Sorry that the audio quality is so low. The video was recorded in a hurry. Now, back to work…

Shameless plug: Incidentally, if you’re going to MAX, look for the Creating Extensions in Flash CS4 lab that I’ll be leading.

The difficulty then becomes going through each keyframe and setting the startFrame property (listed in the Property inspector as First). This can be quite tedious over hundreds or thousands of frames. The request for this extension came from an animator on the Cold Hard Flash forum. It will search selected frames for graphic symbols and set their startFrame property to match the timeline.

Download
(compatibility: Flash MX 2004 and up)
Sync Symbols to Timeline.mxp

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!

It works best if you run the extension after you’ve completed all easing and other adjustments on the tween first. If have to you adjust your path or motion easing, you can simply run the MotionBlur command again to re-calibrate.

The motion curves for blur x and blur y are optimized as well, so they add as few new keyframes to your tween as possible. The amount of blur is also adjusted based on the document’s frame rate (higher frame rate = faster animation = more blur).

Download
(Compatibility: CS4)
MotionBlur.mxp

Video demos

• Introduction to easing
• Using the EaseCaddy panel

I should clarify somewhat. The Motion Presets panel that comes with CS4 is a great way to store and quickly apply entire animations that include easing. In fact, I modeled the visual design and functionality of EaseCaddy on the Motion Presets panel. But what if you want to apply an ease from a motion preset, but not overwrite your existing animation? Or apply the effect to a different property? Hence I’ve titled this post, “The Missing Flash Panel.”

The EaseCaddy panel allows you to store your custom eases and re-apply them. You can save your eases to a file and send them to someone else. You can save both classic (pre-CS4 motion tween) eases and object (new motion tween, as of CS4) eases, and apply one to the other. So you can even save eases from your Flash CS4 Motion Editor panel and send them to someone who has Flash CS3, or open up old files and reuse your classic tween eases on the new motion tweens. EaseCaddy will translate them for you. The panel is sortable by column, and has a filter field, in case you collect a large number of eases. Eases within the panel can be renamed by simply double-clicking on their names. There’s an adjustable preview at the top gives an approximation of the easing curve. I used Singularity’s FastBezier Actionscript class to draw quadratic bezier curves from the cubic curve data (explanation here).

When applying a stored ease to a new motion tween, you can choose to apply it to the available properties that currently have keyframes. This keeps you from having to open the massive Motion Editor editor panel, while still taking advantage of much of the power and flexibility that the new motion model offers. And, since recording the demo, I’ve also added an overwrite option to this box. If you want the settings to overwrite existing applied eases, you can check this box. For instance, suppose you just applied an ease to X, Y, and rotation (Z)–the default–, but you only wanted the ease to be applied to Y. You can re-apply the ease and uncheck X and rotation, and check the box that says, “Set unchecked properties to ‘No Ease’.” This will remove the first ease that you applied from the X and rotation properties, and apply the new ease to the Y property only.

When you import and export, you can any number of the eases available.

I used many of the same techniques that I created for the MotionSketch tool to interact with the new tweening model. I’m still planning to post a technical explanation on that process if anyone is interested. The EaseCaddy panel is available (free) for CS3 and CS4. There are three reasons why it’s not compatible with earlier versions of Flash: 1) Actionscript 3 components are much more powerful, 2) There’s a lot of XML manipulation in this extension, which would have been a nightmare, until E4X was introduced to JSFL and Actionscript in Flash CS3, 3) Some on the JSFL commands were not available prior to CS3. I used several of Peter DeHaan’s articles on Flash components to get up to speed with some of the AS3 components; I’d highly recommend them.

Download
(compatibility: Flash CS3, Flash CS4)
EaseCaddy.mxp

[I'm using Jing for video capture, which is nice because it's free, but it crashes constantly and has some other issues that I won't go into here. If you like this extension and/or you like the video demos/tutorials on this site, you can donate using the link on the right side so that I can invest in some better video capture software.]

I got the idea for this extension from Lee Brimelow’s excellent tutorial on the Motion Preset panel. Since I imagine that I’ll be creating a lot of my own motion presets, and I’d like them to have live previews just like the default presets, I decided to automate the process.

Here’s how it works:
Once you’ve created a custom motion preset, you can use this command to immediately create a live preview from your current document. This assumes that the motion preset is the only thing in your document. If that’s not the case, you may want to open a new document, paste the animation, and run the command from there.

Feedback welcome.

UPDATE:

• Version 1.1.0 now supports multiple languages. Thanks to jeanphilippe for the catch!
• Know issue: Preview is not retained if the preset is moved to a different folder within the Motion Preset panel. This is because Flash does not keep track of the preview files, it just knows to look for them.

Download
(compatibility: Flash CS4)
Export as Motion Preset Preview.mxp

Check out the video clips.