Two days ago I went to visit the Ajar Productions main page and found that the blog feed was generating an error. In looking at the feed, I found there was a long and obfuscated <script> tag at the end of the file. In searching further, I found that the same script had been appended to nearly every page named ‘index’ on our webserver. My best guess is that this was a WordPress hack. So I spent quite a bit of time cleaning out the offending code from every page and adding about a dozen new security measures to the site. I think that the intended effect of the hack was to redirect traffic away from our pages, but I don’t know if it was successful. My apologies if anyone was redirected while visiting our site.

I found these links especially helpful in improving the security of the site:

• WordPress Security Tips | Wordprezzie
• WordPress Security Tips and Hacks | Noupe
• 10 Steps To Protect The Admin Area In WordPress | Smashing Magazine

Thanks to a generous donation, I’ve picked up a much nicer video capture application. This video tutorial shows how to translate Photoshop graphics into Actionscript using the AS3 drawing API. The resulting SWF file size is minuscule: from a 100kb Photoshop-to-Flash import to a 5kb file with some coding. I start with the most basic aspects and work up to the more complex: from a basic rectangle, to patterns from Photoshop, to complex gradients.

I’m pretty happy with this new software, so I’ll try to post more videos. Still working on getting better resolution out of the video host though…

ColdHardFlash (CHF) has been on my list of frequently visited sites for about 4 years now. I remember telling a colleague about a new way to embed video on a site using Flash and I pointed to a CHF page with a YouTube video (this was long before YouTube was a part of the everyday vernacular). CHF has consistently been a trendsetter and a kingmaker in the world of Flash and animation. CHF was recently chosen to be one of Animation Magazine’s “13 People, Platforms and Trends That Are Reshaping Our World”. At the helm of this massively popular website sits Aaron Simpson: animator, producer, mogul, and all-around nice guy. Aaron has produced animation at Sony and Warner Bros (where he was nominated for an Emmy), and he has held the rank of Vice President at JibJab Media. In September of 2007, Aaron started a second site, Lineboil, to focus on the world of animation beyond Flash.

As more animators, designers, developers, and other independent creatives and content producers take to the web, the online landscape is becoming thick with blogs. The question for these bloggers then becomes “How can I stand out amidst the din?”. At times, quantity seems to be winning out over quality. Social sites like Facebook, MySpace, and Twitter seem to be fueling the notion that “if it came from me, it’s noteworthy”. The flipside to all the noise, of course, is that the web is a great tool for content producers who really do have something to share. The trick—after getting noticed—becomes sharing information effectively. As this topic had been ringing in my head, I could think of no better person to consult with than Aaron Simpson.

In fact, I owe the very notion of hosting an interview to Aaron Simpson. CHF has posted terrific interviews with nearly everyone involved in Flash animation from John K. (Ren & Stimpy creator) to the creators of Flash. So, we’re very grateful to Aaron for generously sharing his time and knowledge!

(Editor’s note: I’ve added hyperlinks to some of the responses.)

AJAR: Tell us a little bit about the background that laid the ground for you to start ColdHardFlash (CHF), and what you had in mind when you started the site.

AARON: Back in 2004, Flash was still a bit of an unusual choice to produce a TV series with, and I was working at Warner Bros. Animation on a bunch of pilots. This was post-Mucha Lucha, so it was apparent Flash could be used to create a series, but it was still a bit perplexing for some of the executives running the studio. I started ColdHardFlash (at first on blogger) mainly as a way to communicate the rapid rise of Flash as a TV series solution. I envisioned it as a bit of a research project – or an “online masters” – where I would detail the landscape of digital 2D animation. I would catalog who was using it, how and why. I also figured that by listing the number of shows that were using the software I would substantiate my case that Flash was a fantastic way to produce for TV.

AJAR: How long was it before you noticed that CHF had become really successful and what was the turning point?

AARON: It was a few months after my first posts – maybe when I launched the Adam Phillips interview in June of 2005. There wasn’t a great deal of “news” coverage of this up swell in independent Flash animation, and I think I hit a nerve, pretty much by accident. YouTube had just arrived on the scene and it was allowing indie artists the chance to broadcast like the big dogs.

AJAR: Congratulations on CHF recently being listed in Animation Magazine’s “13 People, Platforms and Trends That Are Reshaping Our World”! What specific trends have you noticed in response to CHF that have “reshaped” the Flash animation landscape?

AARON: Well, the biggest one is the rise of the indie animator. The internet has given anyone the ability to reach millions, and Flash, and other similar software like Toon Boom, concurrently allowed animators the ability to quickly become an army of one. This resulted in small teams like the Chapman Brothers (Homestar Runner) and The Brothers McLeod (Fuggy Fuggy) to set out on their own, without the need for a studio to prop them up. Guys like Joe Shields and Xeth Feinberg had been doing this same thing since long before YouTube, but sites like this have given artists a much easier path to broad distribution. I also think that in 5 years time, we’ll see a whole slew of services built up around these types of artists that help them build revenue, allowing them more time to focus on the creative. There are already some – like Zazzle – but I suspect these types of services will start sprouting up all over the place.

AJAR: How has CHF changed over the past 5 years, and what lessons did you take from CHF when you started Lineboil?

AARON: First and foremost – I can’t do it alone. Running a niche “news and entertainment” site like ColdHardFlash isn’t entirely overwhelming, but adding a second site was. I knew that if I was going to build a second site, I’d need help. That’s why I invited contributors to join me – and we’ve now got a small team of really talented folks who help me do the research and writing.

AJAR: How has feedback affected your sites?

AARON: I get tons of feedback, and I feel like I’m fairly sensitive to it. Primarily, I’m interested in feedback on the material I put on the sites, and if commenters really stomp on a short film or a post I write, I process this info and often adjust my taste-meter.

AJAR: You frequently have several posts per day on both CHF and Lineboil. What kinds of work habits have you developed in order to maintain your blogs?

AARON: I’ve placed myself at the center of an enormous amount of info. It’s safe to say that me and my team are one of the primary nerve centers of the worldwide animation community. We’re following over 1,500 YouTube channels, 1,200 blogs and we sift through online animation every morning looking for gold. Plus – we get tons of submissions via the website and email. The result is the syndication of around 25 short films a week. Its exhilarating, but its also time consuming. We offer a timely, curated animation experience, and that means we watch ALOT of animation – every day. But don’t get me wrong – I feel lucky that this is part of my job.

AJAR: Do you have a set of filters or criteria to determine what will make it onto your sites and what won’t?

AARON: My personal taste is the gatekeeper, and it’s not right or wrong – it’s just mine. I’ve developed a sense of what my audience will like, and it’s a mixed bag. The storytelling doesn’t have to rock as long as the animation is strong to excellent. And vice-versa. But I’d say it’s mainly about great animation.

AJAR: Do you have a specific audience in mind as you’re writing each post?

AARON: I have a vague person in mind, as I know the demographics of my viewership. I try to write to them, but I also just write what I know I’d like to read. I also read alot of blogs, and pick up writing techniques and style choices there.

AJAR: What are the most rewarding aspects of working on your sites?

AARON: When someone lands a job or series deal from their work being spotted on one of our sites. I save those emails, as it’s really gratifying. What doesn’t show up on the site is the “traffic cop” job I play – I get lots of emails every week from studios looking for artists, or artists looking for studios, and when I have time – I connect the two. I’ve surely helped land dozens, and probably hundreds of artists in jobs of some sort. THAT’S rewarding.

AJAR: Online communities have changed the processes of authorship and/or collaboration–how does this apply to CHF and Lineboil in particular?

AARON: There’s two conflicting directives for animators on the web – spread your work out to as many as people as you can, but guard it fiercely. I mainly embed videos from YouTube and other video sharing sites, so the ownership issue doesn’t hit my desk, but I’m particularly sensitive to the indie artist’s rights. They’re very vulnerable. Without a phalanx of lawyers and cash, they can’t ward off the legal issues that regularly arise when syndicating their content. It can often result in botched distribution and bitterness. We handle it this way – if you submit a video to us, we are very clear that we make no claims of ownership over the video, and will take it down ASAP should the artist or studio decide.

AJAR: Where do you see Flash animation and the surrounding community heading in the next 5 years?

AARON: Flash animation is now in a competitive landscape. There’s Toon Boom Animate, Anime Studio and several other competing software suites. This is great for Adobe, as nothing spurs innovation like competition (okay, maybe “necessity”). I hope Adobe will continue to listen to the animator’s needs, and perhaps down the road we’ll get our own version or add-on package. We’re getting a bit lost in the evolution of the software.

AJAR: Do you have any additional advice for aspiring animators and/or bloggers?

AARON: Use sites like YouTube to distribute your work, and focus on nurturing your audience there. Having your own site is important, but don’t underestimate the power of YouTube. From where I stand, it’s the only distribution game in town for an animator. The rest are all pretenders to the crown. Vimeo offers a better viewing experience, but the sheer might of YouTube is so dominant. Ignore it at your own peril.

AJAR: Thanks for taking time out to share with us, Aaron!

Careful with this one. It’s easy to miss if you’re accustomed to Actionscript 1 or 2.

stage.width will return the width of the content on the stage and ignore any empty pixels around the edges. So if you only have a 100 px wide rectangle on stage, your stage.width will be 100.

stage.stageWidth will give you the size of the stage, more like Stage.width in Actionscript 2. Use stage.stageWidth if you’re trying to position elements relative to the stage.

Same goes for stage.height and stage.stageHeight.

Point text in Illustrator is a text field that is generated by a click of the text tool. Area text is generated by dragging a rectangle with the text tool. You can scale a area text to make room for more text or to control where the lines end. When you try to scale point text, however, the text itself grows or shrinks to fill the rectangular area. If you inherit a file with lots of point text, it can be difficult to edit.

This script will convert point text and text on a path into area text. You select multiple text fields and the script will convert them all. It does not take into account stories (linked text fields), so use with caution in those cases.

Download
(Compatibility: Illustrator CS – CS5.5)
Convert to Text Area.js
[right-click (ctrl-click on Mac) and choose Save Link As...]

Installation Instructions

Place the Convert to Text Area.js file into the Scripts directory within your Illustrator application directory:

Windows > C:\Program Files\Adobe\Adobe Illustrator {version}\Presets\Scripts
Mac OS X > Applications/Adobe Illustrator {version}/Presets/Scripts

Note: In CS4, the directory path will include a region directory (e.g., Adobe Illustrator CS4/Presets/en_US/Scripts).

Usage

Select text field(s), choose File > Scripts > Convert to Text Area.

Nuff said. Check it out on the Summit Projects Flash Blog.

Here’s a quote from an email I sent to Chris Georgenes and David Stiller on 9/29/08 about an extension idea that I had using the new motion tweens in Flash CS4 (before I’d even used the application):

Given that the new motion tween creates a bezier path, I’m guessing that we’ll have access to creating such a path with JSFL. Which led me to think about creating that path in real-time, similar to the real-time drawing that I’d seen from ScribbleBot on Chris’s blog. Instead of scribbling a line in real-time, I’d be sketching a motion path. There would be a variable to determine “smoothness” so that it doesn’t create an unmananageable amount of new motion keyframes. And it could probably be done with a custom tool rather than a panel, so that the sketching could be done directly on the stage.

That also leads me to wonder if there’s a way to record the armature animation in real-time and convert it to a motion tween, similar to the feature that already exists in After Effects CS3.

I know, I’m a nerd. The first idea there became MotionSketch. I haven’t yet found a way to accomplish the second idea with the armature, but I have a few ideas.

Prior to the release of Flash CS4, I had gotten a little hooked on creating Flash extensions. It’s quite easy to create a classic motion tween with JSFL (Flash Javascript), you can simply make the following call: timeline.createMotionTween(). It was likely that createMotionTween() would remain for legacy support even though the name of the tween had changed from “motion” to “classic.” I’d seen all of the great new motion features demonstrated online, and I expected there might be an equivalent call for a new motion tween. When Lee Brimelow linked to the CS4 documentation, I went right to the Extending Flash section to see what had been added. I didn’t see any additions for the motion features, but I had also previously seen Lee’s post on Flash Camp in San Francisco. Fortunately, I live close to San Francisco and I decided to head over try out the application early, and maybe get a chance to talk with some of the Flash team about any undocumented features.

While at Flash Camp, I spoke with Richard Galvan and he directed me to John Mayhew, the engineer behind the new motion model in Flash. John was very affable and willing to follow up with me, but he didn’t know of any undocumented features offhand. Unfortunately, adding features to the JSFL API is usually somewhat of an afterthought because so much of the development time is spent on the new features themselves. I had a few ideas to use the new 3D features while at Flash Camp as well, but they were similarly left out of the JSFL API.

So I let those ideas go for awhile and focused on a different extension as my Flash Camp project. A few weeks later, I got a little antsy and I starting digging around in the Flash configuration directory for clues. I noticed two files in the Javascript directory named MotionXML.jsfl and MotionClipboard.xml. I started looking around in the JSFL file for undocumented commands that I could use, but to little avail. I think I even put some trace calls into the JSFL to spit out info when copying motion from the Flash IDE. I noticed that even though copying and pasting a new motion tween appeared to work the same way in the Flash interface as copying and pasting a classic tween, a new motion tween was not triggering the calls in the JSFL file. Looking at the XML file, I found that even though copying a motion tween wasn’t using the same JSFL calls, it was saving XML to the same file…just different XML. The classic tweens were generating XML with a root tag of <Motion> and the new tweens were generating a root tag of <AnimationCore>.

Flash seemed to be able to discern which type of motion it was copying or pasting and acting accordingly. So it occurred to me that I could grab the data from the motion clipboard and alter it before pasting it back. Additionally, if I wanted data from an existing tween, I could run a Copy Motion command, available to JSFL as of Flash CS3 thanks to Robert Penner’s Copy Motion feature, then go about altering and pasting. These are the extensions that I’ve created thus far using that very technique:

• EaseCaddy
• MotionSketch
• MotionBlur

Below is a rundown of the steps I used in the extensions mentioned above. This technique can be used in lieu of the non-existent timeline.createMotionObjectTween() command. I refer to this as a “hack” because it’s an unsupported method, but given the complexity of what can be created with this new motion model, editing the XML is actually a fairly efficient way to go about creating/editing a tween. If the XML is not properly formed, it can cause Flash to crash when you try to paste the motion, or it can create some funky bugs in the Motion Editor. Be sure to test your code thoroughly before releasing anything for public consumption. The language is JSFL (used to automate and manipulate the Flash authoring environment). There’s a link to documentation for the AnimationCore XML listed in step 3.

(more…)