Note: In Flash CS3, many of the properties and methods supported by this class were members of this class, exclusively.
Flash CS4 introduced a base class, KeyframeBase, for those properties and methods of this class, and they are now shared by other classes through the inheritance chain. If you have been working in Flash CS3, notice that these properties and methods are still supported by the Keyframe class, but are members of the KeyframeBase class in releases of Flash Professional after Flash CS3.
As with any other class in this reference, select Show Inherited Public Properties and Show Inherited Public Methods to see all of the properties and methods supported by this class.
An array that contains each tween object to be applied to the target object at a particular keyframe. One tween can target all animation properties as with standard tweens on the Flash authoring tool's timelineor multiple tweens can target individual properties as with separate custom easing curves.
A flag that controls whether scale will be interpolated during a tween. If falsethe display object will stay the same size during the tween, until the next keyframe.
Stores the value of the Snap checkbox for motion tweens, which snaps the object to a motion guide. It is included here for compatibility with the Flex 2 compiler. Stores the value of the Sync checkbox for motion tweens, which affects graphic symbols only.
Filters: Retrieving Data from Server Retrieving Data from Server Classes x. Package fl. The primary animation properties are positionscalerotationskewand color. A keyframe can, optionally, define one or more of these properties. For instance, one keyframe may affect only position, while another keyframe at a different point in time may affect only scale. Yet another keyframe may affect all properties at the same time. Within a motion tween, each time index can have only one keyframe.
A keyframe also has other properties like blend modefiltersand cacheAsBitmapwhich are always available. For example, a keyframe always has a blend mode.
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Keyframe - AS3 Flash
Please see the instructions page for reasons why this item might not work within Source Filmmaker. This item will only be visible to you, admins, and anyone marked as a creator.[FREE SCRIPT]-Marker Keyframe Trigger in One Click - After Effect
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This script is a port of Chris Zurbrigg's original script for Maya. The player download and other info of the player can be found Here. AsmodeusTheSexLord 25 Nov, am. Dank Tank Gank Wank Spank Bank, true but, there is a free version available, plus you can overlay the video on the viewport. AsmodeusTheSexLord 24 Nov, pm. MechaNecromancer 7 Apr, pm. This looked so perfect, then I saw the price tag.Specify a list of times, positions, and orientations to be followed by an object.
The object will be smoothly moved between keyframes by the simulator. Collisions with other nonphysical or keyframed objects will be ignored no script events will fire and collision processing will not occur. Collisions with physical objects will be computed and reported, but the keyframed object will be unaffected by those collisions. The physical object will be affected, however.
Maya to Keyframe MP
Each keyframe is interpreted relative to the previous transform of the object. This would cause the object to move up 10m over the course of 5s. It would then remain at the location for 5s before moving down 10m over the course of another 5s.
Linear and angular velocities will be clamped to limits set by the simulator values TBD. An empty list will terminate any keyframed animation currently playing. The following flags will be supported within the options list:.
Inter-region movement is supported; simply specify a target keyframe that would place the object outside the sim boundaries and it will cross over.
This seems to provide the same effect as pausing the animation when it is in limbo between the two regions, but the viewer continues to interpolate its movement. It will jump back to the sim border and continue on the same speed, although the time between waypoints will be increased due to the sim crossing. Make sure you factor this into your system. Since keyframed motion is a prim property rather than restricted to the script that called it, you can use multiple scripts to control, pause, or restart the same keyframed motion without passing the original keyframe list provided.
Under some circumstances, rotations will generate a run-time error unless they are normalized. This script illustrates a way to use llKeyframedMotion to create a follower -- think, for example, of a cart behind a vehicle -- using normalized target rotation. Targeted coordinate systems: The Translation is in Global coordinates, the Rotation in Local coordinates.
This is how they move, Non-phys life for my critters Smooth, no collisions. Jump to: navigationsearch. Summary Function : llSetKeyframedMotion list keyframeslist options ;? Must be specified when the keyframe list is provided. By default both rotations and translations must be provided. If you specify one or the other, you should only include translations or rotations in your keyframe list.
Must be specified at the time the keyframe list is provided. PAUSE will pause the animation without resetting. PLAY will resume a paused or stopped animation. Caveats This function does not work in attachments.
This function can only be called on NON-physical objects. In the future it could be extended to support physical objects, but this is more complicated as collisions could prevent the object from reaching its goal positions on time.Implemented in: UnityEngine. Thank you for helping us improve the quality of Unity Documentation.
Although we cannot accept all submissions, we do read each suggested change from our users and will make updates where applicable. For some reason your suggested change could not be submitted. And thank you for taking the time to help us improve the quality of Unity Documentation. Is something described here not working as you expect it to? It might be a Known Issue. Please check with the Issue Tracker at issuetracker. Version: Language English. Scripting API.
Suggest a change. Submission failed For some reason your suggested change could not be submitted. Description A single keyframe that can be injected into an animation curve. Properties inTangent Sets the incoming tangent for this key.
The incoming tangent affects the slope of the curve from the previous key to this key. The incoming weight affects the slope of the curve from the previous key to this key. The outgoing tangent affects the slope of the curve from this key to the next key. The outgoing weight affects the slope of the curve from this key to the next key. Constructors Keyframe Create a keyframe. Publication Date: Sets the incoming tangent for this key.Keyframes are used to set parameters for motion, effects, audio, and many other properties, usually changing them over time.
A keyframe marks the point in time where you specify a value for a layer property, such as spatial position, opacity, or audio volume. Values between keyframes are interpolated. When you use keyframes to create a change over time, you typically use at least two keyframes—one for the state at the beginning of the change, and one for the new state at the end of the change.
When the stopwatch is active for a specific property, After Effects automatically sets or changes a keyframe for the property at the current time whenever you change the property value. When the stopwatch is inactive for a property, the property has no keyframes. If you change the value for a layer property while the stopwatch is inactive, that value remains the same for the duration of the layer. When the stopwatch is active for a specific property, After Effects automatically adds or changes a keyframe for the property at the current time whenever you change the property value.
Click the keyframe navigator button for the layer property. To turn auto-keyframe mode on, choose Enable Auto-keyframe from the Timeline panel menu. When Auto-keyframe mode is enabled, modifying a property automatically activates its stopwatch and adds a keyframe at the current time. Auto-keyframe mode is off by default. When Auto-keyframe mode is off, modifying properties and animating with keyframes behave as in previous versions of After Effects. After you set the initial keyframe for a property, After Effects displays the keyframe navigator.
You can use the keyframe navigator to move from keyframe to keyframe or to set or remove keyframes. When the keyframe navigator box is filled with a diamond, the current-time indicator lies precisely at a keyframe for that layer property. When the keyframe navigator box is not filledthe current-time indicator lies between keyframes. For instructions for moving the current-time indicator to other elements and times, see Move the current-time indicator CTI.
In Graph Editor mode, the appearance of a keyframe icon depends on whether the keyframe is selected, unselected, or semi-selected another keyframe in the same property is selected. Selected keyframes are solid yellow. Unselected keyframes retain the color of their corresponding graph.
Semi-selected keyframes are represented by a hollow yellow box. When you select one or more keyframes, the keyframe menu becomes available at the bottom of the Graph Editor. Displays the value of the selected keyframe. If more than one keyframe is selected, the Display Value command is available, which displays the value of the highlighted keyframe in the selection.
Holds the property value at the value of the current keyframe until the next keyframe is reached. Analyzes amplitude within the composition work area and creates keyframes to represent the audio. Convert Expression To Keyframes. Analyzes the current expression and creates keyframes to represent the property values it describes.
Automatically adjusts the influence into and out of a keyframe to smooth out sudden changes. When you click the stopwatch button to deactivate it, keyframes for that property are permanently removed and the value of that property becomes the value at the current time. You cannot restore deleted keyframes by clicking the stopwatch button again.
Deleting all keyframes does not delete or disable expressions. Note: Click the Enable Expression button to toggle the expression on and off, which toggles the keyframes off and on as a side effect.
Jeff Almasol provides a script on his redefinery website that automatically removes keyframes based on specified criteria—for example, all keyframes in the work area, all odd-numbered keyframes. Buy now. Setting, selecting, and deleting keyframes Search.
Adobe After Effects User Guide. Select an article: Select an article:. On this page What are keyframes?Before you change a keyframe, make sure that the current-time indicator is positioned at an existing keyframe. If you change a property value when the current-time indicator is not at an existing keyframe, After Effects adds a new keyframe. However, if you double-click a keyframe to modify it, the current-time indicator location is not relevant, nor is it relevant when you change the interpolation method of a keyframe.
Jeff Almasol provides a script on his redefinery website that creates new layer markers either on the selected layer or on a new null layer with comments that provide information about keyframes at the same times. You can copy keyframes from only one layer at a time. When you paste keyframes into another layer, they appear in the corresponding property in the destination layer. The earliest keyframe appears at the current time, and the other keyframes follow in relative order.
The keyframes remain selected after pasting, so you can immediately move them in the destination layer. You can copy keyframes between layers for the same property such as Position or between different properties that use the same type of data such as between Position and Anchor Point. Note: When copying and pasting between the same properties, you can copy from more than one property to more than one property at a time.
However, when copying and pasting to different properties, you can copy only from one property to one property at a time. You can copy and paste keyframe data as tab-delimited text for use in a spreadsheet program such as Microsoft Excel or other text-editing program.
You can use a spreadsheet program to perform numerical analysis on keyframe data or create or edit keyframe values. You can copy and paste most properties, including the Transform properties such as Position and OpacityMaterial Options properties, and motion trackers.
Note: You can use the motion tracking tools to track the motion of an object in a layer, and then paste the tracker data into a spreadsheet to perform numerical analysis on the data. Some utility applications, such as Imagineer Systems mocha for After Effects mocha-AEcopy keyframe data to the clipboard so that you can paste it into the appropriate layer in After Effects.
Note: Place a composition marker at the time of the first selected keyframe so that you will know where to paste the modified keyframes in the last step. See Layer markers and composition markers.
Select the cells that contain your data. The upper-left cell in your selection should be A1. The bottom row of your selection should be the row that contains the text End of Keyframe Data.
Jeff Almasol provides a versatile script on his redefinery website that creates a panel with controls for moving various combinations of items in time—layer In point, layer Out point, layer source frames, keyframes, and markers. With multiple keyframes selected, you can copy or delete them simultaneously or move the keyframes together without changing their positions relative to each other. Note: You can also move selected keyframes in time one frame earlier or later by pressing the Alt Windows or Option Mac OS key with the left arrow or right arrow key.
In layer bar mode, hold down Shift after you begin to drag a keyframe icon to the current-time indicator. You can change the values of multiple keyframes on multiple layers at one time; however, all keyframes you select must belong to the same layer property. The way the selected values change depends on the method you use to make the change:. If you change a value numerically, all selected keyframes use the new value exactly. In other words, you make an absolute change.
For example, if you select several Position keyframes on a motion path and numerically specify a Position value for one of them, all selected keyframes change to the same position value. If you change a value by dragging the underlined value, all selected keyframes change by the same amount. In other words, you make a relative change. For example, if you select several Position keyframes on a motion path and drag the underlined value for one of them, all selected keyframe values change by the same amount.
If you change a value graphically in the Composition or Layer panel, all selected keyframes change using the difference between the old and new values, not the values themselves. For example, if you select several Position keyframes on a motion path and then drag one of them 10 pixels to the left, they all move 10 pixels to the left of their original positions.
You can also change the value of several layers at once in layer bar mode by parenting them. With KeyTweak, you can modify a few keyframes manually, and the script modifies the remaining keyframes in between accordingly. KeyTweak is especially useful for Mask Path keyframes in a rotoscoping workflow.
See Rotoscoping introduction and resources. A value graph in the Graph Editor displays the values for each keyframe and the interpolated values between keyframes.Sometimes you may want to embellish your animated motions with a bit of physical realism.
For example, you may have a layer quickly scale up from zero to percent and you want to add a little overshoot and oscillation and have it finally settle in at percent. Another example would be if you have an object falling into frame and you want it to bounce a little when it hits bottom. These two scenarios seem similar, but they represent very different physical processes. Either of these simulations can be created with expressions, but it is important to pick the correct one.
In this article, I'll cover these animation tools in detail and present some tips on how and when to apply them. In both bounce and overshoot scenarios, you are dealing with decaying amplitude.
With overshoot, you are generally dealing with a harmonic oscillation, like you would have with a pendulum or a spring. That means the frequency remains the same at the resonant frequency of the object as the amplitude decays. This is often simulated with an exponentially decaying sine wave.
It's a straightforward solution, although there is definitely a trick to getting the initial amplitude to match up correctly with the incoming animation.
This is the waveform of an exponentially decaying sine wave used to simulate harmonic resonance. Notice that the frequency is constant as the amplitude decays.
Bounce is a completely different beast. When an object bounces, it loses energy on each bounce, which affects both the amplitude and the frequency. As the amplitude of the bounces decrease, they happen more often.
That means a sine wave simulation is not adequate for a bounce. In fact, the bounce waveform is actually a series of parabolas of decreasing amplitude. The object stops at the top of the bounce and then accelerates due to the force of some gravity-like phenomenonso the math involved is completely different. This waveform is generated by a bounce simulation expression.
As it sits, this expression will trigger a decaying sine wave oscillation at the layer's In Point. The first three lines just set the parameters for the waveform: maximum amplitude of 80, frequency of one oscillation per second, and a decay how fast the amplitude diminishes value of one. Variable t is used to calculate the time since the layer's In Point.
All the real math happens in the last line. There are three things going on in the last line. The Math. The sine wave gets multiplied by the amplitude variable amp and that result gets divided by the value of the exponential curve, resulting in the desired exponentially decaying sine wave. That's a handy expression, and sometimes it's all you need.
More often though, you'll want to use the exponentially decaying sine wave to provide some oscillating overshoot at the end of another motion. The trick is to get the amplitude of the overshoot oscillation to match the incoming velocity. The way that you accomplish this depends on the nature of your animation. In some cases, you may have an animation where the incoming velocity is determined by the expression itself.
For example, let's say you want a layer to scale up from zero to percent over a short period of time and then overshoot a little and settle in at percent.
We'll set it up so the animation triggers at the layer's In Point.