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In the bouncing ball example, you could help keep file size down by making the ball a symbol so that adding another keyframe for the ball in a new position adds little to the size of the file.
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Adding keyframes, however, also adds to your final movie's file size, which in turn affects the download time for people viewing your movie over the Web. With frame-by-frame animation, the more frames you add, the smaller you can make the differences between frames and the smoother the action is. To make the most efficient use of your graphic, convert the circle to a symbol (see Chapter 7). In keyframe 1, draw a circle near the top of the Stage. Near the top of the Stage, draw a circle ( Figure 8.22).įigure 8.22.

In the Tools panel, select the oval tool. This setting makes it easy to keep track of what you do in the example. Use the Frame View pop-up menu to set the Timeline to Preview in Context mode. Choose View > Grid > Show Grid to help you reposition your graphics in this task. To set up the initial keyframeĬreate a new Flash document, and name it something like Frame-by-Frame Bounce.īy default, Flash creates a document with one layer and a keyframe at frame 1. You can create a crude bouncing ball in just three frames. You learn more about tweening in Chapters 9 and 10.Ī classic example of frame-by-frame animation is a bouncing ball. When you create only the most crucial snapshots and allow Flash to interpolate the minor changes that take place between those snapshots, you're creating tweened animation.
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When you create each of these drawings and place them in a series of keyframes, that process is called frame-by-frame animation. In traditional cel animation or flip-book animation, you create the illusion of movement by showing a series of images, each slightly different from the rest, simulating snapshots of the movement.
