements (this will de-optimize all layers in the just layer translation/scaling/rotation (background scenery, props,
project, so it should be avoided if possible when targeting SWF) background characters, etc.), that can save a lot of space.
• 3D layer rotation (X or Y rotation, or perspective rotation) • If most of a layer is stationary, except for one small object, move
that object into its own layer if possible. Example: a character
• Layer shear who is waving his arms, but is otherwise still - move the arms into
a separate layer from the rest of the body. The body will remain
• A group layer that has 3D rotation or shear will cause all of its sub- optimized and take up much less space.
layers to be non-optimized
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• If an object sits still for a time with no animation, consider replacing with holes, or figure 8’s).
it with a non-animated object for that time period.
What to Avoid Exporting Still Images (Anime

If your goal is to create a SWF animation, there are some things you Studio Pro only)
should try to avoid. Besides the effects that just are not possible to
export, you should try to avoid the following effects if possible. These Finally, you can export an animation as a sequence of numbered still
are all things that can be exported - it’s just that they make for a less images. This option is not used very often, but sometimes for certain
efficient SWF file. Of course, you won’t want to avoid all of these things post-processing tasks, you may prefer to work with a sequence of
all of the time. However, if you plan your animation carefully, and use separate still image files. You can choose between JPEG, BMP, PSD,
as few of the following effects as possible, the resulting SWF file will be Targa, or PNG.
smaller, and will load quicker over the web.
• 3D camera moves - no Flash optimization is possible when you’re Export OBJ

moving the camera around in 3D. Simple side-to-side pans and
zooms are OK, but when you start using camera pan/tilt, Flash If your scene contains 3D objects, including those that you have
efficiency goes down the drain. converted from 2D to 3D with Anime Studio’s 3D Conversion feature
(see “3D Options” on page 270), you can use the File > Export OBJ
• Try to use as few control points as possible in your vector artwork. command to save the objects to WaveFront OBJ format. You will be
prompted to enter a file name and choose a location for the exported
• The freehand tool and the insert text dialog can generate a lot of OBJ file.
points, resulting in a big SWF file.
• Limit the use of variable-width lines. It’s easy to overwhelm Flash

with the complexity of variable-width lines, making the resulting
Export POV
SWF file play back unpredictably. Read “How Big Can a Flash You can use the File > Export POV command to export 3D objects
Movie Be?” for more information. If possible, only use variable- from Anime Studio to POV format, which is compatible with POV-Ray, a
width lines in SWF-optimized layers. free raytracing application that produces high quality 3D renderings. For
more information about POV-Ray, see http://www.povray.org/.
• Avoid compound shapes (two adjacent circles filled as one, shapes
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Upload to YouTube Batch Export... (Anime Studio Pro

The File > Upload to YouTube command allows you to upload your only)
Anime Studio animation to YouTube. After choosing the command you
are prompted to locate the animation that you want to upload. Before Anime Studio’s batch export window lets you line up several Anime
performing the upload, you will need to enter your YouTube Username Studio project files to be exported one at a time. This is very convenient
and Password in the Web Uploads tab of the Preferences dialog, as when you’re working on a large project with separate project files for
discussed in “Web Uploads:” on page 334. different scenes, and you want to render them all at once (like during
lunch maybe). The batch export window has many of the same controls
as the Export Animation dialog:
Upload to Facebook®
The File > Upload to Facebook command allows you to upload your
Anime Studio animation to your page on Facebook. After choosing the
command you are prompted to locate the animation that you want to
upload.
Before using this features, you will need to sign in to your Facebook
account and authorize Anime Studio as an application that can
upload to your Facebook account.
After logging in to your Facebook account and choosing the

Upload to Facebook command, your browser will display a
screen that prompts you to allow the Smith Micro Software
Video Uploader to upload files to your Facebook account. Click
the Allow button to enable this feature, and then the upload will
continue. You should only need to authorize the uploader the first
time you use it
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Backspace or Delete keys (this will not delete the file from your
system, just remove it from batch export).
You can change rendering options by selecting a file and then changing
the options at the top of the window. The options that are set before
you queue up any files will apply to all the files as you add them. The
output file format you select will be the same for all files in the batch.
When all your files have been added and the options set, press the Start
button to begin batch export. The window will display the progress of
each file as it is exported. When a file is finished and disappears from
the list, you can find the rendered result in the same folder as the Anime
Studio file itself.
Quit
Quits Anime Studio. Prompts you to save any unsaved projects.
The Batch Export window.
To queue up files for batch export, drag the Anime Studio files into
this window, and they will appear in the list view at the bottom. You
can remove a file from the queue by selecting it and pressing the
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Edit Menu Cut, Copy, Paste

These are the traditional clipboard commands. They can be used
together with the Draw editing tools for vector layers, and operate on
the currently selected group of points.
Clear
This command is the same as pressing the backspace or delete key: the
currently selected object in the working area will be deleted from the
project.
Edit Menu
Select All
Selects all the points in the active vector layer.
Undo
Choose this command to undo the last operation. You may undo up to 8
of your most recent editing operations in Anime Studio.
Select None
De-selects all the points in the active vector layer.
Redo
This command will redo the last operation that you “un-did” with the
Select Inverse
Undo command. Selects the opposite points in the active vector layer. Selected points will
become de-selected, and de-selected points will become selected.
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Select Connected Options Tab

Selects all points that are connected to any other currently selected
points. For example, if you have a complex shape like a character’s head,
just select a few points on it, then choose this command: if all the points
on the head are somehow connected together, the whole head will now
be selected.
Preferences...
Brings up a dialog that lets you customize some aspects of Anime
Studio, such as the display colors used in the working area of the Anime
Studio window. Some of these features including Edit Colors and GUI
Colors are only available in Anime Studio Pro.
Options
• Auto-assist with bone locking keyframes: Adds an extra

keyframe when bones are locked or unlocked to prevent them from
“drifting”.
• Scale compensation for new layers: When a layer is

scaled up (or down), its lines get thicker (or thinner) to match. If you
don’t want this behavior, turn off this option. You can also control
this on a per-layer basis in the Layer Settings dialog. This option
controls it for any new layers you create.
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• Show paths for new layers: Determines whether the paths (Add Point, Freehand, Draw Shape, Add Bone) are only available
(previously called construction curves) are displayed for new layers. on frame 0 if this option is on. Otherwise, they can be used at any
They’re always shown for the selected layer, but usually hidden time.
otherwise.
• Use SMPTE timecode: Shows time in the timeline using
• Auto-name bones and shapes: Bones and shapes can be SMPTE timecode instead of frame numbers. SMPTE timecode looks
named by the user. If this is turned on, all bones and shapes get like this: 00:02:34:07 That would be 0 hours, 2 minutes, 34
names like “1”, “2”, etc. seconds, and 7 frames.
• Zoom with drag box: When this option is on, allows you to • Show angles in degrees in timeline: Angle values
draw a box around the area that you want to zoom into, rather (like layer rotation or bone rotation) are shown in radians in the
than using a continuous zoom. timeline’s Motion Graph. This is because angle values in radians are
smaller numerically and fit in better with other values in the graph.
• Consolidate timeline channels: Instead of showing But if the user chooses to, they can display these curves using
separate channels (point animation, bone animation, layer degrees with this option.
translation, layer rotation, etc.), this option groups all channels into
one in the timeline palette. This is on by default in Debut, and off • Disable custom tool cursors: A long time ago there was a
in Pro. bug on some Windows systems where tool cursors didn’t display
correctly. Turning on this option will just use the standard system
• Status bar at top of window: Shows the status bar at the arrow cursor, regardless of what tool is active on the canvas. It
top of the window, rather than the bottom. The status bar is where may not be needed anymore (I’m not sure if that bug happens for
tools show their descriptions, like what modifiers keys do what, etc. anyone these days).
• Use old library: Check this option if you prefer to use the • Disable audio feedback: When welding points, you hear
library format used by Anime Studio version 6 or earlier. a “clicking” sound in Anime Studio. Turning this option on will
disable the click.
• Highlight frame 0: If on, a red box is drawn on the canvas if
the current time is set to 0. This can be helpful to remind you when • Default Interpolation: For any new keyframes you create, this
you’re working on frame 0 (the setup frame) vs. some other frame. sets what the interpolation type will be for that key. Smooth is the
default, but some advanced users have interesting uses for setting
• Enable drawing tools only on frame 0: Creation tools the default to something else. The available options are Smooth,
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Linear, Step, Ease In/Out, Noisy, Ease In, or Ease Out.
• Startup File: Allows you to start Anime Studio with a default

startup file, an empty document, or a specified project file.
• Poser Location: Allows you to specify the location of the Poser

executable.
Web Uploads:
This tab is used to enter your YouTube and StuffIt Connect user account
names and passwords. Anime Studio will log into this account to post
YouTube videos when you select the File > Upload to YouTube
command, or when you choose the File > Upload to StuffIt Connect
command to send a project file to another person. Web Uploads
Editor Colors:
Allows you to change the color scheme for the editor window, including
various options for background and object colors. Press the Reset button
to return to default application colors.
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Editor Colors
Editor Colors
GUI Colors:
Allows you to change the color scheme for the application, including
various options for background, text, and widget colors. A preview of
your changes appears as changes are made.
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GUI Colors
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Draw Menu scale tool should be used to control the size of the text after you create
it.
Snap to Grid
If the grid is turned on in the working area, then this command can be
used to snap all selected points to the nearest grid intersection.
Reset Line Width

Using the Line Width tool, you can adjust the width of a line at any
point. Choosing this menu command will reset your custom line widths
Draw Menu
at any selected points.
Random Line Width

Insert Text...
Use this command to randomize the width of the line(s) through the
A dialog will pop up with controls to type in some text and choose a currently selected points. You will be asked to specify the minimum
font. When you click OK, the text will appear as a set of curves in Anime and maximum width, and Anime Studio will assign random line widths
Studio. These curves are just like any drawing in Anime Studio - you within that range.
can manipulate them with any of the Anime Studio tools, like any other
object. There is also a checkbox that lets you decide whether to create
the text as a single fill, or as separate fills for each character (in case Peak
you want to color/style them differently). The text will be filled using the
current fill color/style. This command creates a peaked (or hard) transition between the curves
at the point that you click.
There is no font size control when you create the text: the Anime Studio
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Smooth Lower to Back

This command smooths the transitions between the curves at the point Works like Lower Shape, but lowers the shape below all others in its
that you click. layer.
Raise Shape Hide Shape

Select this menu item to raise a shape in the stacking order. This will Hides the currently selected shape
move it in front of the next higher shape. The stacking order only applies
to shapes within the same layer - all shapes in a layer will appear above
any lower layers and behind any upper ones, regardless of stacking Show All Shapes
order. Note that if there is no shape overlapping the selected one, you
may not see any change when this item is selected, even though the Shows all shapes that have previously been hidden.
shape gets moved higher.
Reset Points
Lower Shape
Moves the selected points back to their original positions, adding a new
Select this menu item to lower a shape in the stacking order. keyframe for them at the current time.
Raise to Front Reset All Points

Works like Raise Shape, but raises the shape above all others in its layer. Same as above, but moves all points in the layer back to their original
positions, not just the selected ones.
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Bone Menu on the strength and region of influence of each bone. This results in
more of a “squishy” type of motion when the skeleton is animated. This
is the default behavior for all drawings in Anime Studio, so you usually
won’t have to use this menu command - the points are probably already
flexi-bound.
Release Layer
This command detaches the current layer from any bone it may be
bound to.
Flexi-Bind Layer
This command binds the current layer to the bones in the parent layer
Bone Menu
in such a way that the child layer will influenced by all the bones in the
parent bone layer, depending on the strength and region of influence of
each bone. This results in more of a “squishy” type of motion when the
skeleton is animated.
Release Points
This command detaches the selected points from any bones they may Hide Controlled Bones
be bound to.
Hides any bones that are set up to have their angle or position
controlled by another bone. These types of bones are often not animated
Flexi-Bind Points by the user (their animation is “automatic” through the control feature),
and hiding them can clear up some of the clutter in the workspace. This
This command binds the selected points to bones in such a way that function is not available when the time is set to frame 0.
they will influenced by all the bones in the parent bone layer, depending
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Track Bone to Video

Allows you to link a bone to the tracking points that you defined with
the Video Tracking tool. For a description of how to use this tool, see
“Image Masking” on page 234.
Freeze Pose
Freezing a pose
Keyframing can be tricky sometimes for new users of Anime Studio, or
for those who are new to animation. For example, let’s say you move a
left foot up on frame 12, and then down again at frame 24. At frame 36,
you want the right foot to move up, and then down again at frame 48. Reset Bone
The problem is, the right foot will start to move up at frame 0, and then
Moves the selected bone back to its original position, adding a new
be fully up at frame 36. In reality, you want the right foot to move up
keyframe for it at the current time.
from frame 24 through 36, and not from frame 0 through 36.
To accomplish this, you choose the Bone > Freeze Pose command at
Frame 24. This sets a keyframe for every part in your animated character Reset All Bones
or object so that you are assured that the pose you want to use is
correct for that portion of your animation. Then you set the keyframe Same as above, but moves all bones in the layer back to their original
that moves the right foot up at frame 36, and down again at frame 48. positions, not just the selected one.
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Animation Menu at final speed and quality is of course to use the Export Animation
command in the File menu.
Clear Animation From Layer

This command removes all animation from the current layer.
Clear Animation From Document

This command removes all animation from the entire document.
Reset All Layer Channels

Animation Menu Resets all channels in the current layer to their initial values, adding a
new keyframe at the current time.
Allow Frame Skipping Set Layer Start Time

Normally when playing back an animation, Anime Studio will display
each frame one at a time. Depending on the complexity of your
animation, the display quality settings, and the speed of your computer, Select All Keyframes
the animation may play back slower than its specified speed. Select this
command to force the animation to play back at actual speed. In order Selects all the keyframes in the current layer. This is useful if you want to
to accomplish this, Anime Studio may have to skip some frames to keep move all the animation in a layer forward or backward.
up to speed, so the animation will play back at the correct overall speed,
but may not appear as smooth. The best way to see the animation
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Rescale Keyframes...
With this command you can rescale a group of keyframes so that a
portion of your animation takes more or less time.
The Rescale Keyframes dialog.
Options included in this dialog are:

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• Rescale entire document: Check this option to rescale all will be the same (120 - 90 = 60 - 30), but the animation will take
frames in the document. place between frames 90 and 120, instead of 30 and You can
rescale a portion of the entire document by clicking the “Rescale
• Start Frame: Enter the existing frame number at which to start entire document” checkbox.
scaling.
• To rescale the current layer, select the animation channels that
• End Frame: Enter the existing frame number at which to end the you want to be affected. For example, you may want to rescale the
scaling. bone animation, but leave the layer rotation alone.
• New Start Frame: Enter the new target frame number for the
start of the scaling. Copy Current Frame...
• New End Frame: Enter the new target frame for the end of the With this command you can copy values from the current frame in
scaling. the timeline to any other frame in your animation. For example, if you
position some objects in a way that you really like at frame 243, you can
• Rescale the following channels: Check or uncheck the
use this command to copy that position back to frame 0, to make it the
channels that you want to include or exclude from the scaling
starting position as well.
operation. The icons representing the various animation channels
are described in the Timeline Window section.
Examples:
• To reduce the amount of time the animation takes (in other words,
to speed it up), you could set the start frame (and new start frame)
to 30, the end frame to 60, and the new end frame to 45. (45 - 30
= 15, which is half as long as 60 - 30 = 30)
• You can shift a section of your animation by changing the start

time. For example, to shift the range of keyframes between 30 and
60, you could set the start frame to 30, the end frame to 60, the
new start frame to 90, and the new end frame to 120. The duration
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Blend Morphs
You can use the Animation > Blend Morphs command to blend
poses (or morph targets) together to create a combination pose or
morph. This feature in Anime Studio 7 is very easy to use.
NOTE: Anime Studio Pro 7 allows you to both create and blend
poses. See “Creating Morphs” on page 308.
To blend your morphs, begin by moving to the frame at which you want
the new morph to appear.
Next, choose the Animation > Blend Morphs command. The Blend
Morphs dialog appears. The sliders in this dialog are named the same as
the morphs you created in the Actions window. Adjust the sliders until
you get a combination of the morphs that you want to keep. Then click
OK to set the new combination.
The Copy Current Frame dialog.
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document” checkbox. There doesn’t need to be a keyframe at the

current frame in order to copy the current value. This command will copy
the current value, whether it is a keyframe or an interpolated in-between
value.
An important note about bones: if you position a skeleton system

during your animation, and try to copy that pose back to frame
0, the bones themselves will take on that pose at frame 0, but
anything bound to the bones (points in vector layers, warped
images, other sub-layers) will not take on that pose. This is because
frame 0 is a setup frame - bones are set up at frame 0, but they
have no influence over other objects at frame 0. If you’re trying
to copy a pose back to frame 0 in order to set up an initial pose,
consider copying it back to frame 1 instead - frame 1 is actually
the beginning of the animation, and the bones will influence other
objects starting at frame 1.
Track Layer to Video

This command allows you to link a layer to tracking points that have
Use the Blend Morphs dialog to combine your morphs together in any combination of
been set up with the video tracking tool. For a complete description of
values.
the process, refer to “Video Tracking” on page 235.
You can then advance to other frames in your timeline, and use the
Blend Morphs command to create new combinations throughout the
timeline. As you scrub through the timeline, you should then see morphs
Nudge Physics Object
blend from one to the other. A nudge is an instantaneous force that affects a physics object in small
You can select which animation channels to copy to a new frame, or or large amounts, depending on the setting in the Physics Nudge dialog.
you can copy everything in the document by selecting the “Copy entire It can be a large force, but after the nudge keyframe, the object will start
falling, or bouncing, or whatever the situation requires. It won’t keep
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going in the nudge direction forever. Audio Level

Opens a dialog that allows you to enter a numerical value for the audio
level.
The Physics Nudge dialog.
For example, assume that when you play your animation back you see a
red ball roll down and bounce to a stop against a block. You can position
the timeline shortly after it stops, and then apply a large nudge (such as
10) that causes the ball to fly off again to the left. Smaller nudge values
cause objects to wobble.
Mute Audio
Mutes the soundtrack when playing back your project in Anime Studio,
but the soundtrack is still a part of the project. Just un-mute it to hear
it again.
Restart Audio Track

Starts the audio track in the selected track over again from the
beginning. This allows you to add repeats in the audio track.
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Scripts Menu Studio users. You can get more information and download the scripts
from here.
3D
The scripts in this menu are used to create or manipulate 3D models.
Auto-Scale
When you import a 3D OBJ file into your scene, it may be way out of
scale with the Anime Studio scene. For example, a building may be so
large that the Anime Studio camera is inside it, or off to one side, and
you don’t really see anything on import. This script centers the object
and scales it to an appropriate size for the default Anime Studio camera.
Scripts Menu
Cube
The Scripts menu contains commands that are provided by script files or Creates a new 3D layer that contains a simple cube. The color of the
plug-ins. Anime Studio includes several scripts for a variety of different cube is determined by the current fill and line colors.
tasks, and you can also download more scripts written by other Anime
Studio users. These scripts are all written in the Lua programming
language - if you’re interested in creating your own scripts, feel free to Rotate X
examine the scripts in the scripts/menu sub-folder in the Anime Studio
program folder. Rotates the current 3D layer 90 degrees around the X axis. This can be
useful when importing a 3D model if the model’s “up” direction is not
The scripts in this menu are divided into several sub-menus, according the same as Anime Studio’s - just use this command (and the other
to their function: rotate commands) to align the model properly.
Get access to useful scripts that have been created by Moho/Anime
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Rotate Y Orbit Camera...

Rotates the current 3D layer 90 degrees around the Y axis. Adds animation to the camera to cause it to rotate around the current
scene. You can specify how long this should take, how far out the camera
should be, and the direction of rotation.
Rotate Z
Rotates the current 3D layer 90 degrees around the Z axis. Draw
These scripts can be used to create vector objects in Anime Studio.
Torus
Creates a new 3D layer that contains a simple torus (donut). The color of Apply Sketchy Effect
the torus is determined by the current fill and line colors.
Applies a sketchy effect to the outline of the shape.
Camera
Auto Weld
These scripts are used to move the camera around and to create camera-
related effects. Finds vector points that are near each other and welds them together.
Only operates on selected points. This can be useful if you have
accidental gaps in a drawing, or sometimes when working with imported
Handheld Camera Adobe Illustrator files.
Adds noisy interpolation to the camera animation channels to simulate a

handheld camera. Polygon...
Draws a polygon shape in either the current vector layer, or a new layer.
Uses the current fill and line colors to color the polygon.
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Split Curve Layer Effects

Automatically inserts points into selected curve segments, allowing you These scripts can be used to generate special layer effects.
to modify existing shapes.
Layer Trail...
Star...
Creates an animated trail effect that follows the origin point of the
Draws a star shape in either the current vector layer, or a new layer. Uses current layer.
the current fill and line colors to color the star.
Perspective Shadow...
Triangle
Automatically creates a pseudo-3D shadow effect for the current layer.
Draws a triangle in the current vector layer. Uses the current fill and line
colors to color the triangle.
Other
Image Scripts that don’t fit any other category can be found here.
These scripts can be used to process image layers.

Credits...
Import Image Sequence... This script can be used to create lists of credits, or other screens of text.
The script will prompt you to select a text file containing the text you
Imports a numbered sequence of images. Each image is imported as want to use. In the text file, each “screen” of text should be separated
its own layer, and the entire group is enclosed in a switch group. The by a blank line. Take a look at the file “sample_credits.txt” in the Anime
image files should be named using a numerical sequence. For example, Studio program folder to see how this text file should be set up.
“file0001.jpg”, “file0002.jpg”, “file0003.jpg”, etc.
Scripts Menu
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Particle Effects Snow

These scripts can be used to create particle effects like smoke, fire, or Creates a falling snow effect.
rain. Many of these effects can be time-consuming to render, so be
aware of that if you plan to use several of them in a single animation.
Also, even though they can be exported to Flash, these effects can be Sparkles...
too complex for the Flash player to play at full speed. Plus, without the
Inserts a cluster of spiraling sparkles. This effect is very effective if you
blur effects these scripts use, they won’t look very good in Flash. These
bind it to another moving object - for example, the end of a magic wand.
effects are really useful only if you plan to export to a movie or still
image format, not Flash.
Script Writing
Energy Cloud...
This menu contain utility scripts that can be used as examples for writing
Creates a blobby glowing cloud effect. your own scripts. If you don’t plan to write your own scripts, you can
completely ignore this menu.
Explosion...
Alert Test
Creates an explosion effect. The explosion starts at the current frame,
and will fade to a smoke cloud over time. Demonstrates how a script can use an alert box to provide some
information to the user.
Rain
Error Test
Inserts a falling rain effect.
This script intentionally creates a runtime error. The purpose is to show
how the Lua Console appears to display the error. When you write your
Smoke... own scripts, the console window will be very helpful when tracking
down errors.
Inserts a plume or cloud of smoke.
Scripts Menu
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Load Data File... Sound

This script is a demonstration of how a Lua script can read data from an The scripts in this menu use sound to control some part of an animation.
external file. It doesn’t do anything useful itself, but it could be used as
a starting point if you wanted to write a script to import some kind of
custom data. Bone Audio Wiggle...
This script uses the volume of a sound file that you select to animate the
Print Globals angle of the currently selected bone. Use this script to make a character
or object move in sync with a sound.
Prints out all global variables currently defined in Lua.
Layer Audio Wiggle...

Print Moho API
Use this script to make a layer move in sync with a sound.
Prints out all functions, constants, and global variables that Anime
Studio provides through its scripting interface. This is not meant to be
the documentation for Anime Studio’s scripting interface, but some Visibility
script writers may find it useful.
These scripts affect the visibility of a layer - for example, causing it to
fade in and out.
Print Test
A simple example that shows how you can print output in a Lua script. Fade...
The printed output will appear in the Lua Console window. Printing
data in the console window is not generally useful when your script is Causes the current layer to fade in or out over a specified number of
delivered to regular Anime Studio users, but can be very helpful when frames. If you want a layer to appear or disappear suddenly, it is better
writing a script to track down bugs. to change the value of the layer’s visibility channel. However, this script
should be used when you want a layer to appear or disappear more
gradually.
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Wavy Fade...
This script combines the Fade effect above with the Wavy effect below. It
can only be used with vector layers.
Warp
This set of scripts is used to distort the contents of a vector layer,
applying various animated warping effects.
Black Hole...
Causes the selected points in a vector layer to swirl around in an inward
spiral motion towards the origin point of the layer.
Wavy...
Causes the selected points in a vector layer to move in a wavy or
underwater style.
Scripts Menu
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View Menu Back, Bottom, and Left.
Enable Grid
Toggles display of the grid on and off. A checkmark appears beside the
command when the grid is displayed.
Grid Settings
Displays the Grid Settings dialog, which allows you to set the number of
pixels between each grid space. Default is 20 pixels.
View Menu
Disable Grid Snapping

Reset When the grid is turned on, control points will snap to the nearest grid
intersection as you draw them and move them around. Select this menu
Resets the view of the working area to the starting pan and zoom command to disable grid snapping - that way you can use the grid as
values. Use this command when you want to jump back to the original just a visual guide, without it interfering in your drawing.
view of the project.
Video Safe Zones

Direction
This command turns on the display of NTSC “safe zones”. When
This sub-menu lets you select a direction to view your scene from. The creating output for video, it is important to keep important action and
default view is through the camera - however, sometimes when you’re titles within the safe zones, because most televisions cut off some
working on a scene with a 3D layout, you may want to view the scene portion of the outside of the picture. (The inner rectangle is the safe
from a different point of view. Options are Camera, Front, Top, Right, zone for titles, and the outer one for important action.)
View Menu
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Show Output Only rendering.
This command will hide all artwork that lies outside the final output
rectangle. This makes it easy to visualize the final staging for your shot.
Of course, it’s hard to edit what you can’t see, so be sure to turn this
option off when you need to edit an object that lies outside the visible
area of the project.
Select Tracing Image

Use this command to select a tracing image to display in Anime Studio’s
editing view. This image will not appear in your final output - it’s just
used as a tracing guide to help you draw your artwork in Anime Studio.
Show Tracing Image

To use a background image for tracing out a drawing, just drag the
image into the working area of the Anime Studio window, or use the
above menu command. Then, you can use this command to hide or show
that tracing image. To use a different tracing image, just drag a new one
in.
Stereo
If Enable Stereo (Red/Blue)Rendering is enabled in the Project
Settings dialog (see “Project Settings...” on page 314), this command
makes it easier to preview and reposition your 3D objects for stereo
View Menu
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Window Menu Timeline

Shows/hides the Timeline window. The Timeline window is shown by
default when you start Anime Studio. See “Timeline Window” on page 296.
Style
Shows/hides the Style window. The Style window is shown by default
when you start Anime Studio. See “Style Window” on page 272.
Window Menu
Actions
Tools Shows/hides the Actions window. The Actions window is hidden by
default when you start Anime Studio. See “Actions Window” on page 305.
Shows/hides the Tools window. The Tools window is shown by default
when you start Anime Studio. Tools are discussed in the section
beginning with “Anime Studio Tools” on page 165. Library
Displays the Library window, which is discussed in “The Library Window”
Layers on page 283.
Shows/hides the Layers window. The Layers window is shown by default

when you start Anime Studio. See “Layers Window” on page 254. Audio Recording
Displays the Audio Recording window, which is discussed in “Audio
Recording” on page 295.
Window Menu
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Poser Parameters
Opens the Poser Parameters dialog, which allows you to rotate or scale
Poser objects that are imported into your scene. For more information,
see “Poser” on page 231.
Window Menu
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Help Menu Open Content Library

Opens the Content Library.
Online Tutorials
Opens a web browser with Anime Studio online tutorials. Internet
connection will be required.
Welcome Screen
Opens the Welcome Screen.
Help Menu
Register Your Product
Register your product to receive information on updates and upgrades.
Quick Start Guide Internet connection will be required.
Opens the PDF version of the Anime Studio Quick Start Guide, which is
installed on your hard disk. Download Bonus Content Pack
Navigates to the Bonus Content Pack page on Content Paradise. You
Help will need a Content Paradise account and a valid Anime Studio 7 serial
number to obtain the content.
Opens this document, the Anime Studio User’s Manual.
Help Menu
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About Anime Studio Pro

Displays some information about Anime Studio, including which version
of Anime Studio you’re running.
About Scripts
Displays some information about all the scripts currently loaded by
Anime Studio. All of Anime Studio tools, and all the entries in the Scripts
menu are implemented in a scripting language called Lua. Although
some programming/scripting experience is required, Anime Studio users
are welcome to write their own scripts to extend Anime Studio’s built-in
features.
Buy Content
Help speed up your animation workflow with ready to use content. Buy
content from Content Paradise. Internet connection will be required.
Check For Updates

Check to see if there are any updates for Anime Studio. Internet
connection will be required.
Help Menu
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Appendix

360 Anime Studio
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Product Comparison Vector Drawing Features

Feature Anime Studio Anime Studio
The differences between Anime Studio Debut and Pro Debut Pro
Text X X
Window Menu Select Points X X
Translate Points X X
Scale Points X X
Rotate Points X X
Debut Pro
Add Point X X
Tools X X
Delete Edge X X
Beginner’s Mode Tools X
Curvature X X
Layers X X
Freehand X X
Timeline X X
Rectangle X X
Style X X
Oval X X
Actions X
Arrow X
Library X X
Shear Points X X
Audio Recording X X
Shear Points Y X
Poser Parameters X
Perspective Points H X
Perspective Points V X
Bend Points H X
Bend Points V X
Noise X
Product Comparison
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Magnet X Fill Features

Snap to Grid X
Reset Line Width X
Debut Pro
Random Line Width X
Select Shape X X
Create Shape X X
Vector Modifiers Paint Bucket X X
Delete Shape X X
Line Width X X
Debut Pro
Hide Edge X X
Peak X X
Stroke Exposure X
Smooth X X
Curve Profile X
Flip Points Horizontally X X
Flip Points Vertically X X
Fill Modifiers
Debut Pro
Lower Shape X X
Raise Shape X X
Product Comparison
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Bone Features Layer Features

Feature Anime Studio Anime Studio Debut Pro
Debut Pro
Set Origin X X
Select Bone X X
Translate Layer X X
Translate Bone X X
Scale Layer X X
Scale Bone X X
Rotate Layer Z X X
Rotate Bone X X
Switch Layer X X
Add Bone X X
Rotate Layer X X
Reparent Bone X X
Rotate Layer Y X
Bone Strength X X
Shear Layer X X
Manipulate Bones X X
Shear Layer Y X
Bind Layer X X
Particle Layer X
Bind Points X X
Follow Path X X
Offset Bone X X
Poser X (1)
Bone Physics X
Image Masking X X
Video Tracking X (2)
(1) Requires Poser 7 or newer

(2) Limited to 3 tracking points
Product Comparison
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Layer Modifiers Camera Features

Feature Anime Studio Anime Studio Feature Anime Studio Anime Studio
Debut Pro Debut Pro
Flip Layer Horizontally X X Track Camera X X
Flip Layer Vertically X X Zoom Camera X X
Roll Camera X X
Layer Types Pan/Tilt Camera X
Feature Anime Studio

Debut
Anime Studio
Pro
Workspace Features
Vector X X
Image X X Debut Pro
Bone X X Pan Workspace X X
Switch X X Zoom Workspace X X
Group X Rotate Workspace X
Particle X Orbit Workspace X
3D X
Physics X
Note X
2D to 3D Layer Conversion X
Product Comparison
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Timeline Features Style Features

Feature Anime Studio Anime Studio Feature Anime Studio Anime Studio
Debut Pro Debut Pro
Keyframes X X Save Style X
Playback Controls X X Pattern Brush X (1) X
Animation Channels X X (1) Pro version contains more brushes

Ruler X X
Onionskins X
Graph Mode X
Preferences
Sequencer X X Feature Anime Studio Anime Studio
Debut Pro
Options X X
Action Features Editor Colors X
GUI Colors X
Debut Pro
Store Reusable Animation X
Edit Reusable Animation X
Delete Reusable Animation X
Product Comparison
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Project Settings Content

Debut Pro Feature Anime Studio Anime Studio
Debut Pro
Save Project Settings X X
Built in Content X X
Edit Dimensions X X
User Samples X
Background Color X X
3D Object X
Depth of Field X
3D Camera X
Stereo Rendering X Scripts

Sort Layers by Depth X
Sort by True Distance X Feature Anime Studio Anime Studio

Debut Pro
Noise Grain X
3D X
Up to 120 Frames/Second Maximum X X
Camera X
Maximum export size (pixels) 768 x 768 9000 x 9000
Draw X
Maximum number of frames 3000 Unlimited
Image Sequences X
Layer Effects X
Particle Effects X
Sound X
Warp X
Visibility X
Script Writing X
Product Comparison
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View 3D FORMATS
OBJ X
SOUND FORMATS
Debut Pro
WAV (Windows only) X X
Grid X
AIFF (Macintosh only) X X
Adjust Grid Size X
MP3 (Mac and Windows) X X
Side by Side View X
M4A (MPEG-4) X X
Over Under View X
MOVIE FORMATS
Four-Way View X
MOV (Mac and Windows) X X
Display Quality X
AVI (1) X X
Advanced Current Layer View X
MOHO FORMAT
MOHO File Format X X

Import (1) AVI Import works on Windows, and on Macintosh systems depending
on codecs. If you can play the AVI file in QuickTime on a Mac, you
Feature Anime Studio Anime Studio should be able to import it into Anime Studio.
Debut Pro
2D FORMATS
JPEG X X
BMP X X
PSD (Layered using Anime Studio Script) X X
PNG X X
TGA X X
EPS, AI, Tracing Image X
Product Comparison
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Export Formats PAL X X
HD movies X
Debut Pro
IMAGE FORMATS
JPEG X Upload Features

BMP X
PSD (Layered) X Feature Anime Studio Anime Studio

Debut Pro
PNG X
StuffIt Connect X X
TGA X
Upload to Facebook® X
Batch Image Export X
Upload to YouTube™ X
MOVIE FORMATS
SWF X X
MOV (Macintosh and Windows) X X
AVI (WIndows Only) X X
Sequential JPEG X
Sequential BMP X
Sequential PSD X
Sequential PNG X
Sequential TGA X
Batch Movie Export X
TV FORMATS
NTSC Format X X
Product Comparison
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Technical Support: Where to Go visit http://anime.smithmicro.com.
When You Need Help Anime Studio Discussion Forum

Share tips and tricks with other Anime Studio users on the online
discussion forum: http://www.lostmarble.com/forum/. Smith Micro staff
User Manual members also participate in this online group, and are happy to share
techniques and answer questions. News about the latest Anime Studio
The first source of help when using Anime Studio is the manual that updates is first posted to the online forum.
you are reading now. We have also included a Quick Start Guide that
you can view by choosing Help > Quick Start Guide from the Anime
Studio menus. If you’re just getting started and need some basic tips on Email Support
how to use Anime Studio, beginning with “Anime Studio Tutorials” on
page 16 is a good place to start. You can also get your questions answered by email. If you have a
question, feature request, or would like to report a bug, contact us
For more in-depth instructions on using Anime Studio, the sections
at [email protected]. Please provide us with as much detail about
“Anime Studio Windows” on page 248 and “Anime Studio Menus”
your problem as possible, so that we can understand exactly what’s
on page 311 go into great detail about performing specific tasks in
happening and more quickly come up with a solution for you.
Anime Studio and what all the user interface elements are used for,
respectively.
Anime Studio on the Web

Another good source is the Smith Micro web site at http://anime.
smithmicro.com. There you will find product information and a variety of
tutorials. We plan to keep this updated with questions and answers and
new sample files.
To view in-depth product descriptions, online video gallery, and more,
Technical Support: Where to Go When You Need Help
Anime Studio 369
Users Manual
Acknowledgements and Mark Adler.
Some parts of Anime Studio are based on libraries written by third party Artist Acknowledgements
organizations. Below is a list of libraries used by Anime Studio.
Smith Micro and Lost Marble would like to thank the following artists
• Anti-Grain Geometry http://www.antigrain.com Copyright © 2002- for contributing to the content section. To access these files, open
2004 Maxim Shemanarev (McSeem). Window > Library and navigate to a “Partners” Folder. Their creations
will be displayed within a folder with their name as the title..
• FreeType http://www.freetype.org Portions of this software are
copyright © 1996-2002 The FreeType Project. All rights reserved. • DK Toons http://www.contentparadise.com/Search.
aspx?searchText=DKToons
• libjpeg http://www.ijg.org This software is based in part on the
work of the Independent JPEG Group. Copyright © 1991-1998, • Cartoon Solutions http://www.cartoonsolutions.com
Thomas G. Lane.
• ToonProps http://www.toonprops.com
• libpng http://www.libpng.org Copyright © 1998, 1999, 2000
Glenn Randers-Pehrson. • Víctor Paredes (Studio: Taza Triste)
• libsndfile http://www.mega-nerd.com/libsndfile/ Copyright © • Hubumedia http://www.hubumedia.com (tweet: www.twitter.com/

1999-2005 Erik de Castro Lopo. hubumedia)
• Lua http://www.lua.org Copyright © 2004 Tecgraf, PUC-Rio. • The Smith Micro Content Team
Smith Micro would like to thank the following artists for imagery used in
• Ming http://www.libming.org/ Copyright © 2001 Opaque collateral and Promos.
Industries.
• DK Toons http://www.contentparadise.com/Search.
• PortAudio http://www.portaudio.com Copyright © 1999-2000 aspx?searchText=DKToons
Ross Bencina and Phil Burk
• Cartoon Solutions http://www.cartoonsolutions.com
• zlib http://www.zlib.net Copyright © 1995-2002 Jean-loup Gailly
Acknowledgements
370 Anime Studio
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• ToonProps http://www.toonprops.com User Movies

• Hubumedia http://www.hubumedia.com (tweet: www.twitter.com/ Library >Video > Animated Samples > Version 5 User Samples
hubumedia)
• Burt Abreu: fishtank1
• TUI Studios http://www.tuistudios.com
• Christian -Samb- Wasser (Studio: By Samb): sunscene
• Freakish kid http://www.freakishkid.com
• Dave Cockburn (Studio: Squeaky Pics): Squeaky_10sec
• Splinter Arts http://www.splinterarts.com
• Erik Svensson: Ghost
• Bru and Boegie http://www.bruandboegie.co.za
• Mike Scott (Studio: Red Pepper): COOL_CATZ_INTRO_1
User Samples/Characters • Misha Margolis: barnstory
Library > Characters > Version 5> User Samples • Shi Yang: A1, A5
• Nate Greenwall: knight Master • Vladimir O. (Studio: StudioSvet): otkritka
• Burt Abreu: Jeremy • Víctor Paredes (Studio: Taza Triste): dragón pulento
• Philippe Cizaire: frog, stampel Direction, script, animation:
• Shi Yang: A2, A3, A4, A6, A7 • VENT_ErikvanSchaaik, Erik van Schaaik, www.erikvanschaaik.
com, [email protected]
• Víctor Paredes (Studio: Taza Triste): african elephant Production:
• Vladimir O. (Studio: StudioSvet): golova, Kati, KISSKI, kot, • Il Luster Productions, www.illuster.nl, [email protected]
Kozel, lef, sc, slon, tigr, volk, zaiac, zebr
Acknowledgements
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User Samples/Props
Library > Props > Version 5 User Samples
• Burt Abreu: blurtest, bumpy1, curvetest1, epidea1, hair1, hand1,

leaf1, man1, mouth, myfish2, myfish3, oldman1, rasbora_maculata,
robohead1, sparkdraw, weedy1
• Christian -Samb- Wasser (Studio: By Samb): people
• Erik Svensson: Fire, Tree, Water ripple
• Philippe Cizaire: collection
• Vladimir O.: flag, glaz1, glaz2, glaz3, glaz4, glaz5, gudok, noga,
palec
DK Content
Library > Props > Partners> DK Toons
• David Knight (Studio: Knight animations): Acoustic Guitar by

D.K, Aliens Dance and Walk by D.K, Anime girl frightened - by D.K,
Builders - by D.K, Cartoon Fruit - by D.K, Cow with Guitar - by D.K,
Cupboard with doors - by D.K, Funny guy - by D.K, Mobile Phone
- by D.K, Modern Dude - by D.K, Running Heart - by D.K, Slick
Salesman by - D.K, Two simple boys - by D.K
Acknowledgements
372 Anime Studio
Users Manual
Anime Studio Shortcuts

How to work quickly in Anime Studio
Once you’ve been using Anime Studio for a while, you’ll probably want
to find ways to speed up certain operations. Luckily, Anime Studio
provides several shortcuts for common operations, such as activating
tools, navigating the workspace, and entering data.
Press the T key to activate the Translate Points tool.
Keyboard Shortcuts Many of the keyboard shortcuts in Anime Studio are used to activate
a tool in a toolbar. If you want to know whether a tool has a shortcut,
Many tools and features in Anime Studio can be accessed quickly by hold the mouse over the tool, and watch the tooltip that appears. If the
pressing a single key. These shortcuts make working with Anime Studio tooltip has a single letter at the end (ex: “Translate Points (T)”), then
much faster than the regular method of moving the mouse to a toolbar that key can be used as a shortcut to activate the tool. These keyboard
and clicking a button, and are worth learning to reduce your drawing shortcuts are not listed here - just look at the tooltips in Anime Studio if
and animation time. However, all these features are also available you want to learn them.
through standard user interface elements (buttons and menus), so
learning these shortcuts isn’t a requirement to using Anime Studio. Some keyboard shortcuts work all the time, and some only apply in
while using certain tools in Anime Studio: the sections below lists all the
Note: these shortcuts are not the same as “menu shortcuts”. Many of shortcuts and when they can be used.
Anime Studio’s menu commands can be accessed through the keyboard
- for example, Ctrl/Cmd+S will save the current document. Those types
of shortcuts are listed next to the menu item they apply to: just run the Common Shortcuts
program and look at a menu to find the shortcut.
The following keyboard shortcuts can be used at any time:
• Escape: Automatically adjust the view to see everything in the

active layer - hold the shift key to zoom in on the currently selected
points

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Users Manual
• Home: Reset the view to see the overall project lower to bottom
• Enter/Return: De-select all points

Working with Bone Tools
• Tab: Select all points that are connected to the current selection
• Delete/Backspace: Delete the selected bone (and any child
• Left Arrow: Step back one frame in the timeline - hold shift to
bones)
rewind
• Spacebar: Bind points to selected bone
• Right Arrow: Step forward one frame in the timeline - hold shift to
advance to end of animation • Up Arrow: Select parent of current bone
• Down Arrow: Select child of current bone (only works if current

Working with Vector Layers bone has just one child)
• Delete/Backspace: Delete the currently selected points

Working with the Timeline Window
• Spacebar: Weld two points together - usually used with the
Translate or Add Point tools • Alt/Option+Backspace: Delete the selected keyframe(s)
• Alt/Option+C: Copy the selected keyframe(s)

Working with Fill Tools
• Alt/Option+V: Paste the previously copied keyframe(s)
• Delete/Backspace: Delete the selected shape
• Spacebar: Play/stop the animation
• Spacebar: Define a shape based on current selection
• Page Up: When in graph mode, zoom in on the timeline - hold shift
• Up Arrow: Raise selected shape up one level - hold shift to raise to move the graph up
to top
• Page Down: When in graph mode, zoom out from the timeline -
• Down Arrow: Lower selected shape down one level - hold shift to hold shift to move the graph down
374 Anime Studio
Users Manual
• End: Auto-zoom the timeline, based on the active animation Timeline Scrubbing
channel (when in graph mode)
To scrub the timeline in small increments, hold the mouse over the
timeline and roll the mouse wheel back and forth.
Mouse Shortcuts
There are a few shortcuts that take advantage of the mouse, making Numeric Fields and Angle Knobs
work in Anime Studio more convenient once you learn them.
An easy way to make small adjustments in numeric text fields and angle
knobs is to hold the mouse over the control and spin the mouse wheel
Workspace Navigation back and forth. Of course, you can still enter values into a text field by
typing them, but this method lets you make small adjustments and view
The right mouse button can be used to navigate the main Anime Studio the changes immediately.
workspace.
• On a Windows PC, when using the mouse wheel to modify the
• To pan the workspace, click and drag with the right mouse value in a text field, holding the Ctrl key halves the increment,
button. holding Shift doubles the increment.
If you hold down the spacebar while you click and drag any tool • On a Macintosh, when using the mouse wheel to modify the value
with the mouse, it will let you pan the workspace. This is similar in a text field, holding the Cmd key halves the increment, holding
to the panning navigation in Photoshop and other graphics
applications.
Alt doubles the increment.
This feature may seem cute but unimportant. However, it’s actually very
useful when working with the tool info panels in Anime Studio. By using
• To zoom the workspace, hold the shift key while dragging the mouse wheel, you can see your changes take effect immediately.
with the right mouse button. You can also zoom the workspace by If you enter the number by hand, the change won’t take effect until
rolling the mouse wheel back and forth over the workspace. you press tab or enter. An especially helpful place to use this feature is
when setting bone angle constraints - these numbers can be tricky to
• To rotate the workspace, hold down the control key while
figure out, but spinning the mouse wheel you can see exactly what’s
dragging with the right mouse button.
happening.
Finally, you can adjust the value of a text field by dragging in it
Anime Studio 375
Users Manual
side-to-side with the right mouse button. With a regular mouse, the
mouse wheel is probably more convenient, but this feature was added
specifically for animators working with tablets. A drawing pen usually
has no mouse wheel, so right-dragging allows you to adjust the value of
a text field without having to switch back to the keyboard.

376 Anime Studio
Users Manual
Index Animating a Talking Head 93

Animation
Automatic Lip-Sync 103
Auto shading 258
Frame by Frame 119
Animation channels 299 B
Symbols Animation Curves 107
Animation Menu Commands 341 Basic Physics 130
3D Construction 49 Allow Frame Skipping 341 Bend Points Tool 183
3D Layers 222 Audio Level 346 Bind Layer Tool 208
3D Models Blend Morphs 344 Bind Points Tool 208
Using 159 Clear Animation from Document 341 Bone Binding 59
3D Shadows 261 Clear Animation from Layer 341 Automatic 59
3D Shape Design 54 Copy Current Frame 343 Layer 65
3D Textures and Scenery 161 Mute Audio 346 Manual 63
Nudge Physics Object 345 Bone Constraints 67
A Rescale Keyframes 342 Angle 67
Reset All Layer Channels 341 Bone Dynamics 74
Acknowledgements 369 Bone Influence
Restart Audio Track 346
Actions 115 Adjusting 84
Select All Keyframes 341
Creating new 306 Bone Layers 216
Set Layer Start Time 341
Deleting 308 Bone Locking 71
Track Layer to Video 345
Editing 306 Bone Menu Commands 339
Animation Tutorials 103
Using 307 Flexi-Bind Layer 339
Anime Studio Discussion Forum 368
Actions Window 305 Flexi-Bind Points 339
Anime Studio Web Support 368
Add Bone Tool 205 Freeze Pose 340
Arranging Foreground Objects 125
Adding Sound and Motion 94 Hide Controlled Bones 339
Arrows 178
Add Point Tool 173 Release Layer 339
Audio Layers 223
Alpha Channels 87 Release Points 339
Audio Recording 295
Ambient occlusion 258 Reset All Bones 340
Audio Sync Sources 269
Index
377 Anime Studio
Users Manual
Reset Bone 340 Creating a 3D Scene 123 Raise to Front 338

Track Bone to Video 340 Creating a Ground Plane 124 Random Line Width 337
Bone-Only Channels 301 Creating Holes 27 Reset All Points 338
Bone Physics Tool 209 Curvature Tool 181 Reset Line Width 337
Bone Spring Parameters 76 Curve Exposure Tool 193 Reset Points 338
Bone Strength Tool 206 Curve Profile Tool 194 Show All Shapes 338
Bones Tutorials 59 Cycling 113 Smooth 338
Bone Tools 202 Snap to Grid 337
Bonus Content D Draw Shape Tool 177
Downloading 357 Draw Tools 166
Brushes 36 Delete Edge Tool 180 Drop Shadow 276
Delete Shape Tool 191
C Depth E
Creating 111, 156
Camera and Depth Effects 155 Sorting layers by 112 Edit Menu Commands 331
Camera Channels 300 Depth of field Clear 331
Camera movements Layers immune to 259 Copy 331
Layers immune to 259 Depth Sorting 54 Cut 331
Cameras Display Quality 252 Paste 331
Animating 157 Drawing Shapes with Holes 26 Preferences 332
Camera Tools 244 Drawing Tutorials 17 Editor Colors 334
Category Icons 284 Draw Menu Commands 337 GUI Colors 335
Character Setup 78 Hide Shape 338 Options Tab 332
Color Picker 278 Insert Text 337 Web Uploads 334
Color Swatches 279 Lower Shape 338 Redo 331
Compositing Effects 257 Lower to Back 338 Select All 331
Control Bones 70 Peak 337 Select Connected 332
Create Shape Tool 186 Raise Shape 338 Select Inverse 331
Index
378 Anime Studio
Users Manual
Select None 331 Save As 312 About Anime Studio Debut 358
Undo 331 Upload to Facebook 329 About Scripts 358
Effects Tutorials 135 Upload to StuffIt Connect 314 Buy Content 358
Email Support 368 Upload to YouTube 329 Check for Updates 358
Embedded script files 259 Fill Properties 272 Help 357
Exporting Fills Online Tutorials 357
Still images 328 Complex shapes 196 Open Content Library 357
Extrude Conversions 56 Compound shapes 199 Quick Start Guide 357
Eyedropper Tool 191 Picking colors 196 Register Your Product 357
Using two 199 Upgrade to Professional Version 358
F Working with 196 Welcome Screen 357
Fill Tools 186 Hidden Edges 28
Facing a camera 259 Flip horizontally 259 Hide Edge Tool 192
File Menu Commands 312 Flip vertically 259 Holes 27
Batch Export 329 Follow Curve Tool 227 HSV modifier images 259
Close 312 Following a path 259
Export Animation 323 Freehand Curves 36 I
Export OBJ 328 Freehand Tool 175
Export POV 328 Image Layers 87, 215
Gather Media 312 G Image Masking Tool 234
Import 317 Image Texture Fill Effects 275
New 312 Gradient Fill Effects 275 Image Textures 95
Open 312 Group Layers 216 Image Tutorials 87
Open Recent 312 Image Warping 90
Preview 323 H Importing Textures 100
Project Settings 314 Inflate Conversions 57
Quit 330 Halo Fill Effects 274 Insert Text Tool 179
Save 312 Help Menu Commands 357
Index
379 Anime Studio
Users Manual
K Naming 257 Adding items to the Library 287

Rendering off 257 Categories 285
Keyboard Shortcuts 372 Settings 256 Changing appearance 288
Bone Tools 373 Sorting by depth 110 Collapsed folders 284
Common 372 Layer Settings Content previews 284
Fill Tools 373 3D Options Tab 270 Creating new folders 285
Timeline Window 373 Depth Sort Tab 265 Creating subfolders 286
Vector Layers 373 General Tab 256 Deleting items 287
Keyframes 301 Image Tab 266 Deleting items from library 285
Masking Tab 263 Deleting items from Library 284
L Motion Blur Tab 262 Detail options 291
Note Tab 271 Displaying and hiding 284
Lathe Conversions 57 Particles Tab 269 Display options 288
Layer blending 259 Shadows Tab 259 Expanded folders 284
Layer blur radius 258 Switch Tab 269 Favorites Tab 292
Layer Effect Channels 300 Vectors Tab 264 General options 288
Layer Glow 153 Layer Shading 260 List options 290
Layer List 254 Layer Shadow 153 Loading items 285
Layer Masking 40 Layer Shadows 260 Maintaining 286
Layer Motion Channels 299 Layers Window 254 Options 284
Layer opacity 258 Layer Toolbar 256 Saving items to library 285
Layer Outline 154 Layer Tools 224 Saving items to Library 284
Layers Layer Types 212 Searching 291
Animated effects 257 Library Tabs 283 Selected item 284
Creating new 256 Library Window 283 Ticker 284
Deleting 256 Adding an item to Favorites 284 Tree options 290
Duplicating 256 Adding items to Favorites 285 Line Width Tool 191
Hiding 257 Adding items to scene 284, 285 Lip-Sync 103, 105
Index
380 Anime Studio
Users Manual
M Ovals 177 Enabling 131

Playback Buttons 251
Magnet Tool 181 P Poser Integration 320
Manipulate Bones Tool 207 Preferences 332
Masking 100 Paint Bucket Tool 188 Product Comparison 360
Moon and Clouds Effect 162 Painting Textures 96
Morphs Pan/Tilt Camera Tool 245 R
Creating 308 Pan Workspace Tool 245
Motion Curves 107 Particle Layers 220 Rectangles 177
Motion Graph 304 Particle Layer Tool 233 Reparent Bone Tool 206
Mouse Shortcuts 374 Particle-Only Channels 301 Roll Camera Tool 245
In Angle knobs 374 Particles 135 Rotate Bone Tool 204
In numeric fields 374 Changing settings 138 Rotate Layer XY Tool 230
Timeline Scrubbing 374 Crowds 137 Rotate Layer Z Tool 226
Workspace Navigation 374 Grass 137 Rotate Points Tool 172
Movies Smoke effect 142 Rotate Workspace Tool 246
Using in image layers 145 Sparkle effect 143 Rotating to face camera 259
Moving the Camera 128 Speeding up effects 144 Rotating to follow path 259
Using layers 136
N Using premade effects 141 S
Perspective Points Tool 182
Noise Tool 184 Perspective Shadows 147 Scale Bone Tool 204
Note Layers 223 Phoneme Lip-Sync 105 Scale compensation 259
Physics Scale Layer Tool 225
O Basic 130 Scale Points Tool 171
Configuring Objects 133 Scatter Brush Tool 179
Offset Bone Tool 209 Creating a Collision Base 132 Scripts Menu Commands 347
Orbit Workspace Tool 246 Creating the Objects 130 3D 347
Index
381 Anime Studio
Users Manual
Auto-Scale 347 Smoke 350 Raising and Lowering 32

Cube 347 Snow 350 Selecting Hidden 34
Rotate X 347 Sparkles 350 Shear Layer Tool 231
Rotate Y 348 Script Writing 350 Shear Points Tool 183
Rotate Z 348 Alert Test 350 Shortcuts 372
Torus 348 Error Test 350 Simplified Modeling 43
Camera 348 Load Data File 351 Soft Edge Fill Effects 274
Handheld Camera 348 Print Globals 351 Spirals 178
Orbit Camera 348 Print Moho API 351 Stars 178
Draw Print Test 351 Status Bar 251
348 Sound 351 Stroke properties 277
Apply Sketchy Effect 348 Bone Audio Wiggle 351 Styles 44, 281
Auto Weld 348 Layer Audio Wiggle 351 Applying 47
Polygon 348 Visibility 351 Style Window 272
Split Curve 349 Fade 351 Switch Layers 218
Star 349 Wavy Fade 352 Switch Layer Tool 233
Triangle 349 Warp 352 Switch-Only Channels 301
Image 349 Black Hole 352
Import Image Sequence 349 Wavy 352 T
Layer Effects 349 Select Bone Tool 202
Layer Trail 349 Select Points Tool 167 Technical Support 368
Perspective Shadow 349 Select Shape Tool 186 Discussion Forum 368
Other 349 Sequencer 302 Email 368
Credits 349 Set Origin Tool 227 Online Manual 368
Particle Effects 350 Shaded fill effects 273 Web sites 368
Energy Cloud 350 Shadow Tricks 152 Text 179
Explosion 350 Shape Ordering 31 Timeline
Rain 350 Shapes 281 Animation channels 299
Index
382 Anime Studio
Users Manual
Controlling time 297 Select Tracing Image 354 Zoom Workspace Tool 246
Playing partial segments 299 Show Output Only 354
Timeline Window 296 Show Tracing Image 354
Toolbar 250 Stereo 354
Toon Settings 267 Video Safe Zones 353
Track Camera Tool 244 Visibility in rendering 258
Transition Effect 43
Translate Bone Tool 203 W
Translate Layer Tool 224
Translate Points Tool 169 Welding 17
Triangles 178 Welding Points 17
Tutorials 16 Window Menu Commands 355
Actions 355
U Audio Recording 355
Layers 355
User Manual 368 Library 355
Poser Parameters 356
V Style 355
Timeline 355
Vector Layers 214 Tools 355
Vector-Only Channels 300 Windows
Video Tracking Tool 235 Main Window 249
View Menu Commands 353 Working area 249
Direction 353 Workspace Tools 245
Disable Grid Snapping 353
Enable Grid 353 Z
Grid Settings 353
Reset 353 Zoom Camera Tool 244
Index

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ii Anime Studio

Contents Tutorial 3.3: Bone Dynamics

The Draw Tools 166 Hide Edge 192

Note Layers 223 Display Quality 252

Close 312 Snap to Grid 337

Select All Keyframes 341 Select Tracing Image 354

Vector Modifiers 361 Mouse Shortcuts 374

Demo Limitations User Interface

based library. Keeping all of your Anime Studio content organized

Audio and Video hatched styles.

• StuffIt Connect: Collaborating on Anime Studio projects is

• Import layered Photoshop® files

NOTE: Anime Studio Pro is compatible with 64-bit Windows

• Bonus Content Pack: Opens your Web browser to the Content

8. Export Law Assurances WARRANTY OF MERCHANTABILITY, SATISFACTORY QUALITY, FITNESS

10. Disclaimer of Liabilities 11. Indemnification

14. Contact Information Version: 201010128-AnimeStudio/AnimeStudio

If you have questions concerning this EULA or need to contact Customer

Tutorial 2.1: Welding

How to Weld Points

options area when the Translate Points tool is active:

Make sure Auto-weld is on.

Welding Example 1. (SWF File)

Before spacebar is pressed (left). After spacebar is pressed (right).

Welding Example 2. (SWF File)

Automatic welding also works with the Add Point tool.

Welding Example 3. (SWF File)

Add Point tool with Auto-weld option on

Welding to a curve segment.

Why to Weld Points

A closed shape that can be filled.

Examples of Good Welding

By welding the two endpoints together, we can create a closed shape

Joining two curves. Closing a curve.

Joining multiple curves into a single closed shape.

Joined circles (SWF File).

Examples of Bad Welding

you were considering welding the pairs of circled points:

Before welding the marked points.

Fill the shapes without welding them together.

Reminder of Fill Rules

Tutorial 2.2: Drawing Shapes with

A basic fill shape.

New curves added.

Tutorial 2.3: Hidden Edges

Start With a Sample File

Here’s another example of a shape with a hole:

Another shape with a hole. Starting point for this tutorial.

Edges to click on.

After hiding the edges.

Raising and Lowering Shapes

Select Shape tool.

Raised shape. De-select the shape.

Select Shape tool.

Lowered blue shape. Hidden yellow circle.

Selecting Hidden Shapes

Selected yellow circle.

Draw Some Freehand Curves

• Variable Line Width: Use Pen Pressure

Contents Tutorial 3.3: Bone Dynamics

The Draw Tools 166 Hide Edge 192

Note Layers 223 Display Quality 252

Close 312 Snap to Grid 337

Select All Keyframes 341 Select Tracing Image 354

Vector Modifiers 361 Mouse Shortcuts 374