free birt barcode plugin Click the tween span, and in the Motion Presets panel, click the Save selection as in Font

Making Quick Response Code in Font Click the tween span, and in the Motion Presets panel, click the Save selection as

6. Click the tween span, and in the Motion Presets panel, click the Save selection as
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preset button (Figure 8-28). You ll be prompted to give the new preset a name. Enter whatever you like (we used bounce-smoosh-alt), and click OK. Scroll to the Custom Presets folder to find your preset.
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Figure 8-28. Motion paths, whether made from scratch or based on presets, can be saved for later reuse. The other buttons in the Motion Presets panel let you create new folders and delete folders or presets. Naturally, you could select the Dancing Fool symbol and apply your newly minted custom preset, but there s another way you can share motion paths.
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7. Right-click (Windows) or Control+click (Mac) the Dancing Fool s tween span, and select Copy
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Motion from the context menu. Now right-click (Windows) or Control+click (Mac) frame 1 of the Mascot layer, and select Paste Motion. Because you used the Align panel to change the position of the original motion path, you ll need to do the same for the copied path, assuming you want the lunatic and the cartoon mouse to fall in sync. It s easy as pie. Although you could certainly use the Edit Multiple Frames workflow discussed in 7 that does still work here you ve learned in this chapter that motion tweens can be repositioned by way of their motion paths.
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8. Using the Subselection tool, click the mascot s motion path to select it. Use the Align panel,
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again, to center the animation vertically to the stage.
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9. Preview the animation. You ll see that both symbols perform the same movements (see Figure
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8-29).
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Figure 8-29. Motion paths can be shared even without the Motion Presets panel. That s impressive enough, but let s redo the last demonstration in a more dramatic way. These last few steps should drive home the notion that, in Flash CS5, motion tweens specifically, motion paths are entities that stand on their own, distinct from the symbol.
10. Select the Dancing Fool symbol at any point along its tween span, and delete the symbol.
When you delete the symbol, the tween span remains, along with all its property keyframes. Visually speaking, the only difference in the tween span is that its first frame, usually a black dot, is now an empty white dot.
11. Click the empty tween span to select it. 12. Drag a copy of the Turtle symbol from the Library, and drop it somewhere on the stage.
Location doesn t matter it can even be on the right side of the existing mascot on the stage. Because you selected the tween span first, the symbol will immediately adopt that span s motion path when you release the mouse to drop the symbol. You can t do that with a classic tween!
Inverse kinematics (IK)
In one of the happiest sequences in Disney s 1940 classic, Pinocchio, the wooden-headed puppet, once freed from the apparatus that formerly helped him move, bursts into song, proudly declaring, I got no strings on me! In Flash CS5, the authors suspect that you, too, will burst into song but for the opposite reason when you see the tools for a feature introduced in Flash CS4 called inverse kinematics (IK). What is this academic, vaguely sinister-sounding term In simple words, IK lets you string up your artwork like a train set, like sausages, or, if you prefer, like a marionette. And when you pull the strings, so to speak, or move one of the connected symbols, your artwork responds like a bona fide action figure. You can use IK to make poseable models and then animate them. Seriously, this feature is way cool, and we think you re going to love playing with it. That said, it s one of the more complicated feature sets in Flash CS5. Stringing up your symbols is easy enough. The official
ANIMATION, PART 2
terminology calls for creating an armature and populating it with bones, which can then be dragged around. Adobe engineers have made this dead simple. The tricky part is a question of how. To a certain extent, you ll find armatures and bones immediately intuitive, but just when you think they make sense, they ll behave in a way that might just strike you as utterly wrong. You ll see what we re talking about in the following exercises, and we ll show you an approach that should give you what you expect. It all starts with something called the Bone tool.
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