Toon Boom
Storyboard Pro 22

User Guide

TOON BOOM ANIMATION INC.

+1 514 278 8666

4200 Saint-Laurent, Suite 1020
Montreal, Quebec, Canada
H2W 2R2

contact@toonboom.com
toonboom.com

Storyboard Pro 22 User Guide

Legal Notices
Toon Boom Animation Inc.
4200 Saint-Laurent, Suite 1020
Montreal, Quebec, Canada
H2W 2R2
Tel: +1 514 278 8666
Fax: +1 514 278 2666
toonboom.com

Disclaimer
The content of this document is the property of Toon Boom Animation Inc. and is copyrighted. Any
reproduction in w hole or in part is strictly prohibited.
The content of this document is covered by a specific limited w arranty and exclusions and limit of liability
under the applicable License Agreement as supplemented by the special terms and conditions for
Adobe® Flash® File Format (SW F). For details, refer to the License Agreement and to those special terms andconditions.

Trademarks
Toon Boom® is a registered trademark. Storyboard Pro™ and the Toon Boom logo are trademarks of Toon
Boom Animation Inc. All other trademarks of the property of their respective ow ners.

Publication Date
09-26-2022
Copyright © 2022 Toon Boom Animation Inc., a Corus Entertainment Inc. company. All rights reserved.

1

Table of Contents

Table of Contents
Table of Contents

2

Chapter 1: Introduction

22

Chapter 1: Installing Toon Boom Storyboard Pro

23

Chapter 2: Projects

28

Starting Toon Boom Storyboard Pro

29

Creating Projects

31

Creating Projects from the W elcome Screen

32

Creating Projects from the File Menu

33

Creating a Project from a Final Draft Script

35

Creating Projects from Harmony Scenes

41

Creating Custom Resolutions

43

Opening Projects

45

About Saving

52

Saving Projects

53

Saving Projects as a Single File

54

Recovering A Project Saved in Storyboard Pro Packed File Format From The Cache

57

Auto-saving Your Project58

Saving Several Versions of a Project

60

Deleting Old Project Versions

62

About Project Optimization

64

Optimizing Projects

65

Optimizing Draw ings

66

Optimization Best Practices

67

Plain Vector Versus Texture Brush

68

Bitmap Import Optimization

69

Flattening Draw ings

70

About Project Backup

71

Backing Up Projects

72

Restoring Backups

73

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Storyboard Pro 22 User Guide

About Project Properties

74

About the File Structure of a Storyboard Pro Project75

Chapter 3: Interface

78

Changing the Theme Colours

80

Changing the User Interface Language

81

About Menus

83

About View s

84

Adding View s

86

Renaming a View

88

Closing View s

89Moving View s

90

Resizing View s

91

Expanding or Collapsing View s

92

About Toolbars

93

Adding and Closing Toolbars

94

Moving Toolbars

95

Customizing Toolbars

96

About W orkspaces

98

Loading W orkspaces

100

Creating a W orkspace

101

Renaming a W orkspace

102

Saving a W orkspace

103

Deleting a W orkspace

104

Show ing and Hiding W orkspaces

105

Reordering the W orkspace List

106

Restoring the Default W orkspace

107

Interface Navigation

108

Chapter 4: Storyboard Structure

112

About Scenes

114

Creating Scenes

115

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Table of Contents

Importing Images as Scenes

118

Deleting Scenes

120

Renaming Scenes

121

Locking and Unlocking Names

123

Splitting Scenes

124

Selecting All Panels

126

Flipping Scenes

127

Expanding and Collapsing Scenes

129

W orking w ith a Collapsed Scene

130

About Panels

131

Creating Panels

132

Renaming Panels

135

Deleting Panels

137

Duplicating Panels

138

Moving Panels

139

Customizing the Panel Colour

142

Copying and Pasting Panels Betw een Projects

144

About Sequences

148

Creating Sequences

149

Renaming Sequences

152

Removing Sequences154

Joining and Splitting Sequences

155

Selecting All Panels in a Sequence

157

About Acts

158

Enabling Acts

159

Starting New Acts

160

Joining Acts

162

Selecting All Panels in an Act

163

Automatically Inserting Images as Acts, Scenes, Panels and Layers

164

Setting a Default Layer Layout for New Panels

168

4

Storyboard Pro 22 User Guide

Regenerating Thumbnails

169

Chapter 5: Script and Captions

170

W riting a Script in Storyboard Pro

172

Changing the Text Format in the Script and in Captions

173

Setting the Default Caption Format

177

Importing a Script

178

About Caption Fields

180

Adding Captions

181

Renaming Captions

184

Deleting Captions

185

Saving the Caption Layout as Default

186

Expanding and Collapsing Captions

187

Hiding Captions

188

Adding Text to Captions

189

Searching Text in Captions

192

Searching and Replacing Text in Captions

194

About Editing a Project's Captions in a Spreadsheet Editor

197

Exporting Captions to CSV

198

Editing a CSV File Exported by Storyboard Pro

201

Importing Captions from a CSV File202

Adding Sketch Captions

204

About Spell Checking

207

Enabling and Disabling Automatic Spell Checking

209

Changing the Language Dictionary for Spell Checking

210

Finding and Correcting Spelling Mistakes

212

Adding W ords to the Personal Dictionary

216

Removing W ords from the Personal Dictionary

218

Chapter 6: Layers

220

View ing the List of Layers

221

About Layer Types

224

5

Table of Contents

Adding Layers

226

Selecting Layers

227

Duplicating Layers

228

Renaming Layers

229

Deleting Layers

230

Copying Layers

231

Reordering Layers

233

Grouping Layers

236Show ing and Hiding Layers

238

Locking and Unlocking Layers

240

Transforming Layers

242

Resetting Transformations

245

Merging Layers

246

Changing Layer Opacity

249

Converting a Template or Group to a Draw ing Layer

250

Converting Layers betw een Bitmap and Vector Layers

251

Setting Textured Vector Brush Resolution

253

Setting the Resolution of Bitmap Layers

255

Importing Images as Layers

257

Vectorizing Images on Import

261

Chapter 7: Drawing

264

About Draw ing Tools

265

About the Brush Tool

270

Draw ing w ith the Brush Tool

272

Creating a Solid Brush

274

Creating a Textured Brush

278

Configuring a Textured Brush Tip

279

Adding a Brush Tip

283

Renaming Brush Tips

285

Deleting Brush Tips

286

6

Storyboard Pro 22 User Guide

Exporting Brush Tips

287

Importing Brush Tips

289

Changing the Brush Tip Display

291

Configuring Smoothing for a Textured Brush292

Configuring Antialiasing and Transparency for a Textured Brush293

Configuring a Textured Brush w ith a Dual Tip

295

Configuring a Brush w ith a Paper Texture299

Adding a Paper Texture

301

Renaming a Paper Texture

303

Deleting Paper Textures

305

Exporting Paper Textures

307

Importing Paper Textures

309

Changing the Paper Texture Display

311

About Brush Presets

312

Creating a Brush Preset

313

Selecting a Brush Preset

314

Updating a Brush Preset

315

Renaming a Brush Preset

316

Deleting a Brush Preset

317

Exporting Brush Presets

318

Importing Brush Presets

319

Changing the Brush Preset Display

320

Painting w ith the Stencil Brush tool321

About the Brush Tool Modes

326

About the Pencil Tool

330

Draw ing w ith the Pencil Tool

331

Converting Pencil Lines to Brush Strokes

333

Using Pencil Presets

334

Creating a Pencil

339

About Pencil Line Textures342

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Table of Contents

Draw ing w ith Pencil Textures

343

Applying Texture to a Pencil Line

345

Editing a Pencil Line's Texture

347

About the Pencil Tool Modes

349

About the Rectangle, Ellipse and Line Tools

352

Draw ing lines w ith the Line Tool

353

Draw ing Curved Lines w ith the Line Tool

354

Draw ing shapes w ith the Rectangle or Ellipse tools

357

About the Rectangle, Ellipse and Line Tool Modes

358

About the Polyline Tool

363

Draw ing w ith the Polyline Tool

364

About the Polyline Tool Modes

365

About the Stamp Tool

368

Creating a Stamp370

Creating a Multi-Draw ing Stamp

372

Configuring a Stamp

375

Updating a Stamp

381

Draw ing w ith the Stamp Tool

383

Renaming Stamps

385

Deleting Stamps

386

Exporting Stamps

387

Importing Stamps

388

Changing The W ay Stamps Are Displayed

389

Stamp Tool Modes390

About the Eraser Tool

391

Erasing392

Creating a Solid Eraser

394

Creating a Textured Eraser

398

About Eraser Presets

400

Creating an Eraser Preset

401

8

Storyboard Pro 22 User Guide

Selecting an Eraser Preset

402

Updating a Brush Preset

403

Renaming an Eraser Preset

404

Deleting a Brush Preset

405

Exporting Eraser Presets

406

Importing Eraser Presets

407

Changing the Brush Preset Display

408

About Eraser Tool Modes

409

About the Select Tool

411

Selecting Artw ork w ith the Select Tool

412

Transforming Artw ork w ith the Select Tool.

413

Copying Artw ork on Multiple Panels

417

Editing Artw ork on Multiple Panels

419

Flattening a Selection

421

Grouping Objects

422

Converting Strokes

423

Using the Select by Colour Tool

424

About the Select Tool Modes

425

About the Cutter Tool

427

Cutting Artw ork

428

About the Cutter Tool Modes

433

About the Contour Editor Tool

436

Reshaping w ith the Contour Editor Tool

437

Smoothing a Selection

440

About the Contour Editor Tool Modes

441

About the Centerline Editor

444

Reshaping Brush Strokes Using the Centerline Editor

446

Centerline Editor Tool Modes

450

About the Perspective Tool

451

Deforming a Draw ing Using the Perspective Tool

9452

Table of Contents

About the Perspective Tool Modes

453

About the Text Tool

455

Adding Text

456

Formatting Text

457

Resizing the Text Box

460

Breaking Text

461

About Tool Presets

462

Creating Tool Presets

463

Updating Tool Presets

466

Deleting Tool Presets

467

Importing and Exporting Tool Presets

468

Locking the Tool Preset Layer Selection

469

About Draw ing Space Navigation

470

Zooming the Stage View

471

Panning the Stage View

472

Rotating the Stage View

473

About Draw ing Space Efficiency

474

Displaying the Grid

475

Using the Light Table

477

About Onion Skin

478

Enabling the Onion Skin

479

Setting the Amount of Neighbouring Panels to Include in Onion Skin

480

Enabling Onion Skin for the Current Layer Only

482

Excluding Layers from the Onion Skin

484

Flipping Through Onion Skin-Enabled Panels

486

Selecting Specific Panels to Include in Onion Skin

487

About Quick Sw ap Shortcut

488

Antialiasing OpenGL Lines

489

Changing the Draw ing Tool Cursor

491

About Pen Stabilization

492

10

Storyboard Pro 22 User Guide

Using Draw ing Tool Stabilization

494

About Pen Pressure Curve Customization

496

Customizing the Pen Pressure Curve

497

About Alignment Guides

500

Adding Alignment Guides

501

Moving Alignment Guides

502

Snapping to Alignment Guides

503

Locking and Unlocking Alignment Guides

504

Hiding and Displaying Alignment Guides

505

Clearing Alignment Guides

506

About Draw ing Guides

507

Adding Draw ing Guides

514

Selecting the Active Draw ing Guide

516

Renaming Draw ing Guides

518

Editing Draw ing Guides

520

Adjusting a Ruler Draw ing Guide

521

Adjusting a Square Grid Draw ing Guide

523

Adjusting an Isometric Perspective Draw ing Guide

525

Adjusting a 1-Point Perspective Draw ing Guide

528

Adjusting a 2-Points Perspective Draw ing Guide

530

Adjusting a 3-Points Perspective (Bird's-Eye View ) Draw ing Guide

532

Adjusting a 3-Points Perspective (W orm's Eye View ) Draw ing Guide

534

Adjusting a 3-Points Perspective (Horizontal Pan) Draw ing Guide

536

Adjusting the 3-Points Perspective (Vertical Pan) Draw ing Guide

538

Adjusting a 4-Points Continuous Perspective Draw ing Guide

540

Adjusting a 4-Points Perspective (Vertical Pan) Draw ing Guide

542

Adjusting a 5-Points Perspective (Fisheye) Draw ing Guide

545

Locking Guides to Prevent Editing Them

547

Draw ing w ith Draw ing Guides

548

Locking Draw ing Strokes to a Specific Axis

550

11

Table of Contents

Draw ing Freehand Perspective w ith Draw ing Guides

551

View ing Draw ing Guide Reference Lines

552

Minimizing Guide Cursor Axes Display

553

Erasing Using Draw ing Guides

554

Enabling and Disabling Draw ing Guides

555

Reordering Draw ing Guide Lists

556

Cutting and Pasting Draw ing Guides

557

Copying & Pasting Draw ing Guides

558

Exporting and Importing Draw ing Guides

559

Deleting Draw ing Guides

560

Automatically Filling Draw ings w ith a Matte

561

Blurring Artw ork

565

Sharing Draw ings

567

Chapter 8: Colour

568

About Colour Space Management in Storyboard Pro

569

About Colour Spaces

570

Setting Project Colour Space

573

Setting Export Colour Space

575

About Colour Sw atches

577

Changing the Current Colour

578

Adding Colour Sw atches

581

Renaming Colour Sw atches

583

Deleting Colour Sw atches

584

Creating Gradients

585

Sharing Colour Palettes

586

About Colour Tools

587

About the Paint Tool

588

About Painting Modes

589

Painting

590

Using the Dropper Tool

592

12

Storyboard Pro 22 User Guide

Using the Edit Gradient - Texture Tool

594

Using the Close Gap Tool

597

About Colour Models

599

Opening the Model View

600

Importing and Deleting Models

601

Navigating the Reference View

604

Using Models

605

Chapter 9: Timing

610

About the Panel Duration

611

Changing the Panel Duration

612

Setting the Panel's In and Out Point

616

Splitting a Panel at the Current Frame

618

Locking the Scene Duration

619

Selecting All Panels Forw ard

621

About Animatic Editing Mode

622

Enabling and Disabling Animatic Editing Mode

623

Adjusting the In-Point and Out-Point of Panels in Animatic Editing Mode

624

Moving Panels In Gaps

628

Rippling Panels in Animatic Editing Mode

629

Clearing and Deleting Panels in Animatic Editing Mode

630

About Playback633

Playing Back the Animatic

634

High Quality Playback

635

About Markers

638

Creating Markers on a Current Frame

639

Deleting Markers

640

Editing Markers

641

Displaying Marker Tooltips

644

Moving Markers

645

Exporting Markers to Toon Boom Harmony

646

13

Table of Contents

Chapter 10: Animation

648

Animating Layers

649

Moving the Pivot Point of a Draw ing Layer

655

Adding Ease-In and Ease-Out to a Layer Animation

658

Copying and Pasting Keyframes

661

Spreading the Layer Motion

664

About Animation Functions

665

Tw eaking an Animation Path

669

Chapter 11: Camera

674

About the Stage and Camera View s

675

Positioning the Camera

676

Resetting the Camera

678

Copying and Pasting the Camera

679

About Camera Movements

682

Adding Keyframes

684

Deleting Keyframes

688

Animating Keyframes

689

Timing Keyframes692

Spreading Camera Motions Across Panels

694

Adding Ease-In and Ease-Out to a Camera Animation

695

Snapping Keyframes to Sound Clips

697

Syncing Keyframes

698

About the Camera Path

699

Adding Control Points

701

Deleting Control Points

703

Adjusting the Curve of a Camera Movement

704

Pinning Layer to Camera

706

Chapter 12: 3D

708

About Staging in 3D Space

709

Converting the Current Scene to 3D

710

14

Storyboard Pro 22 User Guide

Resetting the Current Scene to 2D

711

View ing Objects from the Top and Side

712

Positioning 2D Objects in 3D Space

713

Moving Layers in the 3D Space and Maintaining their Size

718

Draw ing on 2D Layers in a 3D Space

720

Navigating the 3D Space

721

About 3D Objects

724

Importing 3D Objects to your Project Library

725

About Adding 3D Models to 3D Scenes

727

About the Scale Factor of 3D Objects

728

Setting the Scale Factor for a 3D Model

730

Determining the Scale Factor for a 3D model

732

Setting the Default Scale Factor for 3D Models

734

Adding a 3D Object to a Panel in a 3D Scene

735

Positioning, Rotating and Scaling 3D Objects

736

Positioning, Rotating and Scaling 3D Sub-Objects

739

Resetting a 3D Object's Position

742

Animating 3D Objects

744

Separating 3D Sub-Objects for Animation

748

Creating 2D Layers on Surface of 3D Objects

751

Snapping to Surface or Ground752

Changing the Display Mode of 3D Objects

755

Replacing a 3D Object in your Project

757

About Adding 3D Models to 2D Scenes

758

Adding a 3D Object as a Rendered Image in a 2D Scene

759

Repositioning a Rendered 3D Model in a 2D Scene

763

About 3D Camera Movements

767

Animating the 3D Camera

769

Aligning 2D Layers w ith a 3D Camera

772

Chapter 14: Sound

774

15

Table of Contents

About Audio Tracks

775

Adding Audio Tracks

776

Importing Audio Tracks

777

Renaming Audio Tracks

778

Reordering Audio Tracks

779

Deleting Audio Tracks

780

Muting Audio Tracks

781

Using Solo Mode w ith Audio Tracks

782

Locking Audio Tracks

783

Enabling and Disabling Audio Track Synchronization

785

About Sound Clips

788

Importing Sound Clips

789

Recording Sound Clips

793

Adding Effects

795

Deleting Sound Clips

798

Moving Sound Clips

799

Adjusting the In and Out Points of Sound Clips

800

Snapping Sound Clips

802

Copying and Pasting Sound Clips

803

Splitting a Sound Clip

805

Selecting All Sound Clips

806

Marking Sound Clips w ith Colours

807

Searching Sound Clips

809

About Sound Playback and Display

811

Enabling Audio Playback812

Enabling Audio Scrubbing

813

Displaying W aveforms

814

Changing the Audio Track Height

815

Show ing or Hiding the Sound Clip Name

816

About Volume & Gain

817

16

Storyboard Pro 22 User Guide

Displaying Volume Envelope

818

Adjusting Volume819

Changing Speed or Duration

821

Interpolating the Volume of Sound Clips

822

Setting the Audio Gain for Sound Clips

825

Chapter 15: Video and Image Clips

828

About Video Clip Format

829

About Video Tracks

832

Adding Video Tracks

833

Renaming Video Tracks

834

Reordering Video Tracks

835

Deleting Video Tracks

836

Hiding and Displaying Video Tracks

837

Using Solo Mode w ith Video Tracks

839

Locking Video Tracks

840

Enabling and Disabling Video Track Synchronization

842

Changing the Video Track Height

845

About Video Clips

846

Importing Image and Video Clips

847

Creating an Image Clip and editing a Draw ing

852

Linking Clips

855

Deleting Video Clips

856

Moving Video Clips

857

Adjusting the In and Out Points of Video Clips

858

Snapping Video Clips

860

Copying and Pasting Video Clips

861

Splitting a Video Clip

863

Displaying Thumbnails

864

Changing the Alpha Type of a Video Clip

865

Transforming Video Clips

867

17

Table of Contents

Change the Opacity of Video Clips

871

About Video Clip Animation

872

Animating Video Clips

873

Adding Ease-In and Ease-Out to a Video Clip Animation

875

Moving Video Clip Keyframes

877

Copying and Pasting Video Clip Animation Keyframes

878

Chapter 16: Transitions

880

Adding Transitions

882

Deleting Transitions

884

Changing the Transition Type885

Changing the Transition Duration

886

Chapter 17: Libraries

888

About Library Folders

889

Creating Libraries

890

Adding Libraries

892

Renaming Folders

893

Closing Libraries and Deleting Folders

894

Refreshing Libraries

896

About Templates

897

Creating Templates

898

Importing Templates

904

Deleting Templates

909

Brow sing a Template's Content

910

Generating Thumbnails

912

Searching Libraries

915

About Importing Files

917

Importing Images

918

Importing Audio Files

919

Importing Flash Movies (SW F)

920

Importing Harmony Templates

921

18

Storyboard Pro 22 User Guide

Importing 3D Objects

923

Chapter 18: Pitching the Storyboard

926

Accessing and Exiting the Pitch Mode W orkspace

927

Displaying Captions

928

Customizing Captions

929

Navigating the Storyboard

930

Draw ing Revisions

931

Recording Voice Annotations

934

Navigating the Storyboard

936

Chapter 19: Storyboard Supervision

938

About Track Changes

939

Tracking Changes

940

Validating Changes

942

About Voice Annotations

944

Recording Voice Annotations

945

Playing Voice Annotations

946

Deleting Voice Annotations

947

About Project Management

948

Splitting your Project into Tw o Projects

949

Extracting Parts of your Project into Other Projects

952

About Linked Projects

955

Adding a Linked Project957

Checking and Updating the Status of Linked Projects

958

Merging Changes from a Linked Project

959

Relinking a Missing Linked Project

961

Removing a Linked Project962

Merging Storyboard Projects

963

Inserting a Project's Scenes into the Current Project966

Merging Projects and Replacing Scenes in the Current Project967

Merging Modified Panels from an Extracted Project

970

19

Table of Contents

Chapter 20: Exporting

974

About Exporting to Portable Document Format (.pdf)

975

Setting Up the PDF Export

976

Exporting to PDF

979

Creating Custom PDF Layout Profiles

984

Exporting Custom PDF Profiles

985

Importing PDF Profiles

987

About Exporting Movie Files

989

Exporting a Movie

990

Configuring Movie Settings for QuickTime Movies on W indow s

996

Configuring Movie Settings for QuickTime Movies on macOS

1000

Configuring Movie Settings for QuickTime ProRes Movies

1002

Configuring Movie Settings for W indow s Media Video

1005

Exporting an Image Sequence

1007

Exporting a Flash Movie (.sw f)

1012

Exporting Harmony Scenes

1017

Importing Harmony Scenes to a Harmony Database

1024

Exporting Layout Images

1028

Exporting Bitmap Images

1033

Exporting the Current Frame as a Bitmap Image

1041

Exporting an EDL, AAF or XML Sequence1042

Configuring Movie Settings for QuickTime Movies on W indow s for EDL/AAF/XML Sequences

1051

Configuring Movie Settings for QuickTime Movies on macOS for EDL/XML/AAF Sequences

1053

Configuring Movie Settings for W indow s Media Video for EDL/XML/AAF Sequences

1055

Exporting 3D Animation (FBX) Files

1056

Exporting Sound Files

1058

Exporting Project Metadata in CSV Format

1061

About Advanced Export Techniques

1065

About File Naming Patterns

1066

Enabling and Disabling Layers for Export

1068

20

Storyboard Pro 22 User Guide

About Snapshots

1069

Adding Snapshot Markers

1071

Change Snapshot Frame

1072

Setting the Main Snapshot in a Panel

1073

Deleting Snapshot Markers

1074

Chapter 21: Conformation

1076

About XML Conformation

1078

About AAF Conformation

1079

Exporting for Conformation

1081

Importing an Edited XML or AAF Sequence back for Conformation

1090

Chapter 22: Scripting Guide

1092

Creating Scripts

1094

Editing a Script Packaged w ith Storyboard Pro

1097

Checking Script Syntax

1099

Testing a Script

1100

Debugging Scripts

1102

Using the Scripting Sandbox

1104

Importing Scripts

1105

Deleting Scripts

1107

Restoring a Storyboard Pro Script

1108

Using an External Script Editor

1109

Storing Scripts in a Custom Directory1111

Adding Scripts as Toolbar Buttons

1114

21

Chapter 1: Introduction

Chapter 1: Introduction
The user guide provides step by step guidance on how to use every core functionality in Storyboard Pro for
their intended task.

NOTE
For more detailed descriptions of the many options, buttons and menu items available in the
Storyboard Pro user interface, refer to the Reference Guide. For descriptions of the many
preferences available in the Preferences dialog, refer to the Preference Guide.

22

Storyboard Pro 22 User Guide

Chapter 1: Installing Toon Boom Storyboard Pro
Installing Storyboard Proon your w orkstation is a relatively simple and straightforw ard process. Afterinstalling the product, you w ill need to activate it before you are able to launch and use it.
On W indows, Storyboard Pro is provided in an installation w izard that w ill install the application and create
shortcuts on the Desktop and in the Start menu. Launching the installation w izard must be authorized by auser w ith administrator privileges.
On macOS, Storyboard Pro is provided in an Apple Disk Image (.dmg) file, w hich contains the softw are
package. It must be opened and its content must be copied over to the Applications directory for the softw are
to be installed.

NOTE
On W indow s, Storyboard Pro has the follow ing dependencies:l

W indows Media Player must be installed to enable Storyboard Pro's audio and video
transcoding capabilities. On most consumer versions of W indow s, it is installed by default.

lQuickTime Player is required if you w ant to export movie files in QuickTime Movie (.mov)format w ith all the video and audio codecs available for QuickTime. Otherw ise, Storyboard Pro
w ill only export movie files in QuickTime Movie (.mov) format using a basic H.264 (AVC) video
codec and uncompressed (PCM) audio, or in W indow s Media Video (.w mv) format. How ever,
the application does not need QuickTime Player to launch and can be used w ithout it.

lAdobe Reader is required on W indow s 7 and W indow s 8.1 in order to read PDF documents.
On W indow s 10, Microsoft Edge can be used to read PDF files.

How to install Storyboard Pro on W indows
1. In a file brow ser, double-click on the installer package you have dow nloaded.
2. W hen prompted by W indow s, confirm giving the permission to the installer to make changes toyour device.

NOTE
You need an account w ith administrator privileges to launch the installer.

3. In the Choose Setup Language prompt, select the preferred language for the installation process
and for the end-user license agreement.
4. W ait for the install package to be extracted.
5. In the w elcome screen, click on Next.

23

Chapter 1: Installing Toon Boom Storyboard Pro

6. If you accept the license agreement presented in the installation w izard, select I accept the terms
in the license agreement, then click on Next. Otherw ise, click on Cancel.
7. If you w ant to install Storyboard Pro in the default installation directory, select Next. Otherw ise,click on Change and select a preferred installation directory.
8. Click on Install.
9. W ait for the installation process to finish.
Once the process is finished, you can launch Storyboard Pro—see Starting Toon Boom Storyboard
Pro on page 29.

How to install Storyboard Pro on macOS
1. Log in to an account w ith administrator privileges.
2. In Finder, locate and double-click on the

DMG application package you have dow nloaded.

3. W ait for macOS to verify the content of the package.
The License Agreement prompt appears.
4. If you accept the license agreement presented by the application package, click on the Agreebutton. Otherw ise, click on Disagree.

TIP
If you w ant to see the license agreement in another language, select a language in thelanguage drop-dow n above the license agreement.

5. In the Finder w indow that opens, selectToon Boom Storyboard Pro 22.

6. Drag and drop the selected folder in Applications.
7. W ait for the application to finish copying.
8. In Finder, navigate to Applications, then open
9. Double-clickToon Boom Storyboard Pro 22.

Storyboard Pro 22.

You w ill be prompted to confirm launching the application, as it is an application dow nloaded fromthe Internet.
10. Click Open.

24

Storyboard Pro 22 User Guide

Either one the follow ing w ill occur:l

If this version of Storyboard Pro is already activated, it w ill launch immediately.

l

If Storyboard Pro is not yet activated, you w ill be prompted to give administrator privileges
to the application. This is because Storyboard Pro is attempting to launch License W izard,
w hich requires administrator privileges to activate Storyboard Pro. For information on how
to activate Storyboard Pro, refer to the Activation Documentation available online at thefollow ing address:
docs.toonboom.com/help/activation

How to install QuickTime Playerl

Go to the follow ing address and follow the instructions:l

W indows: apple.com/quicktime/dow nload/pclmacOS: apple.com/quicktime/dow nload/mac

How to install Adobe Readerl

Go to the follow ing address and follow the instructions:l

W indows: adobe.com/support/dow nloads/pclmacOS: adobe.com/support/dow nloads/mac

How to install W indows Media Playerl

W indow s Media Player is pre-installed on most versions of W indow s, but may be disabled. Follow
these steps to make sure it is enabled.
1. From the Start menu search bar, search for Control Panel and launch the Control Panel.
2. From the Control Panel, go to Programs > Turn W indows features on or off.
3. In the list of W indow s features, find and expand the Media Features option. W indows
Media Player should listed under Media Features. If either of these options are not listed,
see below .
4. Ensure both the Media Features and W indow s Media Player check boxes are checked.
5. Click OK.

25

Chapter 1: Installing Toon Boom Storyboard Pro

6. W ait for the installation to finish.
7. Restart W indow s.
l

If Media Features or W indow s Media Player is not listed in the available features, make sure youredition of W indow s supports it. If it does, it may be added by installing the Media Feature Pack for
W indow s. To do this, click on the link corresponding to your version of W indow s and follow the
instructions:lMedia Feature Pack for W indows 7:
https://w w w .microsoft.com/dow nload/details.aspx?id=16546

lMedia Feature Pack for W indows 8:
https://w w w .microsoft.com/dow nload/details.aspx?id=30685

lMedia Feature Pack for W indows 10:
https://w w w .microsoft.com/dow nload/details.aspx?id=48231

26

Storyboard Pro 22 User Guide

27

Chapter 2: Projects

Chapter 2: Projects
All projects created w ith Storyboard Pro are independent and local to the computer. There are a few different
w ays to create and open projects. You can create a project from the W elcome screen, File menu, Final Draft
script, or Toon Boom Harmony scenes.

28

Storyboard Pro 22 User Guide

Starting Toon Boom Storyboard Pro
T-SBFND-002-001
You can run Toon Boom Storyboard Pro on W indow s and macOS.

How to start Storyboard Pro
1. Do one of the follow ing, depending on your operating system:ll

W indows: Do one of the follow ing:l

On the desktop, double-click

Storyboard Pro 22lOpen the Start menu and, in the list of programs, select Storyboard Pro 22 >Storyboard Pro 22.

macOS: In Finder, proceed to Applications >double-clickToon Boom Storyboard Pro 22 andStoryboard Pro 22.

Storyboard Pro launches and displays the follow ing screen. If you w ant to explore, go ahead andclick one of the buttons. Otherw ise, click Close.

A second W elcome screen displays.

29

Chapter 2: Projects

30

Storyboard Pro 22 User Guide

Creating Projects
W hen creating projects, you have the choice of using the W elcome screen or the File menu in Storyboard Pro.
You can also create a project from a Final Draft script or from Harmony scenes.

31

Chapter 2: Projects

Creating Projects from the W elcome Screen
T-SBFND-002-003
You can create a project from the W elcome screen.

How to create a project from the W elcome screen
1. In the Project Name field, type the name of the project. This name w ill be used to name theproject's folder and the main project file.
2. Next to the Project Directory field, click on the Browse button to navigate to a location to saveyour project.
3. In the Project Title field, type the name of the project title. By default, this field w ill already be
filled w ith w hat you typed in the Project Name field.
4. If you w ant your project to have a subtitle, type it in the Project Subtitle field. This is notmandatory.
5. In the Colour Space drop-dow n menu, select a colour space to use, or stay w ith the default sRGB.
6. In the Camera Size drop-dow n, choose the resolution for your project.

The W idth, Height, Frame Rate and Field of View automatically update based on the Camera Size
selection.

NOTE
If you need to create your project in a resolution that is not listed, refer toCreating Custom Resolutions.

7. Click Create Project.

32

Storyboard Pro 22 User Guide

Creating Projects from the File Menu
T-SBFND-002-004
If a project is already open and you w ant to create a new one, you can access the New Project dialog from theFile menu.

How to create a project from the File menu
1. Do one of the follow ing:lSelect File > New.

l

In the File toolbar, click the NewlPress Ctrl + N (W indow s) or ⌘ + N (macOS).

button.

The New Project dialog box opens.

2. In the Project Name field, type the name of the project. This name w ill be used to name theproject's folder and the main project file.
3. Next to the Project Directory field, click on the Browse button to navigate to a location to saveyour project.
4. In the Project Title field, type the name of the project title. By default, this field w ill already be
filled w ith w hat you typed in the Project Name field.
5. If you w ant your project to have a subtitle, type it in the Project Subtitle field. This is notmandatory.
6. In the Colour Space drop-dow n menu, select a colour space to use, or stay w ith the default sRGB.

33

Chapter 2: Projects

7. In the Camera Size drop-dow n, choose the resolution for your project.

The W idth, Height, Frame Rate and Field of View automatically update based on the Camera Size
selection.

NOTE
If you need to create your project in a resolution that is not listed, refer toCreating Custom Resolutions.

8. Click Create.

34

Storyboard Pro 22 User Guide

Creating a Project from a Final Draft Script
T-SBADV-001-001
Storyboarding and script w riting go hand-in-hand. Storyboard Pro allow s you to use your Final Draft script tocreate a new Storyboard Pro project. You can use the structure of your script to automatically generate all thescenes, panels and transitions in your project, and insert all the scene headings, characters, dialogues andactions into the appropriate caption fields for each generated panel.
The follow ing steps provide detailed instructions on how to import a typical Final Draft script andautomatically break it dow n into scenes and panels. Since scripts are never really w ritten on a "per-panel"basis, and every script is paced and structured differently, you may have to try different settings to get optimal
results, and you may have to combine or split some of the automatically generated panels manually to best fit
the pace of your story.

NOTES
l

Storyboard Pro has a preference to use Live Action terminology instead of Animation
terminology, available in the General tab of the preferences dialog. W ith this preference, thefollow ing terminology is replaced in the Storyboard Pro user interface:l

The term Scene becomes Shot.

l

The term Sequence becomes Scene.

The steps below w ill specify the term for both terminology preferences w here applicable.
l

If you are using Final Draft 7 or earlier, you must export your script in .xml format using Tagger,
as the native file format of Final Draft 7 and earlier (.fdr) is not supported by Storyboard Pro.

How to create project from a Final Draft script
1. From the top menu, select File > New From Final Draft Script.
The Import from Final Draft dialog opens.
2. Click on the

Brow se button.

3. In the file brow ser, locate and select your Final Draft script, then click on Open.
Once your script is loaded, the types of tags contained in your script w ill appear in the list to theleft. You w ill have to indicate to Storyboard Pro w hat to do w ith each of these tags w hen
generating your project.

35

Chapter 2: Projects

4. If your script is structured w ith scene headings, but not shots, do the follow ing:
a. In the list to the left, select Scene Heading.
b. In the Action drop-dow n, select New Scene (animation terminology) or New Shot (liveaction terminology).
c. In the Destination caption field drop-dow n, select Notes.
d. If your Scene Heading elements are numbered in your script and you w ant to include their
number in your project's captions, check the Include Element Number when available
option.
Your storyboard w ill have one scene (or shot) for every scene heading in your script, and thescene's description w ill be added to the Notes caption of every first panel of every scene.
If your script is structured w ith both scene headings and shots, do the follow ing:
a. In the list to the left, select Scene Heading.
b. In the Action drop-dow n, select New Sequence (animation terminology) or New Scene (liveaction terminology).
c. In the Destination caption field drop-dow n, select Notes.
d. If your Scene Heading elements are numbered and you w ant to include their number in yourproject's captions, check the Include Element Number when available option.
e. In the list to the left, select Shot.
f. In the Action drop-dow n, select New Scene (animation terminology) or New Shot (liveaction terminology).
g. In the Destination caption field drop-dow n, select Notes.
h. If your Shot elements are numbered in your script and you w ant to include their number inyour project's captions, check the Include Element Number when available option.

36

Storyboard Pro 22 User Guide

Your storyboard w ill have one sequence (or scene) for every scene heading in your script, and one
scene (or shot) for every shot in your script. Their description w ill be added to the Notes caption of
every first panel of their corresponding scene or sequence.

5. In the list to the left, select the Action tag, then:a. If you w ant one panel to be created for each action, select New Panel in the Action dropdow n.
b. If you w ant consecutive actions to be combined in the same panel, check the Combine
successive elements option.
c. In the Destination caption field drop-dow n, select Action Notes. This w ill store the content
of the action tag into the Action Notes caption of each panel.
d. If your Action elements are numbered in your script and you w ant to include their number inyour project's captions, check the Include Element Number when available option.

37

Chapter 2: Projects

6. In the list to the left, select the Character tag, if any, then:a. If you w ant one panel to be created for each dialogue, select New Panel in the Action dropdow n.
b. In the Destination caption field drop-dow n, select Dialogue.
c. If your Character elements are numbered in your script and you w ant to include their number
in your project's captions, check the Include Element Number when available option.
7. In the list to the left, select the Parenthetical tag, if any and:a. In the Destination caption field drop-dow n, select Dialogue.
b. If your Parenthetical elements are numbered in your script and you w ant to include their
number in your project's captions, check the Include Element Number when available
option.
8. In the list to the left, select the Dialogue tag, if any:a. In the Destination caption field drop-dow n, select Dialogue.
b. If your Dialogue elements are numbered in your script and you w ant to include their number
in your project's captions, check the Include Element Number when available option.
9. In the list to the left, select the Transition tag, if any:a. In the action drop-dow n, select New Transition.
Overall, if your script is structured w ith scene headings, but not shots, the follow ing settings aresuggested:
Action (Animation
Terminology)

Action (Live Action
Terminology)

Destination caption
field

ActionNew Panel

New Panel

Action Notes

Character

New Panel

New Panel

Dialogue

Dialogue

None

None

Dialogue

Parenthetical

None

None

Dialogue

Scene Heading

New Scene

New Shot

Notes

38

Storyboard Pro 22 User Guide

Transition

Action (Animation
Terminology)

Action (Live Action
Terminology)

Destination caption
field

New Transition

New Transition

None

And if your script is structured w ith scene headings and shots, the follow ing settings aresuggested:
Action (Animation
Terminology)

Action (Live Action
Terminology)

Destination Caption
Field

ActionNew Panel

New Panel

Action Notes

Character

New Panel

New Panel

Dialogue

Dialogue

None

None

Dialogue

Parenthetical

None

None

Dialogue

Scene Heading

New Sequence

New Scene

Notes

Shot

New Scene

New Shot

Notes

Transition

New Transition

New Transition

None

NOTE
Depending on the w ay your script is structured and on how much the action or dialogue
drive the pace, you might have to try creating a project w ith your script using different
options to get the best storyboard structure for your needs. In the end, it is likely thatyou w ill have to split or combine some of the automatically generated panels.

10. If you w ant to make the currently selected parameters default, check the Save as default rules
checkbox.
11. Click Import.
The New Project dialog appears.

39

Chapter 2: Projects

12. In the New Project dialog, enter the name, location, title and resolution for your project.

NOTE
For more information on creating a new Storyboard Pro project, see Creating Projects
on page 31.

13. If the currently opened project w as not saved, confirm w hether you w ant to save it.
Your new project is created, w ith scenes and panels automatically created and their captions filled
w ith excerpts from your script, based on the settings you selected.

40

Storyboard Pro 22 User Guide

Creating Projects from Harmony Scenes
You can create a project from Harmony scenes. Before you do this, in Harmony, you must mark the frames you
w ant to use as panels in your project. Frames must be marked in an annotation column called "EM". For eachmarked frame, a panel is created in Storyboard Pro. If you don't mark your frames, the first frame of eachHarmony scene w ill be used.
You must group all your different Harmony scenes in one folder. Storyboard Pro w ill create one scene per
Harmony scene. If your Harmony scene contains several EM markers in the annotation column, Storyboard Pro
w ill create multiple panels w ithin the scene.

How to create a project from Harmony scenes
1. From the top menu, select File > New from Harmony Scenes.
The New Project dialog box opens.

2. In the Project Name field, type the name of the project. This name w ill be used to name theproject's folder and the main project file.
3. Next to the Project Directory field, click on the Browse button to navigate to a location to saveyour project.
4. In the Project Title field, type the name of the project title. By default, this field w ill already be
filled w ith w hat you typed in the Project Name field.
5. If you w ant your project to have a subtitle, type it in the Project Subtitle field. This is notmandatory.
6. In the Colour Space drop-dow n menu, select a colour space to use, or stay w ith the default sRGB.

41

Chapter 2: Projects

7. In the Camera Size drop-dow n, choose the resolution for your project.

The W idth, Height, Frame Rate and Field of View automatically update based on the Camera Size
selection.

NOTE
If you need to create your project in a resolution that is not listed, refer toCreating Custom Resolutions.

8. Click Create.
The Select Harmony Scenes Directory w indow opens.
9. Navigate to and select the folder containing your multiple Harmony scenes. The selected folder
must be the one that contains the folders in w hich all the scene files are.
10. Click Select Folder.
A project is created and each scene in the selected folder is imported as a scene in your project. The
name of the folder of each scene file is used to name the scene that is created. Panels are created in
the Thumbnails and Timeline view s.

42

Storyboard Pro 22 User Guide

Creating Custom Resolutions
You can create a custom resolution from the W elcome screen or New Project w indow . Your new resolution
w ill appear in the Camera Size menu of both the New Project w indow and W elcome screen.
If you no longer need a custom resolution, you can easily remove it. How ever, you cannot delete the factory
resolutions that come w ith Storyboard Pro.

How to create a custom resolution
1. In the W elcome screen or New Project w indow , click theAdd button right of the Camera Sizedrop-dow n to add a new resolution to the list.
The New Resolution dialog box appears.

l

Resolution Name: Type a name for your new resolution.

l

W idth/Height: Enter the resolution w idth and height in pixels.

l

Field of View: Set the field of view to use the horizontal or vertical resolution, or entera custom field of view .

lFrame Rate: Type the scene’s frame rate per second.

How to delete a custom resolution
1. In the W elcome screen or New Project w indow , select a custom resolution from the Camera Size
menu.

43

Chapter 2: Projects

2. Click theRemove button.

The selected custom resolution is deleted from the list.

44

Storyboard Pro 22 User Guide

Opening Projects
T-SBFND-002-006
Existing projects can be opened from the W elcome screen w hen you start Storyboard Pro. If you already havea project open, you can open another project from the File menu.

NOTE
Starting from Storyboard Pro 7, Storyboard Pro is not able to open and convert projects in thelegacy project format created by Storyboard 1.

How to open a project from the W elcome screen
1. Start Storyboard Pro.
2. Dismiss the first W elcome screen.
The second w elcome screen appears.
3. In the project you w ant to open is in the Recent Projects section, select this project to open it
instantly.

4. If the project you w ant to open is not in the Recent Projects section, click Open Projects... in thebottom-right corner of the dialog.
The Open Project dialog appears.
5. Brow se to the location of your project, select it and click Open.
If your project w as saved in the regular

Storyboard Pro Project format, it w ill be inside a folder

named after your project name.

45

Chapter 2: Projects

The file w ill also have the name of your project follow ed w ith the SBOARD extension.

46

Storyboard Pro 22 User Guide

NOTE
If your project has several versions, each version w ill be named after your project's
name follow ed by an underscore (_) and the name of the version. For example, version"v3" of a project named MyProject w ould be named MyProject_v3.sboard.

If your project w as saved as a

Storyboard Pro Packed File, it w ill be a single file named after

your project name, w ith the .sbpz extension.

47

Chapter 2: Projects

NOTE
If your project has several versions, you w ill be prompted to select w hich version to
open. Select the desired version and click Open.

How to open a project from the File menu
1. Do one of the follow ing:lSelect File > Open.

l

In the File toolbar, click thelPress Ctrl+O (W indow s) or ⌘ +O (macOS).

Open button.

The Open Project dialog appears.
2. Brow se to the location of your project, select it and click Open.
If your project w as saved in the regular

Storyboard Pro Project format, it w ill be inside a folder

named after your project name.

48

Storyboard Pro 22 User Guide

The file w ill also have the name of your project follow ed w ith the SBOARD extension.

49

Chapter 2: Projects

NOTE
If your project has several versions, each version w ill be named after your project's
name follow ed by an underscore (_) and the name of the version. For example, version"v3" of a project named MyProject w ould be named MyProject_v3.sboard.

If your project w as saved as a

Storyboard Pro Packed File, it w ill be a single file named after

your project name, w ith the .sbpz extension.

50

Storyboard Pro 22 User Guide

NOTE
If your project has several versions, you w ill be prompted to select w hich version to
open. Select the desired version and click Open.

51

Chapter 2: Projects

About Saving
It is important to regularly save your project. To make sure you don't forget, you can configure Storyboard Pro
to automatically save your project at a specific interval.
To save the current state of a project as a new one, you can use the Save As command. The Save As w indow
prompts you to give a new name and choose a different location to this project before saving it. This w ill create
a complete project directory for the new project.
If you w ant to keep several versions of your project w ithout making copies of all of its content, you can also
save your project as a new version. This simply reates a new .sboard file inside your project directory. Each.sboard file can serve as a separate version of your project. All .sboard files for a given project share the samedraw ings, sound clips, video clips and the same palette. W hat is preserved in each .sboard file is the structureof panels, scenes, sequences, acts, layers, the timing of panels, layer and camera animations, sound and video
tracks and the placements of clips inside them.
A Storyboard Pro project is composed of many small files. Each draw ing in a project is a file, w hich may resultin projects containing over 10,000 files. This can quickly fill your storage solution w ith a high number of files,
straining the file system and backup process. You can reduce the number of files and protect the integrity of
projects by saving (packing) the project in a single file. A packed project file is appended w ith the .sbpz
extension.

52

Storyboard Pro 22 User Guide

Saving Projects
You can save your projects as is or save them as a new copy.

How to save a projectlSelect File > Save.

l

Press Ctrl + S (W indow s/Linux) or ⌘ + S (macOS).

How to save a project as a copy (Save As)
1. Select File > Save As.
2. In the Save As dialog box, brow se to the location of the new archive and give the copy of the
project a new name.
3. Click Save.

53

Chapter 2: Projects

Saving Projects as a Single File
T-SBADV-003-005
A Storyboard Pro project is composed of many small files. Each draw ing in a project is a file, w hich may resultin projects containing over 10,000 files. This can quickly fill your storage solution w ith a high number of files,
straining the file system and backup process.
You can reduce the number of files and protect the integrity of projects by saving (packing) the project in asingle file. A packed project file is appended w ith the .sbpz extension.
The location of your packed file (*.sbpz) does not have to be in the same place as your current project file. For
example, you can save the packed file on your company’s server and save the current version on your local
computer.
You can open a packed file in the usual w ay by using the File > Open command or by double clicking the file in
the Explorer (W indow s) or Finder (macOS). The packed file extracts to a temporary folder on your computer.
l

W indow s: \Users\[username]\Documents\Toon Boom Animation\StoryboardPro Project CachelmacOS: /Users/[username]/Documents/Toon Boom Animation/StoryboardPro Project Cache

W hen opening a project in Storyboard Pro, you can select an .sbpz file (the packed project); this file w ill be
updated w hen you perform a Save and Pack. If you opened an .sboard project, you can perform a Save As to apacked format, after w hich that file (the packed/zipped one) w ill be updated by the Save and Pack.

NOTE- Unpacked projects do not appear in the list of recent projects, so you don't accidentally open the
project in the cache.
- Multiple users cannot open the same packed project at the same time.
- W hen w orking w ith a packed project and you have Storyboard Pro set to automatically save yourproject, Autosave, it is saved to the project cache.

How to set your project to save as a single file
1. Do one of the follow ing to open the Preferences dialog:l

W indows:l

In the top menu, select Edit > Preferences.

l

Press Ctrl + U.

54

Storyboard Pro 22 User GuidelmacOS:l

In the top menu, select Storyboard Pro 22 > Preferences.

l

Press ⌘ + U.

2. Select the Project Settings tab.
3. Select the Save new projects in single file format (packed file) option and click OK.

How to convert a standard Storyboard Pro project to a packed project
1. Select File > Save As.
The Save As w indow opens.

2. In the File Name field, give your packed file a name.
3. From the Save as Type list, select Storyboard Packed File (*.sbpz).

4. Click Save.

55

Chapter 2: Projects

The project is saved and zipped to the location you specified.

How to save an unpacked project
1. Do one of the follow ing:lSelect File > Save to save the project to your local cache.

lSelect File > Save and Pack to pack the project to the location you specified for yourpacked project.

The unpacked project is saved and packed to the original zipped project file.

NOTE
If the project already has a file, save the project locally using the Save command , then save tothe zip file using the Save and Pack command.

56

Storyboard Pro 22 User Guide

Recovering A Project Saved in Storyboard Pro Packed File Format
From The Cache
T-SBADV-003-006
W hen w orking on a project in Storyboard Pro Packed File (.sbpz) format, the Save command only saves
changes to the project's cache. You can manually commit the changes to the .sbpz file using the Save and Pack
command, and if you quit Storyboard Pro before doing that, you w ill be prompted to do so to avoid losing any
changes, after w hich Storyboard Pro w ill clean up the cache before quitting.
If Storyboard Pro quits unexpectedly after you've saved changes to your project's cache, but before you've
committed those changes to the .sbpz file, it is possible to recover the changes from the cache so you cancommit them to the .sbpz file. All you need to do is to relaunch the application. At launch, Storyboard Pro
scans the cache folder for any unpacked project. If it finds one, it w ill prompt you to open the cache so that you
can either resume w orking on it or save and pack it.

At this stage, you have three choices:l

To recover and open the project, click Yes. Storyboard Pro w ill open the main interface and load the
project from the cache.
One the project is recovered, it is important that you select File > Save and Pack from the top menu tocommit the changes that w ere saved to the cache to the actual project file.

l

If you don’t w ant to recover immediately and you w ant to leave the project in the cache, click Skip. On
next launch of Storyboard Pro, you w ill receive the Project Recovery prompt again.

l

If you w ill never w ant to recover the project, you can delete the cache by clicking Delete. This operation
is irreversible and the cache w ill be cleared.

NOTE
Storyboard Pro prompts to recover only one project at a time. If several projects are in the cache,
you must launch Storyboard Pro, recover the project, save and pack and close it once for eachproject located in the cache.

57

Chapter 2: Projects

Auto- saving Your Project
W hile you're w orking, it is a good idea to save your projects often. By default, Storyboard Pro does not
automatically save, but it is possible to configure Storyboard Pro to automatically save your w ork periodically.
This w ill ensure that your w ork is alw ays saved.

How to configure Storyboard Pro to save your project automatically
1. In the Preferences dialog box, select the Advanced tab.

2. In the Memory section, move the Auto- save slider to the right to set the interval of time (inminutes) at w hich your w ork w ill be automatically saved. The minimum amount of time is 10
minutes, w hich means Storyboard Pro w ill save your w ork every 10 minutes. The maximum is 360
minutes (6 hours).

58

Storyboard Pro 22 User Guide

3. Click OK.

59

Chapter 2: Projects

Saving Several Versions of a Project
You can save several versions of your project w ithout making copies of the entire project.
W hen you save a "version" of your project, w hat you are saving is a copy of your animatic's structure, timing,
camera movements, layer animations, audio tracks and video tracks into a different file in your project,
allow ing you to keep the state of your project at the last time you saved it as a sort of back-up file.
How ever, the draw ings, audio files and video files themselves are shared by all versions of a given project.
This means for example that if you make changes to a specific draw ing in one version of a project, this change
w ill affect the same draw ing in other versions of the same project.
To understand this concept better, you can refer to the tables in About the File Structure of a Storyboard Pro
Project on page 75. Essentially, saving a new version of your project saves a new .sboard and .aux file w ithinyour project's directory.
The follow ing table lists the parts of a project that are preserved in each version and the parts that are sharedby all versions:
Saved per version

Shared by all versionslActs, sequences, scenes and panels as w ell as their timinglCaptionsl

Layer names, order, hierarchy, transformations and animationsl

Camera movementslVideo tracks and audio trackslVideo clip placement, in-point, out-point and animationsllDraw ing filesl

3D modelslVideo files used for video clipslSound files used for sound
clips

l

The project's colour paletteSound clip placement, in-point, out-point, volume and gain

W hen you save a new version of your project, the previous version remains in the state it w as the last time you
save. For example, if you save, create a new panel, then save a new version, the old version w ill not have thisnew panel. Only the new version w ill.
You can create as many versions of your project as you need. At any time, you can open an older version ofyour project—see Opening Projects.

60Storyboard Pro 22 User Guide

How to save a new version of your project
1. In the top menu, select File > Save as New Version.
The Save Version dialog appears. If you already have more than one project version, they w ill belisted in the dialog.

2. In the Version Name field, type in the name of the version you w ant to create.

TIP
If you w ant to overw rite an existing version, you can type its name in the Version Name
field, or select that version from the list to copy its name to the Version Name field.

3. Click Save.
If you are overw riting an existing version or if you typed in the name of an existing version, you w ill
be prompted to confirm overw riting it. Click Overwrite if you do not mind discarding the version
you are overw riting, or Cancel if you need to preserve this version.
A new version w ill be created. This new version w ill be the version you are w orking on from thatpoint on.

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Chapter 2: Projects

Deleting Old Project Versions
If you have saved several versions of your project, you can clean up old or unused versions from w ithin the
Save Version dialog.

How to delete a project version
1. In the top menu, select File > Save as New Version.
The Save Version dialog appears.

2. Select the versions you w ant to delete.

TIP
You can select several versions by doing one of the follow ing:lDraw a rectangle w ith your mouse cursor around all the version you w ant to select.

l

Hold the Ctrl (W indow s) or ⌘ (macOS) key and click on each version you w ant toselect to add them to the selection.

lHold the Shift key, select the first version you w ant to select, then the last version
you w ant to select to select every version in-betw een as w ell.

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Storyboard Pro 22 User Guide

3. Right-click on the selected version and, in the context menu, select Delete Selected.

A confirmation prompt w ill appear, listing every version you are about to delete.
4. If you are sure you w ant to delete the selected versions, click Delete. Otherw ise, click Cancel.

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Chapter 2: Projects

About Project Optimization
T-SBFND-002-007
If you are concerned w ith file size and speed, there are a few things you can do to optimize your project.

NOTE
Toon Boom Storyboard Pro has an optimized file structure that reduces the number of folders. For
this reason, once a project is saved in this version, it can no longer be opened in Storyboard Pro
2. How ever, Toon Boom Storyboard Pro is fully backw ards compatible and w ill open files createdby older versions of Storyboard Pro.

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Storyboard Pro 22 User Guide

Optimizing Projects
T-SBFND-002-008
You can optimize projects by flattening all draw ings in your project, removing unused files, and reducing the
texture size.

How to optimize your project
1. Select File > Optimize Project.
The Optimize project dialog box opens.

2. Select one or more of the follow ing options:lRemove unused elements from the project: As you create a storyboard you w illdelete panels or layers, update draw ings, unlink sounds, and so on. Some of thesefiles are kept for backup purposes, but they take up space and increase the size ofyour project on your hard drive. This option removes these unw anted elements.

l

Flatten drawings in the project: Flattens all the brush or pencil line strokes of all thevector draw ings in your project. This means that all overlapping strokes w ill no longer
be editable as single strokes, but only as w hole, draw n objects.

NOTE
Strokes draw n w ith different colours w ill not be flattened together.

lReduce texture resolution of all drawings in the project: Reduces the resolution ofbitmap textures in draw ings that have an unnecessarily high pixel density.

NOTE
This cannot be reversed once you have reduced the resolution. These operations
cannot be undone and w ill empty the undo list.

65

Chapter 2: Projects

Optimizing Drawings
T-SBFND-002-009
W hen using any of the playback options in Storyboard Pro, the softw are must calculate the positioning of all
the *.tvg (Toon Boom vector graphics) files. This is the file format created from all your draw ing strokes. This
calculation tends to slow dow n the rate of playback. There is, how ever, a w ay to circumvent this problem.
There is a second file format, *.tvgo (Toon Boom vector graphic optimized), that has all the pixel position
information pre-calculated. Using these draw ings should significantly speed up playback.

How to optimize playback and create optimized drawngs
1. Select Edit > Preferences.
The Preferences dialog box opens.
2. From the Advanced tab, under the Optimized Playback section, select the Use Optimized
Drawings option.
3. Select the Asynchronous Drawing Loading option to optimize playback. There are cases in w hich,during playback, the softw are may encounter a particularly texture-heavy or complex panel. W hen
this happens, and this option is deselected, there w ill be a pause in playback w hile the frame loads.
If you select this option, then playback w ill continue and the draw ings w ill load as soon as they areavailable. You may notice a short blink w hile the draw ing loads.
4. Select the Preload Drawings option to enhance playback further by loading draw ings in memory
before you reach them during playback. Storyboard Pro w ill determine w hich, betw een the tw ooptions, has more draw ings to preload and use the appropriate option during playback.
lNumber of Frames to Preload: Storyboard Pro looks ahead for the number of frames,
and checks to see how many draw ings are used. Each layer on each panel is adraw ing. If you have many short panels, then you w ill have more draw ings than if you
had one long panel.

lNumber of Panels to Preload: Storyboard Pro looks ahead for the specified numberof panels to determine the number of draw ings in those panels. Keep in mind thateach layer on each panel is a draw ing. If you have long panels, then it w ill w ant tolook ahead several panels, instead of the specified number of frames.

5. Click OK.
6. Select File > Create Optimized Drawings.

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Storyboard Pro 22 User Guide

Optimization Best Practices
T-SBFND-002-010
W hen w orking in Storyboard Pro, there are some best practices you should follow to keep the file size low andplayback speed fast.

67

Chapter 2: Projects

Plain Vector Versus Texture Brush
T-SBFND-002-011
W hen you draw on a layer, all the strokes that you create w ith the Brush tool are vector elements. There are
tw o kinds of brushes:lPlain Brushes: By default, the Brush tool creates vector strokes filled w ith either a colour or a gradient.
Vector strokes use a very small amount of memory and can be used rapidly because they do not containany pixel information, only mathematical functions.

lTexture Brushes: This type of brush also produces a vector contour for its strokes, but is filled w ith abitmap texture. These textures allow s you to produce draw ings that have natural looking brush strokes
that resemble lines draw n using a crayon or airbrush.

Because you are using a bitmap image mapped inside vector strokes, texture brushes use much more memory
and processing time than brush strokes filled w ith colour. Therefore if you w ant to make your file size lighterand draw ing speed faster, use only regular brushes to draw scenes. If you choose to use texture brushes, is it
important to use a reasonable size bitmap for the texture brush.

NOTE
W hen you use a bitmap layer instead of a vector layer, individual vector strokes are not created.
Instead, individual pixels are laid dow n, recording information about the RGBA of each pixel.
Because of this, w hen w orking w ith lots of shading and lots of different textures or colours, thebitmap layer is actually more efficient than the texture brush on the vector layer—see Draw ing on
page 264.

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Storyboard Pro 22 User Guide

Bitmap Import Optimization
T-SBFND-002-012
Storyboard Pro allow s you to create storyboards by importing scanned images or bitmaps draw n in anothersoftw are. During the import process, images are vectorized and placed in a new scene in a vector boundingbox as a bitmap fill. The bitmap image’s resolution can affect your project’s file size and the speed at w hich
Storyboard Pro functions w hile handling your project. W hen importing bitmaps into a storyboard, there israrely a need to use a high resolution as it w ill not increase the quality of your PDF or animatic. You should
import bitmaps w ith a resolution close to the project resolution. For example, in an NTSC project, using abitmap w ith a 720 x 480 resolution or a 72 dpi quality w ill be fine.

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Chapter 2: Projects

Flattening Drawings
T-SBFND-002-013
In Storyboard Pro, strokes inside a vector layer are independent. You can select a specific stroke and edit its
position, scale, rotation, skew , colour and so on, w henever you w ant. How ever, this flexibility increases theamount of memory and resources used, especially w hen you have a lot of strokes in your draw ing (w hichfrequently happens w hen sketching).
You can flatten all draw ings at the same time. How ever, you can retain partial flexibility and still minimize filesize and resources needed by consciously flattening certain draw ings as you draw , or even by selecting themafter you have draw n them. You can take all strokes of the same colour w ith overlapping areas on the samelayer and flatten them to create a single draw ing w ith a vector contour.
Pencil lines of the same colour can be flattened together. If there are several colours used for the line, multiple
line sets w ill be created. Pencil line size does not affect the flatten.
W hen you use the Flatten option in the Tools menu, Storyboard Pro automatically crops all textures, reducing
the draw ing size by removing the texture area w hich is not visible.

How to flatten strokes as you draw
1. From the Tools toolbar, select the Brushtool.

2. In the Tool Properties view , click the Auto-Flatten

button.

3. In the Stage view , sketch your first draw ing.
The strokes are automatically flattened.

How to flatten an existing drawing
1. From the Tools toolbar, select the Selecttool.

2. In the Stage view , select a group of strokes.
l

If you do not select a group of strokes, the entire layer w ill be flattened.

l

You can select multiple layers, so they are flattened individually.

3. Select Tools > Flatten or press Alt + Shift + F.

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Storyboard Pro 22 User Guide

About Project Backup
T-SBADV-001-002
As you w ork on your storyboard project, it is alw ays a good idea to save continuously. At the end of eachw orkday, it is even better to back up your w ork. The difference betw een backing up and saving is that a backup
is a compressed version of your project. Backing up your w ork provides a safety net against corrupted files andallow s you to have several versions of your project at different stages, in case you need to go back and w ork
from an earlier point in the production.

71

Chapter 2: Projects

Backing Up Projects
T-SBADV-001-003
The place w here you save your backup file (*.sbbkp) does not necessarily have to be the same place w here
you have your current project file saved. For example, you can save the backup on your company’s server, eventhough the current version is saved somew here on your computer.

How to back up the current version of your Storyboard Pro project
1. Select File > Backup Storyboard.
The Create Storyboard Backup w indow opens.
2. Brow se for a location on your computer to save this backup file. You can also rename it w ith a dateor version number.
3. Click Save.
An *.sbbkp file is created and saved in the assigned location.

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Storyboard Pro 22 User Guide

Restoring Backups
T-SBADV-001-004
At times, you may need to restore a backup of a project you are w orking on.

How to restore and open a backup file
1. Do one the follow ing:lSelect File > Restore and Open Backup. In the Open Storyboard Backup w indowthat appears, locate and select the *.sbbkp file.

l

On your computer, go to the location w here you saved the *.sbbkp file and doubleclick its icon. In the brow ser w indow , select a place to save the restored file.

2. If multiple projects are present in the .sbbkp file, Storyboard Pro w ill ask you to choose w hich one
you w ant to use.

a. Select the desired project.
b. Click OK.
3. The project opens in Storyboard Pro.

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Chapter 2: Projects

About Project Properties
T-SBFND-002-014
W hen you created your new project, you chose the name and resolution. How ever, if you w ant to changethese initial settings later on, you can. All global project properties such as the resolution, project name,copyright, field chart size, and frame rate are available in the Project Properties dialog box. For more
information about the Project Properties dialog box, refer to the Reference Guide.

How to access the project propertiesl

Select Storyboard > Properties.
The Project Properties dialog box opens.

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Storyboard Pro 22 User Guide

About the File Structure of a Storyboard Pro Project
A Storyboard Pro project is composed of several files. The draw ings and colour palettes are not embedded in
the project. They are separate linked files. Therefore, if you w ant to archive or share a project, you must do soin a w ay that preserves all the files in the project along w ith their folder structure.

NOTE
You can also save your project into a single file that acts as an archive containing all of yourproject's files—see Saving Projects as a Single File on page 54.

The Storyboard Pro project folder contains many files and folders. Storyboard Pro uses the same structure fora Storyboard Pro project as Toon Boom Storyboard Pro does for scenes. Hence, some files and folders may notseem useful in the context of a Storyboard Pro project.

Files in a Storyboard Pro project
File

Contents

The actual project file. You can double-click on this file to open it in
Storyboard Pro.
If your project has several versions, there w ill be one file w ith only thename of the project in it, w hich is the original version, and one file for each
additional version that w as saved. Those versions w ill be named as such:
ProjectName.sboard

ProjectName_VersionName.sboard

NOTE
Each time you save, a back-up of this file before saving is created,
named ProjectName.sboard~.

This file is created w hen opening a project, and discarded w hen closing it.
Storyboard Pro uses it to detect if the project is currently open in anotherinstance of Storyboard Pro before opening it.

ProjectName.sboard.lock

NOTE
If Storyboard Pro quits unexpectedly, this file w ill remain in the
project folder. Hence, w hen you relaunch Storyboard Pro and try
opening the project again, Storyboard Pro w ill w arn you that the
project is already open, even though it is not.

ProjectName.sboard.thumbnails

A cache of the thumbnails for each panel in your project.

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Chapter 2: Projects

File

Contents

An auxiliary file created for each version of the project, containing a list of
all the draw ing files used by this project version specifically.
ProjectName.aux

NOTE
Each time you save, a back-up of this file before saving is created,
named ProjectName.aux~.

scene.elementTable

A list of the folders in the elements folder w ith some metadata about
each of them.

scene.versionTable

Metadata about the versions of Toon Boom Vector Draw ings in the
project. This file is only created for backw ards compatibility.

This is the list of all the different palettes in the project. Since a
Storyboard Pro project only has one palette, this is mostly forcompatibility w ith Storyboard Pro.
PALETTE_LIST

NOTE
Each time you save, a back-up of this file before saving is created,
named PALETTE_LIST~.

Folders in a Storyboard Pro project
FolderContents

Contains the visual assets in separate sub-folders:lDraw, Draw.1, Draw.2, etc.: Contains the draw ings in the draw ing layers
in your project's panels. Each folder can contain up to 200 draw ing files,
along w ith their backups. This is w hy big projects w ill have many
numbered Draw folders.

lShared: Contains draw ings for shared layers as w ell as draw ings thatw ere inserted as image clips in video tracks.

l

3dsModels, AbcModels, DaeModels, FbxModels, ObjModels andOsbModels: Contains the 3D models. There is one folder for each type of
3D model that w as imported into your project.

lmov, mp4, webm, wmv: Contains the video clips. There is one folder foreach type of movie file that w as imported into your project.

elements

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Storyboard Pro 22 User Guide

FolderContents

NOTE
Each time you make a change to a draw ing file and save, a backup of the file
before saving is created. The back-up is named after the file, follow ed by atilde (~).

audio

Contains the imported sound clips.

palette-library

Contains palettes files. A Storyboard Pro project only has one palette file, named
after its project name. The other files in this directory are created for Storyboard
Pro compatibility.

logs

Contains traces of operations and processes that w ere logged w hile w orking on
the project in Storyboard Pro. This can be useful for debugging.

environments

This is w here assets stored at the environment level w ould be stored if this w as aHarmony scene exported from a Harmony Server database for offline w ork. This
folder is only created for compatibility w ith Harmony

jobsThis is w here assets stored at the job level w ould be stored if this w as a Harmony
scene exported from a Harmony Server database for offline w ork. This folder isonly created for compatibility w ith Harmony

framesThis is w here rendered frames w ould be stored if you w ere to render the projectin Harmony. This folder is only created for compatibility w ith HarmonymodelsContains all models imported into the Storyboard Pro project77

Chapter 3: Interface

Chapter 3: Interface
T-SBFND-003-001
Understanding how to manage the Storyboard Pro interface helps you to w ork efficiently and organize yourw orkspace conveniently. There are a many view s and toolbars you can use for performing different operations.
You w ill probably have your ow n preferred w ay of w orking in the Storyboard Pro interface as w ell.
W hen you start Storyboard Pro for the first time, the default w orkspace is displayed. It contains all of the mainelements you need for creating a storyboard.

Hovering your mouse over any tool, button or most other elements in the interface brings up a tooltip w ith thename of that item, as w ell as its keyboard shortcut (if one has been set) or extra information about that item.

Top Menu
Located at the top of the Storyboard Pro interface, the top menu contains most of the commands. Dependingon the view you are w orking in and the selected element, some commands are available and others not.

Tools Toolbar
The Tools toolbar contains the main tools you need to w ork in Storyboard Pro. In the default w orkspace, thistoolbar located on the left edge of the application w indow .

Storyboard Toolbar
The Storyboard toolbar contains all of the basic commands related to adding and deleting panels, scenes, andtransitions, as w ell as sw itching betw een the 2D and 3D w orkspaces. In the default w orkspace, this toolbar islocated at the top of the interface.

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Storyboard Pro 22 User Guide

Playback Toolbar
The Playback toolbar lets you play back your storyboard. W hen you create an animatic w ith transitions andsound, you can play it back in real time in the Stage view to check the timing.
In the default w orkspace, this toolbar is located at the top of the interface.

Thumbnails View
The Thumbnails View displays all the panels of your project in chronological order. You can use this view tonavigate through your storyboard, rearrange panels and scenes, and select the panel to display in the Stageview .
By default, it is not possible to draw in the Thumbnails view and there are no brow sing buttons. But you canchange these settings in the Preferences dialog box.

Stage View
The Stage view are the centre of operations in Storyboard Pro. In these view s, you can build, draw , paint,
animate the camera, create layers, and see your results.

Panel View
The Panel view displays the different captions related to the current panel, the in, out and duration, and lets
you play any voice annotations related to the panel.

NOTE
By default, w hen you modify the w orkspace, it is automatically saved. You can restore the default
w orkspaces by selecting W indows > Restore Default W orkspace. You can prevent this behaviour
by deselecting the Save W orkspace option in the Preferences dialog box—see General
Preferences in the Preferences Guide.

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Chapter 3: Interface

Changing the Theme Colours
The Storyboard Pro interface is set to a dark theme by default. You have the option of sw itching to a lighttheme.

How to change the interface theme
1. In the top menu, select Edit > Preferences (W indow s) or Storyboard Pro 22 > Preferences(macOS) .
The Preferences dialog box opens.
2. Select the Global UI tab.
3. In the UI Style section, uncheck the Use Dark StyleSheet (Requires Relaunch) check box.
4. Click OK.
5. Close and relaunch Storyboard Pro.

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Storyboard Pro 22 User Guide

Changing the User Interface Language
Storyboard Pro is available in English, Spanish, Japanese, and Chinese.
By default, Storyboard Pro w ill automatically launch in your operating system language if it is one of the
supported languages. Otherw ise, it w ill launch in English.
There are tw o w ays of controlling the language in w hich Storyboard Pro launches:l

By changing the Language preference in the Preferences dialog.

l

By launching Storyboard Pro from a command line, w ith the -lang parameter follow ed by a tw oletters language code.

How to change the user interface language for Storyboard Pro
1. In the top menu, select Edit > Preferences (W indow s) or Storyboard Pro 22 > Preferences(macOS) .
The Preferences dialog box opens.
1. Select the Global UI tab.
2. In the Language section, open the Language (Requires Relaunch) drop-dow n and select thedesired user interface language.
3. Click OK.
4. Close and relaunch Storyboard Pro.

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Chapter 3: Interface

How to start Storyboard Pro in a specific user interface language from the commandline
1. Open a Command Prompt or Terminal w indow .
2. Type in the follow ing command, including the quotation marks, but don't press Enter/Return yet.
l

W indows: "C:\Program Files (x86)\Toon Boom Animation\Toon Boom
Storyboard Pro 22\win64\bin\StoryboardPro.exe"lmacOS: "/Applications/Toon Boom Storyboard Pro 22/Storyboard Pro
22.app/Contents/MacOS/Storyboard Pro"

3. Type a space, then type the follow ing parameter depending on w hich language you w ant to launch
Storyboard Pro in:lEnglish: -lang enlChinese: -lang zhlJapanese: -lang jalSpanish: -lang es

4. Press Enter/Return.
Storyboard Pro w ill launch in the specified language.

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Storyboard Pro 22 User Guide

About Menus
In Storyboard Pro, you can access the commands from the follow ing three types of menus:
Top Menu: Located at the top of the Storyboard Pro interface, the top menu contains most of the commands.
Depending on the view you are w orking in and the selected element, some commands are available andothers not.
View Menus: Some view s have their ow n menu containing commands specifically related to that view . To
access a view menu, click the View Menu

button in the top-right corner of a view .

Contextual Menus: Each view has a contextual menu containing commands for recurring actions. To access acontextual meu, right-click (W indow s) or Ctrl+click (macOS) anyw here in a view .

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Chapter 3: Interface

About Views
T-SBFND-003-002
The Storyboard Pro user interface is comprised of different view s, each one designed for a specific purpose.
You can modify the location and accessibility of the view s by adding a new view as a tab or as a w indow . You
can also sw ap the view locations around, as w ell as do the follow ing:l

Add a viewl

Tab a viewlDock a viewl

Undock a viewlRename a viewlClose a viewlMove a viewlResize a viewlCollapse a viewlExpand a view

For details about the view s in Storyboard Pro, see Reference Guide.
Here is a complete list of the view s available in Storyboard Pro.
l

3D Schematicl

CameralColourl

Function EditorlGuidesl

Layersl

Libraryl

Message Log

l

Panel

l

Panel PDF Optionsl

PDF ExportlPitch Model

Script Editor

84

Storyboard Pro 22 User Guide

l

Side

l

Stage

l

StoryboardlThumbnailslTimelinel

Tool Properties

l

Top

85

Chapter 3: Interface

Adding Views
T-SBFND-003-002
View s contain specific groupings of features and can be positioned anyw here on your screen. You can tab,dock, and undock a view .
The Colour view is a bit different than other view s in Storyboard Pro. By default, the Colour view is part of theTool Properties view , not a separate view on its ow n. If you have chosen to separate the tw o view s and w ant
to reintegrate them into one view , select W indows > Restore Default W orkspace.

How to add a view
1. Do one of the follow ing:lSelect W indows and then select a view from the list.

l

In Panel view , click the View Menu

button and select a view from the list.

How to dock a viewlDrag the w indow ’s tab onto the Panel view and drop it in the tab area.
The view is added to the Panel view .

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Storyboard Pro 22 User Guide

How to undock a view
1. In the Panel view , select a view by clicking its tab.
2. Drag the selected view to a new location, moving aw ay from the Panel view .
The view turns into a w indow .

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Chapter 3: Interface

Renaming a View
T-SBFND-003-003
You can rename a view for convenience. W hen you do, the new name remains in effect as long as the view
stays open. Once you close and reopen the view , its name, as displayed on the tab, w ill revert to the default
name.

How to rename a view
1. In the view to rename, click the View Menu

button.

2. Select Rename Tab from the list.
The Rename View Tab dialog box opens.

3. Type a new name for the tab you w ant to rename and click OK.

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Storyboard Pro 22 User Guide

Closing Views
T-SBFND-003-003
If there are view s in your w orkspace that you do not use, you can close them to streamline your space.

How to close a view
1. In the view to close, click the Close View

button.

2. If there are several tabs, press Shift and click the Close View

button.

All the tabs are closed at the same time.

NOTE
Don't forget, you can restore the default w orkspace at any time by selecting W indows >Restore Default Layout.

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Chapter 3: Interface

Moving Views
T-SBFND-003-004
You can move and group view s, create floating w indow s, or dock them in their ow n individual areas.

NOTE
The Colour view is like other view s, that is, you can dock and undock it. W hen you first open the
Colour view , it is docked. You can undock it so it becomes its ow n w indow w hich you can movearound freely.

How to move a view
1. Select the tab of a view and drag it onto a view separator, top area, or onto another view ’s tab.
2. W hen a rectangle outline appears show ing an available location for the view (see 1, 2 and 3
below ), release the mouse button to drop the view into position.
The view becomes a tabbed w indow , a floating w indow , or a new docked w indow .

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Storyboard Pro 22 User Guide

Resizing Views
T-SBFND-003-005
By resizing a view , you can customize your w orkspace. You can change the w idth and height of the view s in
the w orkspace.

How to resize a view
1. Position your cursor at the edge of the view you w ant to resize.
2. W hen you see the Resizing cursor, drag the side of the w indow to the desired w idth or height.

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Chapter 3: Interface

Expanding or Collapsing Views
T-SBFND-003-006
By temporarily expanding or collapsing a view , you can manipulate the w orkspace to suit your w orkflow . The
expanded or collapsed state of a view w ill be saved as part of the w orkspace modifications.

How to expand or collapse a view
1. On the edge of the view you w ant to hide, click the Expand/Collapse button.

The view is collapsed and only the Expand/Collapse button is visible.
2. Click the Expand/Collapse button to display the view again.

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Storyboard Pro 22 User Guide

About Toolbars
T-SBFND-003-007
The Storyboard Pro interface contains toolbars that quicky give you you access many useful tools. You canadd, move and remove toolbars in your w orkspace.
These toolbars are available in Storyboard Pro.
l

Cameral

Clips and TrackslCoordinate

l

Edit

l

File

l

Layer

l

NavigationlOnion Skinl

PlaybacklScriptingl

Storyboard

l

View

l

W orkspacel

Tool Presets

l

Tools

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Chapter 3: Interface

Adding and Closing Toolbars
T-SBFND-003-007
You can easily add a toolbar to your w orkspace or close one you don't use very often.

How to add a toolbar‣

Select W indows > Toolbars > the toolbar to add.

How to close a toolbar‣

Select W indows > Toolbars > the toolbar to close.

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Moving Toolbars
T-SBFND-003-008
You can move toolbars and place them at the top of the interface or beside a view .

How to move a toolbar

1. Select the toolbar to move by clicking its anchor pointand dragging it to a toolbar area at the top

or side of the interface.

As you drag the toolbar, a rectangle outline appears to indicate the available locations for the
toolbar.
2. Release the toolbar to drop it into position.

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Chapter 3: Interface

Customizing Toolbars
T-SBFND-003-009
Some of the toolbars can be customized w ith your favourite tools and options. You can also organize thetoolbars to suit your w orking preferences.
These are the toolbars that can be customized:
l

Layer

l

StoryboardlNavigation

l

Sound

l

Tools

The Tools toolbar can only be customized if the Flat Tools Toolbar preference is enabled. This preference
allow s you to display all the tools instead of having some of them grouped as drop-dow ns.

How to customize a toolbar
1. Right-click (W indow s) or Ctrl+click (macOS) on any button in a toolbar and select Customize.
The Toolbar Manager dialog box opens.

2. Do any of the follow ing:l

Add a new icon to a toolbar: Select a tool/command from the Available Tools list
and click the Rightl

Arrow button.

Remove an icon from a toolbar: Select a tool/command in the Toolbar list and click
the Left

Arrow button to remove it from the toolbar.

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Storyboard Pro 22 User Guidel

Reorder icons in a toolbar: Select a tool/command in the Toolbar list and click the Up
or Dow n
Arrow buttons to reposition it.

3. Click Apply to apply the changes w ithout closing the Toolbar Manager dialog box or click OK to
apply the changes and close the w indow .

How to enable the Flat Tools Toolbar preference
1. Open the Preferences dialog box by do:lSelect File > Preferences (W indow s) or Storyboard Pro > Preferences (macOS).

l

Press Ctrl + U (W indow s) or ⌘ + , (macOS).

2. Select the Global UI tab.
3. In the Toolbars section, select the Flat Tool Toolbar option.
4. Restart Storyboard Pro. Once the softw are is restarted, you can customize the Tools toolbar.

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Chapter 3: Interface

About W orkspaces
T-SBFND-003-010
The Storyboard Pro w orkspace is comprised of several view s. You can customize your w orkspace to suit yourw ork style, save it as a new w orkspace, and load it from the W orkspace toolbar.
The first time you open Storyboard Pro, the default Draw ing w orkspace is loaded. There are a total of eight
ready-made w orkspaces.
W orkspace

Icon

Description

Draw ing

This w orkspace is designed to enable you to draw your storyboard efficiently.
The main space is the large Stage view and the Thumbnails view is at thebottom. This w orkspace also gives you quick and easy access to all your tools,
as w ell as the Panel and Storyboard view s.

Timeline

This w orkspace is designed w ith the process of animatic creation in mind. The
main space is the large Stage view and the Timeline view is at the bottom,
w here you can easily edit the timing of panels, transitions and sounds. Thisw orkspace also gives you quick and easy access to all your tools, as w ell as the
Panel and Storyboard view s.

This w orkspace is designed to provide an organized overview of your project.
Overview

The main space is the Thumbnails view w here you can efficiently reorganize
the order of your panels.

Horizontal

This w orkspace displays your project as a classic horizontal paper storyboard
layout. The main space displays three panels at a time, w ith the panel
information show n below each one.

VerticalThis w orkspace displays your project as a classic vertical paper storyboard
layout. The main space displays tw o panels at a time, w ith the panel
information show n at the side of each.

Pitch Mode

This w orkspace displays your project w ith a different set of view s than theother w orkspaces. Access is only given to a certain number of features. Thismaximizes the view ing space to focus solely on the story being pitched.
The Pitch Mode w orkspace occupies the entire display screen. There are no
toolbars or top menu available.

PDF View

This w orkspace displays your project w ith the view s required to quickly set up
your PDF export.

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W orkspace

Icon

Description

This w orkspace displays your project w ith the view s appropriate for w orking
w ith 3D objects, including the Camera, Top, Timeline, and Layers view s.

3D View

W hen you create or change any of the customer w orkspaces, the file are stored in a folder called Toon Boom
Storyboard Pro. You can copy this folder if you w ant to use the same w orkspaces on a different computer.
l

W indows:l

C:\Users\[user_name]\AppData\Roaming\Toon Boom Animation\Toon Boom Storyboard
Pro \20100-layouts-xmllmacOS: On macOS, the Library folder is a hidden folder. To display the display the folder, hold dow n
the Alt key w hen displaying Finder's Go menu.
l/Users/[user_name]/Library/Preferences/Toon Boom Animation/Toon Boom Storyboard
Pro/20100-layouts-xml

99Chapter 3: Interface

Loading W orkspaces
T-SBFND-003-011
There are several w ays to load a w orkspace in Storyboard Pro.

How to load a workspacel

From the View toolbar, click a w orkspace button.

l

Select W indows > W orkspace > W orkspace and then select a w orkspace.

l

Use the keyboard shortcuts 3 to 8 to open the corresponding w orkspaces. There is no keyboard
shortcut for the PDF View . You must use the button on the View toolbar.

100Storyboard Pro 22 User Guide

Creating a W orkspace
Using the W orkspace Manager, you can modify, create, delete, rename, and reorder w orkspaces. You cancreate a new w orkspace from an existing one and modify it to suit your needs.

How to create a new workspace
1. Do one of the follow ing:lSelect W indows > W orkspace > W orkspace Manager.

lSelect W indows > Toolbars > W orkspace and in the W orkspace toolbar, click the
W orkspace Manager

button.

2. In the Available W orkspaces list, select an existing w orkspace.

3. At the bottom of the Available W orkspaces list, click the Add

button to add a w orkspace.

4. Select the new w orkspace you created, then click Rename and give it a new name.
5. Select the new w orkspace and click the Right Arrow
toolbar.

6. Click OK

101

button to send it to the W orkspaceChapter 3: Interface

Renaming a W orkspace
You can rename an existing w orkspace in the W orkspace Manager.

How to rename a workspace
1. Do one of the follow ing:lSelect W indows > W orkspace > W orkspace Manager.

lSelect W indows > Toolbars > W orkspace and in the W orkspace toolbar, click the
W orkspace Manager

button.

2. From the Available W orkspaces column, select a w orkspace to rename.
3. Click the Rename button.
4. Type in a new name for the w orkspace.

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Saving a W orkspace
Storyboard Pro automatically saves the changes made to a w orkspace. This means that w hen you resize,
move around, add or delete view s, your w orkspace w ill be automatically saved in its current state.
You can save a w orkspace manually, or as a new version to avoid overw riting the current one.

How to save a workspace manuallyl

Select W indows > W orkspace > Save W orkspace.

How to save your workspace as a new version
1. Select W indows > W orkspace > Save W orkspace As.
The Save W orkspace As dialog box opens.
2. Type in a name for the w orkspace.

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Chapter 3: Interface

Deleting a W orkspace
You can delete a w orkspace from your list using the W orkspace Manager. Note that you cannot delete thedefault w orksapces.

How to delete a workspace
1. Do one of the follow ing:lSelect W indows > W orkspace > W orkspace Manager.

lSelect W indows > Toolbars > W orkspace and in the W orkspace toolbar, click the
W orkspace Manager

button.

2. From the Toolbar list on the right, select the w orkspace to delete and click the Left Arrowbutton to send it to the Available W orkspaces list. This removes it from the W orkspace toobar.

3. From the Available W orkspaces list on the left, select a w orkspace and click the Delete
4. Click OK.

104

button.

Storyboard Pro 22 User Guide

Showing and Hiding W orkspaces
You can show and hide selected w orkspaces from the W orkspace toolbar’s drop-dow n menu.

How to show a workspace
1. Do one of the follow ing:lSelect W indows > W orkspace > W orkspace Manager.

lSelect W indows > Toolbars > W orkspace and in the W orkspace toolbar, click the
W orkspace Manager

button.

2. In the Available W orkspaces list, select the w orkspace to be displayed. Click the Right Arrowbutton to send it to the W orkspace toolbar.

How to hide a workspace
1. Do one of the follow ing:lSelect W indows > W orkspace > W orkspace Manager.

lSelect W indows > Toolbars > W orkspace and in the W orkspace toolbar, click the
W orkspace Manager

button.

2. In the W orkspace Manager, select the w orkspace to be hidden. Click the Leftsend it to the Available W orkspaces list.

105

Arrow button toChapter 3: Interface

Reordering the W orkspace List
You can edit the order that the available w orkspaces are listed in the W orkspace toolbar’s drop-dow n menu.

How to reorder the workspace list
1. Do one of the follow ing:lSelect W indows > W orkspace > W orkspace Manager.

lSelect W indows > Toolbars > W orkspace and in the W orkspace toolbar, click the
W orkspace Manager

button.

2. From the Toolbar list, select the w orkspace to be reordered and click the Up or Dow n Arrowbuttons to move it up or dow n.

106

Storyboard Pro 22 User Guide

Restoring the Default W orkspace
T-SBFND-003-012
You can restore the modified w orkspaces to their original default layout. This is particularly useful if you haveclosed several view s or moved toolbars.

How to restore the default workspacel

Select W indows > Restore Default W orkspace.

107Chapter 3: Interface

Interface Navigation
W ith the help of menu commands and keyboard shortcuts, some view s let you navigate their content byzooming in, zooming out, panning and rotating them. You can also reset the zoom level, pan and rotation angleof these view s as needed.
The navigation commands in the table below can be used in the follow ing view s, w ith some exceptions:
l

Stage

l

CameralTimelinelFunction EditorlSide and Top

TIP
Keyboard shortcuts can be customized. You can view , search for and change keyboard shortcuts
for Storyboard Pro in the Keyboard Shortcuts dialog. To access the Keyboard shortcuts dialog:l

W indows: In the top menu, select Edit > Keyboard Shortcuts.

lmacOS: In the top menu, select Storyboard Pro 22 > Keyboard Shortcuts.

Command

ActionAccess Methods

View > Zoom In
Zoom In

Zooms in theview .

Press 2
Roll the mouse w heel up (except in the Timeline view )View > Zoom Out
Zoom Out

Zooms out theview .

Press 1
Roll the mouse w heel dow n (except in the Timeline view )Roll the middle mouse button up or dow n.
Zoom In or Out

Zooms in or outof the view .

Pan

Moves the viewhorizontally or
vertically.

Hold dow n the Spacebar and the middle mouse button w hile
dragging the mouse up or dow n.

Hold dow n the Spacebar and drag in the direction you w ant to pan
the view .

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Storyboard Pro 22 User Guide

Command

ActionAccess Methods

View > Reset Pan

Reset Pan

Resets theview ’s pan to its
default position.

Press Shift + N

View > Reset View
Reset View

Resets the view
to its default

Press Shift + M

position.

The

Reset View button at the bottom of the Stage and Camera

view s.

Reset Rotation

Reset Zoom

Resets theview ’s rotation
to its default
position.

Resets theview ’s zoom toits default
position.

View > Reset Rotation
Press Shift + X

View > Reset Zoom
Press Shift + Z

Rotate View

Rotates the viewleft or right.

W hile holding Ctrl + Alt (W indow s) or ⌘ + Alt (macOS), click anddrag the rotating disc to rotate it clockw ise or counterclockw ise.

3D Rotate View

Rotates the viewin any direction.
This is only
available in theStage view , if
the scene is 3Denabled.

W hile holding Ctrl + Shift (W indow s) or Shift + ⌘ (macOS), click anddrag the stage to rotate it in any direction.

Rotate 30 CW

Rotates the
Camera view 30
degreesclockw ise, likean animationtable.

Rotate 30 CCW

Rotates the
Camera view 30
degrees counter-

View > Rotate View CWPress V

View > Rotate View CCW
Press C109

Chapter 3: Interface

Command

ActionAccess Methods

clockw ise, likean animationtable.

Toggles
betw een making
the main
Toggle Full Screen

application
w indow fullscreen andrestoring it to its
original size.

View > Toggle Full Screen
Ctrl + Alt + Shift + F (W indow s) or ⌘ + Alt + Shift + F (macOS)

Navigation Toolbar
Storyboards can easily become very extensive projects. The Navigation toolbar lets you quickly display the
first and last frame of a panel. These buttons grey out w hen the playhead is at the start or end of a panel.

To learn more about animatics and timing, see Animation on page 648.

How to access the Navigation toolbar‣

Select W indows > Toolbars > Navigation.
Icon

Tool Name

Description

First Frame

Displays the first frame of the layer animation.

Last Frame

Displays the last frame of the layer animation.

110

Storyboard Pro 22 User Guide

111

Chapter 4: Storyboard Structure

Chapter 4: Storyboard Structure
T-SBFND-005-001
To build and organize your storyboard project, you w ill use panels, scenes, sequences, and acts. You have
many options to customize these project elements in order to keep things clear and organized.
Below are examples of panels, scenes, sequences and acts in the Thumbnails and Timeline view s.

1. A panel represents an action. You can use multiple panels w henever you need more than one draw ing
to clearly express the acting w ithin a scene. It is the w hite rectangle representing the camera view . By
default the current panel w ill be highlighted in red in the Thumbnails view .
2. A scene is composed of one or several panels. In animation, w henever the camera angle changes, you
should create a new scene. In live action, this is called a shot.In other w ords, if your action goes from a
mid shot to a close shot, each of these shot should be a different scene. By default, a grey rectangle
connects the different panels of a scene together.
3. A sequence is a series of scenes that should be grouped together. Usually, scenes are grouped together
by location. For example, all the scenes that are taking place in one location, should be in the same
sequence and as soon as there is a change of location, it should be a new sequence. by default, a blueline connects the different scenes of a sequence together.
4. An act is composed of one or several scenes and sequences. An act usually represents a story arc. It canbe a certain time lapse in the story. For example, all the scenes in the first half of a TV series are one act,
and the second act is after the commercial break. As for movies, live action, or even video games, there
could have several different story arcs. In Storyboard Pro, a purple flag show s the beginning of a new
act.

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113

Chapter 4: Storyboard Structure

About Scenes
T-SBFND-005-002
In live-action productions, scene changes occur w hen the location of the action changes, such as from the
bedroom to the living room, from the living room to outside, from outside to across tow n. In traditional
animation, every time a painted background has to be changed or the camera cuts, a scene change is required,even if the characters are in the same location. For example, tw o characters could be talking face-to-face in aforest, how ever the trees behind each character w ould be different as the shot cuts from one character to theother. Each shot w ould require a new scene. A sequence of these scenes taking place in the same location
could be referred to as an act.
In Storyboard Pro, panels in the same scene are grouped together by a dark grey bounding box.
You can:lCreate new sceneslDelete sceneslRename sceneslLock and unlock scene and panel namesl

Split sceneslSelect all panels in a scene

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Storyboard Pro 22 User Guide

Creating Scenes
T-SBFND-005-003
W hen you create a new scene, it is usually added after a selected scene, but you can make the new scene
appear before it. You can also create a new scene from a series of selected panels w ithin a scene and thenseparate them as a new one.

How to create a new scene
1. Do one of the follow ing:l

In the Storyboard toolbar, click the Add Scenel

Select Storyboard > Create Scene.

button.

A new panel is created in the Timeline immediately after the current shot. The new panel iscontained in a separate grey box.

Each scene is assigned a number. W hen you create a scene at the end of your project, Storyboard Pro
automatically assigns it the number that comes right after the number of the last scene. If you try to insert ascene betw een tw o existing scenes, you w ill be prompted to indicate how this new scene should be named,
and if scenes after the new scene should be re-numbered.

How to insert a scene between two existing scenes
1. Select any panel the scene after w hich the new scene should be inserted.

115

Chapter 4: Storyboard Structure

2. Do one of the follow ing:l

In the Storyboard toolbar, click the

New Scene button.

l

Right-click on a panel and select New Scene.

l

In the top menu, select Storyboard > New > New Scene.

The Rename Scene dialog appears.

3. Do one of the follow ing:l

If you w ant the new scene to have a suffix, to indicate that it w as inserted betw een existing
scenes, you do not have to edit any of the fields. The New name field already contains thename of the currently selected scene follow ed by a letter suffix. For example, if you tried
inserting a scene before scenes 2 and 3, Storyboard Pro w ill name the new scene 2_A by
default.

l

If you w ant the scene to have the number after the number of the currently selected scene,
and to renumber all subsequent scenes accordingly, enter this number in the New Name
field. For example, if you're inserting a scene betw een scenes 2 and 3, type 3 in the New
Name field. Then, in the Renaming Rule for Subsequent Scene dropdow n menu, selectRenumber Scenes.

4. If you intend to use the same options w henever you insert a scene, check the Do not show this
dialog automatically option.
5. Click OK.
A new scene, containing one blank panel, is added after the current scene, numbered according to
your selected settings.

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Storyboard Pro 22 User Guide

How to create a scene before the current scenelSelect Storyboard > New > New Scene Before.
A new scene containing a blank panel is added before the current scene.

How to create a scene from a selection of panels
1. In the Thumbnails or Timeline view , select one or more consecutive panels.

2. Select Storyboard > New > New Scene from Selected Panels.

The selected panels are joined together w ithin the scene.

117Chapter 4: Storyboard Structure

Importing Images as Scenes
T-SBADV-009-001
You can import one or more images and have Storyboard Pro automatically create a new scene for each. Thiscan be useful w hen you have a series of bitmap images that you need to include in your project, such as
backgrounds or scanned storyboards panels.
The follow ing image formats can be imported in Storyboard Pro:l

Portable Netw ork Graphics (.png)lPhotoshop Document (.psd, .psb)lTruevision Targa Image (.tga)lTagged Image File Format (.tif)lBitmap Image (.bmp)lJpeg (.jpg, .jpe, .jpeg)lSillicon Graphics Image (.sgi)lToon Boom Vector Graphic (.tvg)

lToon Boom Scan (.scan)lToon Boom Optimized Bitmap (.opt)

lY'UV frame (.yuv)l

PAL frame (.pal)

NOTES
l

By default, each image you import using this method w ill be imported as a separate scene.
How ever, you can make storyboard import each image into a specific act, scene, panel andlayer, creating the structure of your entire project in one go. For more information, see
Automatically Inserting Images as Acts, Scenes, Panels and Layers on page 164l

By default, images are imported as bitmap textures. It is possible to vectorize images upon
import—see Vectorizing Images on Import on page 261.

How to import images as scenes
1. Select File > Import > Images as Scenes.
The Choose Image Files brow ser opens.
2. Brow se to the desired images, select one or more images, and click Open.
A new scene is created at the end of your project for each one of the imported images.

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119

Chapter 4: Storyboard Structure

Deleting Scenes
T-SBFND-005-004
If you have one or more scenes that are no longer needed, you can easily remove them. W hen you delete ascene or insert a new scene betw een tw o existing scenes, the numbering of the scenes w ill be out of order. By
default, there is no automatic renaming of scenes. You can change this in the Preferences dialog box—see
Renaming Scenes on page 121.

NOTE
The last scene in your project cannot be deleted. There must alw ays be at least one scene in the
project.

How to delete a scene
1. In the Thumbnails view , select a scene to delete. If it is composed of more than one panel, selectthem all. You can also click the minus sign (-) in the upper-left corner of the scene to collapse it into
one panel. This w ill let you select all the panels w ith one click.

2. Select Edit > Delete Selected Panels/Transitions or press Delete.
The selected scene is deleted from your storyboard.

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Storyboard Pro 22 User Guide

Renaming Scenes
T-SBFND-005-005
W hen you start moving scenes and panels around, the Rename Scene dialog box automatically opens andprompts you to rename them every time. You can also rename selected scenes as needed, using the Rename
Scene command or the Panel view .

How to rename scenes with the Rename Scene command
1. In the Thumbnails view , select a scene to rename.
2. Select Storyboard > Rename Scene.
The Rename Scene dialog box opens.

3. In the New name field, type the new name for the selected scene. You can type either a number or a
name.
4. Use the Renaming Rule for Subsequent Scene menu and determine if the next scenes should be
renamed. The Renumbered Scene Names section displays the current and new names for all thescenes that w ill be affected by the renaming process.

121

Chapter 4: Storyboard StructurelCurrent Scene Only:Renames only the selected scene.

lRenumber Scenes:Renumbers the current scene, as w ell as all the scenes that
follow .

l

Renumber Selected Scenes: Renumbers the first selected scene of a multiselection,
as w ell as all the follow ing scenes that are part of the selection.

lRenumber Prefix Only: Renumbers the scenes' numerical prefixes beginning at the
selected scene. The new name must be a numerical value.

5. Select the Reset Panel Name option to reset all panel names according to the current panel time
automatic increment rule.
6. Select the Do not show this dialog automatically option to prevent it from automatically opening
every time you move scenes around.

How to rename a scene using the Panel view
1. In the Thumbnails view , select a scene to rename.
2. In the Panel view , type the new name or number for your scene in the Scene field.

3. Press Enter to validate the scene name or number.
If the name is invalid or already used by another scene, a w arning message w ill appear. If thishappens, use the Rename command to rename all subsequent scenes.

122

Storyboard Pro 22 User Guide

Locking and Unlocking Names
T-SBADV-004-009
It is possible to lock sequence, scene and panel names to prevent any unw anted modification.

NOTE
To type custom panel names, you must enable the Allow Custom Panel Names preferences—see
Locking and Unlocking Names on page 123.

How to lock scene and panel nameslSelect Storyboard > Lock Sequence, Scene and Panel Names.
The Scene and Panel fields become deactivated.

The Thumbnail view displays a locked icon in the header.

How to unlock scene and panel nameslSelect Storyboard > Unlock Sequence, Scene and Panel Names.
The names are unlocked and can be edited if necessary.

123Chapter 4: Storyboard Structure

Splitting Scenes
Using Storyboard Pro, you can split the current scene in tw o or break it into three parts.
W hen you split a scene, it is divided before the current panel by default.

NOTE
You can change this in your preferences so that w hen you split a scene, it is broken into three parts
and the selected panel is isolated.

How to split the current scene
1. In the Thumbnails view , select a scene to split. The current scene must contain tw o or more panels.
The split w ill occur before the current panel.

2. Select Storyboard > Split Current Scene.
The scene is split into tw o scenes.

How to break the current scene
1. In the Preferences dialox box, select the General tab, and then select the Break Scene when
performing the “Split Current Scene” command option.

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Storyboard Pro 22 User Guide

2. In the Thumbnails view , select a scene to break. The current scene must contain tw o or morepanels.

3. Select Storyboard > Split Current Scene.
The scene is divided in three.

125Chapter 4: Storyboard Structure

Selecting All Panels
T-SBADV-004-010
You can select all the panels in a scene, using the Select All Panels in Scene command.

NOTE
You can also double-click on a panel's header to select all panels in the scene.

How to select all the panels of a scene
1. In the Thumbnails or Timeline view , select one panel inside the scene you w ant to select all panelsfrom.
2. Select Edit > Select All Panels in Scene.

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Storyboard Pro 22 User Guide

Flipping Scenes
T-SBFND-009-024
This functionality enables you to easily flip a selection of scenes w ithout flipping their layers one by one. Thiscan be useful w hen re-using background elements.
Flipping the scene w ill flip all panels included in that scene, as w ell as the camera movements. Everythingelse w ill be kept the same, for example, keyframe timing.
Before:After:NOTE
Flipping the scene flips all panels included in the scene. It is not possible to flip one or more panels
in a scene w ithout affecting the others.
A 3D scene cannot be flipped.

How to flip a scene
1. In Timeline view , select one scene or more.
2. Do one of the follow ing:lSelect Storyboard > Flip Selected Scenes.

l

In the Thumbnails view , right-click on your selection and select Flip Selected Scenes.

l

In the Timeline view , right-click on your selection and select Flip Selected Scenes.

l

In the Storyboard Pro toolbar, click the Flip Selected Scenes

127

button.

Chapter 4: Storyboard Structurel

Use the Flip Selected Scenes shortcut.

128

Storyboard Pro 22 User Guide

Expanding and Collapsing Scenes
T-SBADV-004-006
As you w ork on a storyboard, you may accumulate a large number of scenes composed of a tremendous
number of panels. You can collapse lengthy scenes into one panel to have more space in the Thumbnails view .

How to expand or collapse a scene‣

In the Thumbnails view , click the Expand/Collapse Scene button at the top-left of a scene
composed of many panels.

One of the follow ing happens:
The scene collapses, leaving only the first panel visible. The Expand/Collapse icon changes to aplus (+) sign.
The scene expands to show all its panels. The Expand/Collapse icon change to a minus (-) sign.

How to collapse or expand all scenes‣

In the Thumbnails view , click the Expand/Collapse All Scenes button at the top-right.

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Chapter 4: Storyboard Structure

W orking with a Collapsed Scene
W hen your scene is collapsed, you can still w ork in the Timeline view . How ever w hen you select a panel, theentire scene is selected, not just one panel. This means that you cannot w ork only on a single panel in theTimeline view ; you must first expand the collapsed scene.

IMPORTANT
If you try to delete a panel in a collapsed scene, the entire scene w ill be deleted. You cannot delete
a single panel.

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Storyboard Pro 22 User Guide

About Panels
T-SBFND-005-006
Your scenes (shots) should comprise as many panels as needed to show the actions taking place. W ith
Storyboard Pro, you can easily create many panels.
By default, you can find this information on the top of each panel:

You can:lCreate a panellDelete a panell

Rename panelslDuplicate a panellMove panelslCustomize the panel colour

131Chapter 4: Storyboard Structure

Creating Panels
T-SBFND-005-007
W hen you create a new panel, it is added after the current panel.How ever, you can create a new panel before
the current panel. You can also create a new panel that contains elements (layers) from another panel.

How to add a panel to a scene
1. In the Thumbnails view , select the panel after w hich you w ant to insert a new panel.

2. Do one of the follow ing:l

In the Storyboard toolbar, click the

New Panel button.

l

In the top menu, select Storyboard > New > New Panel.

lPress P.

A new panel is added to the storyboard and is part of the same scene as the current panel.

How to create a new panel before a selected panel
1. In the Thumbnails view , select a panel.

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2. Select Storyboard > New > New Panel Before.
A new panel is added before the selected panel and is inside the same scene.

How to use create a new panel that contain elements from another panel
1. In the Thumbnails view , select the panel that contains the elements you w ant duplicate into thenew panel.
2. Do one of the follow ing:lSelect Storyboard > Smart Add Panel.

l

In the Storyboard toolbar, click the Smart Add Panelbutton.

The Smart Add Panel dialog box opens.

3. Select the layers that contain elements you w ant to copy into the new panel.
4. Select the Add default layer if missing option to create the default layers in the new panel if they
are not part of the Smart Add Panel selection list.

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A new panel is created next to the selected panel. All layers are copied into the new panel, but
only the layers you chose contain artw ork.

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Renaming Panels
T-SBFND-005-009
You can rename panels one at a time using the Panel view or rename multiple panels using the Rename Panelcommand. But before you can rename panels, you must use the Preferences dialog box to enable therenaming of panel names.

How to enable the renaming of panels
1. Do one of the follow ing:lSelect Edit > Preferences (W indow s) or Storyboard Pro 22 > Preferences (macOS).

l

Press Ctrl + U (W indow s/Linux) or ⌘ + U (macOS).

2. In the Preferences dialog box, select the Naming tab.
3. In the Panel section, select the Allow Custom Panel Names option.

How to rename a single panel
1. In the Thumbnails view , select a panel to rename.

2. In the Panel view , type a new name in the Panel field and press Enter.

The panel is renamed.

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How to rename multiple panels
1. In the Thumbnails view , select a panel to rename.

2. Select Storyboard > Rename Panel.
The Rename Panel dialog box opens.
3. Type a new name in the New name field.
4. You can use the Renaming Rule for Subsequent Panel menu to determine if the next scenes should
be renamed:lCurrent Panel Only: Renames only the selected panel.

lRenumber Panels: Renumbers the current panel, as w ell as all panels that follow .

lRenumber Selected Panels: Renumbers the first selected panel of a multiselection,
as w ell as all follow ing panels that are part of the multiselection.

lRenumber Prefix Only: Renumbers the panels’ numerical prefixes beginning at the
selected scene. The new name must be a numerical value.

The Renumbered Panel Names section displays a list of the panels that w ill be renamed, their old
names and the new names.

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Deleting Panels
T-SBFND-005-008
If there are panels you no longer need, you can simply delete them. Note that it is impossible to have an empty
project as there is a minimum of one panel.

How to delete panels
1. In the Thumbnails view , select one or more panels to delete.

2. Do one of the follow ing:l

In the Storyboard toolbar, click the Delete Selected PanelslSelect Edit > Delete Panel.

lPress Delete.

The selected panels are deleted from your storyboard.

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Chapter 4: Storyboard Structure

Duplicating Panels
T-SBFND-005-010
You can duplicate panels w hen you need an exact copy of an existing one.

How to duplicate panels
1. In the Thumbnails view , select the panel or range of panels to duplicate.

2. Do one of the follow ing:l

In the Storyboard toolbar, click the Duplicate Selected PanelslSelect Storyboard > Duplicate Selected Panels.

button.

A copy of the previous panel is created.

The duplicated panels are added at the end of the current scene. If the selection included panelsfrom different scenes, new scenes are created for them.

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Moving Panels
T-SBFND-005-011
You can easily move panels in the Thumbnails and Timeline view s to reorder, separate, or join them. Joining
panels w ill make them part of the same scene.
You can reorder panels by clicking on thedrag and drop handle in the top left corner of the panel, thendragging the panel betw een the tw o panels w here you w ant it to be moved. A red line w ill appear betw een
tw o panels near your mouse cursor to indicate w here the panel w ill be moved.

TIP
If you w ant to move several panels together, you can select them together, then click and drag thedrag and drop handle of any panel in the selection. To select several panels in the Thumbnails
view , do one of the follow ing:lDraw a rectangle in the Thumbnails view around all the panels you w ant to select.

l

W hile holding Shift, click on the first panel you w ant to add to your selection, then on the last
panel you w ant to add to your selection. Every panel in-betw een w ill also be selected.

l

W hile holding Ctrl (W indow s) or ⌘ (macOS), click on each panel that you w ant to add to yourselection.

If you move a panel to the space betw een tw o scenes, you have the option of attaching the panel to the scene
before or after this space, or to drop it into its ow n new scene. W here the scene w ill end up depends on how
close to either scene you drop it. The red line that appears betw een the tw o scenes w ill indicate w hether it w ill
be attached to the scene before or after the space w here the panel is being dropped, or moved to its ow n newscene.

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You can join selected panels w ith another scene. Just drag the panel onto the edge of the scene you w ant it toattach to, and drop it w hen you see a right-facing or left-facing bracket appear.

To reorder selected panels in the Timeline view , drag and drop them w hen you see a green bracket or green
shape.

You can drag and drop a selection to remove it from a scene. Just drag the selection out and drop it betw een
tw o scenes w hen you see a rounded green rectangle shape appear.

How to drag and drop panels
1. In the Thumbnails or Timeline view , select one or more panels to move.

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2. Click the header of the current panel and drag it to the new location.

l

W hen you move your cursor, a thumbnail w ith a number is displayed. The number
represents the number of selected panels being moved.

l

In the Thumbnails view , a straight red line or a red bracket represents w hat the
movement w ill do.

lIn the Timeline view , a green bracket or a green shape represents w hat the movement
w ill do.

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Customizing the Panel Colour
T-SBADV-004-007
You can mark panels w ith a custom colour to quickly identify and manage them. You can also do this for audio
clips—see Sound on page 774.

How to customize a panel with colour
1. In the Timeline view , select the panel you w ant to mark w ith colour. You can also make a multiple
selection.

2. Right-click on your selection and select one of the follow ing option: Set Colour > Red, Orange,
Yellow, Green, Blue, Purple or Custom. Choosing custom, w ill open a Colour Picker dialog box, inw hich you can select the colour of your choice.
The selected panel w ill change to the colour you have chosen.

How to reset the panel colour
1. In the Timeline view , select the panel you w ant to reset the colour to default. You can also make amultiple selection.

2. Right-click on your selection and select Set Colour > Default Colour.
The selected panel colour w ill reset to the default colour.

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NOTE
The default colour of panels is grey. How ever, you can change this value in the Preferences
dialog box.

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Copying and Pasting Panels Between Projects
By opening tw o projects at the same time, you can copy and paste panels betw een projects, allow ing you toreuse your assets more efficiently. To do this, you can simply launch tw o instances of Storyboard Pro, open thesource project in one instance, the destination project in the other instance, and copy and paste betw een bothinstances.

NOTE
On W indow s, you can launch tw o instances of Storyboard Pro by launching it from the desktop orStart menu tw ice. On macOS, you must launch Storyboard Pro from the Finder application in order
to be able to launch tw o instances of it. If you attempt to launch Storyboard Pro from the docktw ice, it w ill only launch it once.

How to launch two instances of Storyboard Pro
1. Do the follow ing tw ice:l

On W indows: Open the Start menu, then select All Programs > Storyboard Pro 22 >Storyboard Pro 22.

l

On macOS: Open Finder, then go to Applications > Toon Boom Storyboard Pro 22 >Storyboard Pro 22.

How to copy and paste panels between two projects
1. Launch tw o instances of Storyboard Pro, and open your first project in the first instance, and yoursecond project in the second instance.

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2. In the project containing the panels you w ant to copy, in the Thumbnails or Timeline view , selectthe panel or panels you w ant to copy.

3. Do one of the follow ing:l

In the top menu, select Edit > Copy Panels.

l

Press Ctrl + C.

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4. In the project in w hich you w ant to paste the panels, in the Thumbnails or Timeline view , select thepanel after w hich you w ant the copied panels to be inserted.

5. Do one of the follow ing:l

In the top menu, select Edit > Paste Panels.

l

Press Ctrl + V (W indow s) or ⌘ + V (macOS).

The panels you copied from the first project w ill be inserted in the second project, right after theselected panel.

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NOTE
If you pasted the panels betw een tw o scenes, it w ill create a new scene and prompt
you to decide how the new scene and subsequent scenes should be named—see
Creating Scenes on page 115.

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About Sequences
T-SBADV-004-011
A sequence is a particular section of the story composed by one or several scenes that has a unity in either
time or its location. Scenes that are contained in different sequences can have the same name. Like scenes,
panels, and acts, you can manipulate the sequences of your story w hile you are building your storyboard.

You can:lCreate a sequencelRemove all sequenceslRename a sequencelSplit and join sequencesl

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Creating Sequences
T-SBADV-004-012
A sequence is a w ay of grouping scenes together. Using them is optional, but they can help organize yourstoryboard. For example, you can use sequences to group scenes that are part of the same setting together.
W hen you start building a storyboard, by default, your scenes w ill not be part of any sequence. To use
sequences in your project, you can take one of the tw o follow ing approaches:l

After you have created all the scenes that should be part of your first sequence, simply use the New
Sequence command to create your next scene. All the scenes that are already in your project w ill begrouped together in the first sequence of your project, and a new scene, w hich w ill kick off the second
sequence, w ill be added at the end of your project.
From that point on, you can use the New Sequence command w henever you have to create a scene thatshould start off another sequence.

l

After you have created all the scenes required for your project, you can split your storyboard intosequences by selecting scenes that should be part of the same sequence, grouping them together in a
new sequence, and repeating the process until every scene is in the appropriate sequence.

NOTE
In live action terminology, a sequence is referred to as a scene, w hereas w hat is referred to as
scenes in animation terminology is instead referred to as shots.

How to create a new sequence
1. Do one of the follow ing:l

In the Storyboard toolbar, click the

New Sequence button.

l

In the top menu, select Storyboard > New > New Sequence.

A new scene is added to your project and is now the starting point of a new sequence.
If this is the first sequence you add to a project, all scenes prior to it w ill be combined into aseparate sequence. Violet-coloured sequence markers w ill also become visible in both theThumbnails and Timeline view s.

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How to create a new sequence from a selection
1. In the Thumbnails or Timeline view , select all the scenes you w ant to put into a new sequence. To
do this, w hile holding Shift, click on the first scene to be part of the new sequence, then on the lastscene to be part of the new sequence. This selects every scene betw een the scenes you clicked on,
inclusively.

2. Do one of the follow ing:
a. In the top menu, select Storyboard > New > New Sequence from Selection.
b. Right-click on the selection, then select New Sequence from Selection.
Your selection becomes a new sequence.
If this is the first sequence you add to your project, all the scenes before the selection w ill begrouped together into a separate sequence, and all the scenes after the selection w ill be grouped
together into another sequence. Violet-coloured sequence markers w ill become visible in both theThumbnails and Timeline view s.

NOTE
Sequences must include w hole scenes. If you only select some of the panels in a scene, thew hole scene w ill be included in the sequence.

How to enable the Automatically Create New Sequence preference
1. Do one of the follow ing:‣

Select Edit > Preferences (W indow s) or Storyboard Pro > Preferences (macOS).

‣

Press Ctrl + U (W indow s) or ⌘ + , (macOS).

2. In the Preferences dialog box, click the General tab.

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3. In the General section, select the Automatically Create New Sequence option.

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Renaming Sequences
T-SBADV-004-013
Once you start adding sequences to your project, the Sequence field w ill become visible in the Panel view ,allow ing you to view the selected sequence's name and edit it if needed.
You can rename a selected sequence using the Panel view or Rename Sequence command.

How to rename a sequence using the Panel view
1. In the Thumbnails view , select a sequence to rename.
2. In the Panel view , type the new name or number for the selected sequence in the Sequence fieldand press Enter/Return.

How to rename sequences with the Rename Sequence command
1. In the Thumbnails view , select a sequence to rename.
2. Select Storyboard > Rename Sequence.
The Rename Sequence dialog box opens.

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3. In the New name field, type the new name for the selected sequence. You can type either a number
or a name. If you type a name or a number that is already used by another sequence, a w arning
message w ill appear.
4. You can use the Renaming Rule for Subsequent Sequence menu to determine how the next
sequences should be renamed. The Renumbered Sequence Names section displays the current andnew names for all the sequences that w ill be affected by the renaming process.
‣Current Sequence Only: Renames only the selected sequence.

‣

Renumber Sequences: Renumbers the current sequence, and the ones that follow .

‣Renumber Selected Sequences: Renumbers the first selected sequence of a multiselection, as
w ell as all the follow ing sequences that are part of the multiselection.

‣

Renumber Prefix Only: Renumbers renumbers the sequence numerical prefixes beginning at
the selected sequence. Note that the new name must be a numerical value.

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Removing Sequences
T-SBADV-004-014
The sequences in your project can all be removed at the same time.

How to remove all sequences from a projectlSelect Storyboard > Remove All Sequences from Project.
All sequences are removed from your project.

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Joining and Splitting Sequences
T-SBADV-004-015
Tw o sequences can be joined using the Join Selected Sequences command. A sequence can also be split in
tw o.

How to join sequences
1. In the Thumbnails or Timeline view , select tw o consecutive sequences.

2. Select Storyboard > Join Selected Sequences.
The selected sequences are joined as one.

How to split a sequence
1. In the Thumbnails or Timeline view , select the scene before the sequence to be split.

2. Select Storyboard > Split Current Sequence.

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The sequence is split in tw o and the Rename Sequence dialog box opens, prompting you to rename
the second portion of the split sequence—see Joining and Splitting Sequences on page 155.

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Selecting All Panels in a Sequence
T-SBADV-004-016
You can select all the panels of a sequence simultaneously.

How to select all the panels in a sequence
1. In the Thumbnails or Timeline view , select a panel in the sequence you w ant to select all panelsfrom.
2. Select Edit > Select All Panels in Sequence.

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About Acts
T-SBADV-004-017
An act is a particular section of the story delimited by a particular event or mood.
For example, a story could be constructed in three acts:l

Act 1: The initial situation, character introduction.

l

Act 2: The journey.

l

Act 3: The resolution.

Like scenes, panels and sequences, you can manipulate acts w hen building your storyboard. To add acts toyour storyboard, you must first enable the option.
You can:lEnable actslCreate an actlJoin acts

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Enabling Acts
T-SBADV-004-018
By default, the acts are disabled. You must enable them in the Preferences dialog box.

How to enable acts
1. Open the Preferences dialog box:lSelect Edit > Preferences (W indow s) or Storyboard Pro> Preferences (macOS).

l

Press Ctrl + U (W indow s) or ⌘ + , (macOS).

2. In the Preferences dialog box, select the General tab.
3. In the General section, select the Enable Acts option.

A purple flag appears at the beginning of your project, indicating the act.

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Starting New Acts
T-SBADV-004-019
Once you have enabled acts in your storyboard project, your entire animatic w ill be in Act 1. You can then start
breaking it into several acts.

How to start new acts
1. In the Thumbnails view , click the panel w here you w ant to create a new act.

2. Do one of the follow ing:‣

Select Storyboard > New > Start New Act.

‣

Right-click the selected panel and select Start New Act.

The Rename Scene dialog box is displayed.

3. Enter a name for the new act and click OK.
The act is divided in tw o at the point you selected.

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Joining Acts
T-SBADV-004-020
Once an act has been split, it is possible to join acts at any time.

How to join acts
1. In the Thumbnails view , select the last panel and first panel of the acts you w ant to join.
You can also join more than tw o sections by selecting the last panel of the first section until the firstpanel of the last section you w ant to join.

2. Do one of the follow ing:lSelect Storyboard > Join Selected Actsl

Right-click the selected panel and select Join Selected Acts.

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Selecting All Panels in an Act
T-SBADV-004-021
You can select all the panels of an act simultaneously.

How to select all panels in an act
1. In the Thumbnails or Timeline view , select a panel contained in the act in w hich you w ant to selectall the panels.
2. Select Edit > Select All Panels in Act.

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Automatically Inserting Images as Acts, Scenes, Panels and Layers
W hen using the Import Images as Scenes dialog, it is possible to automatically insert each image you import
into the right act, sequence, scene and panel. You can do this to generate new acts, scenes and panels fromimages, or to automatically inset images in the existing act, scene and panel. It is even possible to insert
multiple images in the same
This can be accomplished by naming your images using the follow ing pattern:<ProjectName>-A#-S#-E#-P#-L<LayerName>.<extension>
Here is how the pattern w orks:l<ProjectName>: This is the name of the project. This string w ill not be inserted into the Storyboard Pro
project, but it is mandatory.

l

A: Indicates the act the image w ill be placed in. Replace the # w ith the number of the act.

l

S: Indicates the scene the image w ill be placed in. Replace the # w ith the number or name of the scene
the image should be inserted to.

l

E: This parameter is optional. If you w ant to insert the same image into a series of consecutive scenes,
you can use this parameter to indicate the last scene in w hich to include the image. The image w ill beinserted in every scene starting w ith the one specified by the S parameter and ending w ith the one
specified by the E parameter. Replace the # w ith the number or name of the last scene this image
should be inserted in.

l

P: This parameter is optional. It indicates w hich panel the image w ill be placed in. Replace the # w ith
the number of the panel in the scene.

l

L: This parameter is optional. It indicates the name of the layer the image w ill be placed in. Replace<LayerName> w ith the number of the layer in the scene.

IMPORTANTDo not use spaces in your file names. If you w ant to use several w ords in the project, scene or layer
name, you can separate each w ord w ith an underscore (_).

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For example, if you have images named as follow s:lRocketRodeo-A1-S103-P1-LBackground.pnglRocketRodeo-A1-S103-P2-LBackground.pnglRocketRodeo-A1-S103-P3-LBackground.pnglRocketRodeo-A1-S104-P1-LCity.png

Importing them as scenes w ill results in the follow ing:

By using the E parameter, you can insert a single image into several scenes. For example, if you give an image
the follow ing name:lRocketRodeo-A1-S100-E102-P1-LBG.png

Importing it w ill result in the follow ing:

How to import images as acts, scenes, panels and layers
1. Make sure your images are named using the naming pattern explained above.
2. In the top menu, select File > Import > Images as Scenes.
3. Brow se to the directory w here your images are stored.
4. Select all the images you w ant to import.

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5. Click on Open.
6. If any of the selected images do not match the right pattern, the follow ing dialog w ill appear:

Do one of the follow ing:l

If all of your images are supposed to match the pattern and you think this is a mistake, clickon Cancel and go through the name of each of your images to make sure none of them havea typo.

l

Otherw ise, click Use automatic mode. Images that do not fit the naming pattern w ill beinserted as scenes at the end of the project.

7. If any of the selected images do not match an existing scene or an existing panel, the follow ing
message w ill appear:

By default, this dialog w ill appear for each image that w ill generate a new scene or a new panel.
Depending on the situation, do one of the follow ing:l

If you are importing new images into a blank project, check the Don't show this dialog again
checkbox, then click on Create.

l

If you are importing new images into an existing project and you expect there to be a few
new scenes or panels, click Create.

l

If you think this is a mistake, click Cancel. Then go through the name of each of your images
to make sure they do not contain a typo.

NOTE
If you check the Don't show this dialog again checkbox, this w ill be saved to your user
preferences and Storyboard Pro w ill alw ays create panels or scenes for images that
don't match any existing panel or scene.

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8. If any of the selected images match the name of an existing layer, the follow ing message w ill
appear:By default, this dialog w ill appear for each image that matches an existing layer in your project.
Depending on the situation, do one of the follow ing:l

If you don't w ant to see this dialog each time an image you import matches an existing layer
in your project, check the Don't show this dialog again checkbox.

l

If you w ant to add the image as a new layer and keep the one w ith a matching name, click on
Keep. The new image w ill be added, but w ill be renamed.

l

If you w ant the image to replace the existing layer, click on Remove. The existing layer w ill
be removed and the image w ill be added as a new layer.

NOTE
If you check the Don't show this dialog again checkbox, the choice you made w ill besaved in your user preferences and Storyboard Pro w ill alw ays use this choice every
time this situation occurs.

The selected images w ill be inserted into their corresponding act, scene, panel and layers.

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Setting a Default Layer Layout for New Panels
After you've set up layers in a panel, you can decide that the layout of the layers in this panel should be thedefault layout to use w hen creating new panels. This can save you time w hen creating panels for yourstoryboard, as you w on't have to create, name and organize layers you need to have in each panel over andover again.
W hen you create a default layout, it is based on the layout in the current panel. It w ill include the layers, theirname, their layer type (vector or bitmap), the layer groups and their hierarchy and the order in w hich layers areordered in the panel. How ever, it w ill not preserve the artw ork in the layers of the current panel. Hence, if you
have a panel w ith an ideal layer layout but w hich already contains artw ork, you can simply use that panel tocreate the default layout. New panels w ill have the same layer layout, but w ill not contain any artw ork.

NOTE
The default layer layout is saved to your preferences and is applied every time you create a newpanel in any project.

How to configure the default layer layout for new panels
1. In the Layer panel of the Stage or Camera view or in the Layers view , organize your layers the w ay
you w ant them to be organized w hen you create a new panel:lCreate as many layers as you w ant to have in new panels.

l

Arrange them in the right order.

lGroup them as needed.

lGive layers and groups their appropriate default names.

2. In the top menu, select Layer > Set Layer Layout as Default.
Next time you create a panel, it w ill have the same layout of layers and groups as the current panel.
The layout is saved in your preferences, so you do not need to preserve the panel and you can makechanges to it w ithout affecting the default layout.

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Regenerating Thumbnails
T-SBADV-004-008
You can get the most up-to-date thumbnails in the Thumbnails view . As you draw , a series of small images(thumbnails) is generated. These thumbnails are automatically refreshed based on the refresh duration you
set in the Preferences dialog box (Advanced tab, Delay Before Updating Thumbnails parameter).
You can choose update thumbnails immediately. This deletes all cached thumbnails in the Thumbnails andTimeline view s, and forces new thumbnails to be regenerated.

How to regenerate all thumbnails
1. Select File > Regenerate All Thumbnails.
2. In the dialog box that opens, click Yes.

IMPORTANTThis cannot be undone. All existing thumbnail images in the Library w ill be deleted.

All thumbnails are deleted and replaced w ith the regenerated ones.

169Chapter 5: Script and Captions

Chapter 5: Script and Captions
T-SBFND-006-002
Storyboard Pro supports tw o types of fields for storing and breaking up your project's script:l

The Script field is a field in the Storyboard view in w hich you can type, or import, your entire project's
script. A Storyboard Pro project has only one Script field.

lCaption fields are special text fields for storing information such as dialogue, actions, scene information,scrubbing information and any other type of relevant information for each of your storyboard's panels.
Each panel in your project has its ow n caption fields, and each field is used for a different type of
information. The types of caption fields used by your project can be customized.

You can w rite or import your project's script into the Script field of the Storyboard view , w hich is a single text
field for your entire project:

Then, you can fill up the caption fields for each panel in your storyboard using the Panel view . The Panel view
allow s you to view and edit the content of the caption fields for the currently selected panel.

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W riting a Script in Storyboard Pro
You can type the script for your storyboard directly into the Script field of the Storyboard view .

NOTE
The Script field is a special caption field for your entire project. Other caption fields in Storyboard
Pro are used to store captions for each panel in your storyboard. The Script field and panel caption
fields w ork exactly the same, except that the Script field is located in the Storyboard view , andother caption fields are located in the Panel view .

How to type the script for your Storyboard Pro project
1. Open the Storyboard view . By default, it w ill be in the right pane of your w orkspace.

2. Click the inside of the text field.
3. Start typing your script.

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Changing the Text Format in the Script and in Captions
You can select the font family, size, style, colour and alignment of text in your project's scripts as w ell as its
captions. There are tw o methods to doing this:lUsing the Text Formatting toolbar, you can select text in the Script field or in any of your project's
caption fields and apply formatting to that selection.

lUsing the Format Captions dialog, you can make changes to the format of all the text in all of yourproject's caption fields.

NOTES
l

If you change the alignment of your script or of a caption field, it w ill change the alignment of
all the text in the selected text field. It is not possible to set the alignment of a specificparagraph in a text field.

l

The Format Captions dialog does not affect the formatting of the text in your project's Script
field.

How to change the format of specific parts of the text in the project's script andcaptions
1. In the Panel or Storyboard view , click the

Text Formatting button above a caption field.

The Text Formatting toolbar appears, floating over the main application w indow .

2. In the Script field of the Storyboard view or in a caption field of the Panel view , select the text you
w ant to format.
3. Use the Text Formatting toolbar fields and buttons to change the formatting of the text:lFont family: Select the name of the font in w hich to display the selected text.

lFont size: Select the size of the font for the selected text.

lBold: Make the selected text bold.

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Italic: Make the selected text italic.

l

Underline: Make the selected text underlined.

l

Align Left: Make all the text in the selected caption field aligned to the left.

l

Align Center: Make all the text in the selected caption field aligned to the centre.

lAlign Right: Make all the text in the selected caption field aligned to the right.

lJustify: Make all the text in the selected caption field justified. This makes the spacing
betw een w ords automatically adjust so that every line of text takes all of the available
horizontal space, except for the last line of each paragraph.

l

Text Colour: Open the Select Colour dialog box and select a new colour for the selected
text.

l

Background Color: Open the Select Colour dialog and select a new background colour
for the selected text.

lClear Formatting: Remove all font, size, style and colour formatting on the selected text.

NOTE
The

Clear Formatting button does not affect text alignment.

How to change the formatting of all the captions in your project
1. In the top menu, select Captions > Format Captions.
The Format Captions dialog appears.

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IMPORTANT
Any changes made to the format of captions in your project using this dialog w ill takeeffect immediately on all the captions in all of the panels specified in the Range sectionof this dialog, and w ill override any local formatting.

2. In the Range section of the dialog, select the range of panels for w hich you w ant to reformat
captions:l

To reformat the text in the caption fields of a specific panel, select Current Panel. Then, in
the Thumbnails or Timeline view , select w hich panel for w hich you w ant to reformat thecaptions.

l

To reformat the text in the caption fields of several specific panels, select Selected Panels.
Then, in the Thumbnails or Timeline view , select all the panels for w hich you w ant toreformat the captions.

TIPS
To select several panels, do one of the follow ing:l

W hile holding Ctrl (W indow s) or ⌘ (macOS), click on each panel you w ant
to add to your selection.

l

W hile holding Shift, click on the first panel you w ant to add to your selection,then on the last panel you w ant to add to your selection. Both panels you
clicked on and every panel in-betw een w ill be added to the selection.

l

To reformat the text in the caption fields of all the panels in your project, select All Panels.

3. In the list of caption fields inside the Range section, make sure that all the caption fields that you
w ant to reformat are checked, and that all the caption fields for w hich you w ant to preserve thecurrent formatting are unchecked.
4. In the text formatting controls at the top of the dialog, do all that applies:l

To change the font of all the captions in the specified range, select that font in the Font
family drop-dow n.

l

To specify a new font-size for all the captions in the specified range, select or type in thatfont size in the Font size drop-dow n.

lTo make all the text in the specified range bold, clickl

To make all the bold text in the specified range not bold, click

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Bold once.
Bold tw ice.

Chapter 5: Script and Captionsl

To make all the text in the specified range italic, click

Italic once.

l

To make all the italic text in the specified range not italic, click

Italic tw ice.

l

To make all the text in the specified range underlined, click

Underline once.

l

To make all the underlined text in the specified range not underlined, click

Underline

tw ice.
l

To make all the captions in the specified range aligned to the left, clickl

To make all the captions in the specified range aligned to the centre, clickl

To make all the captions in the specified range aligned to the right, clickl

To make all the captions in the specified range justified, click

Align Left.
Align Center.
Align Right.

Justify. This w ill make thespacing betw een w ords automatically adjust so that every line of text takes all of theavailable horizontal space, except for the last line of each paragraph.
l

To change the text colour of all the text in the specified range, click on the

Text Colour

button and, in the Select Colour dialog, select the desired colour for the text, then click OK.
l

To change the background colour of all the text in the specified range, click on the
Background Colour button and, in the Select Colour dialog, select the desired colour for the
text, then click OK.

l

To remove all the formatting in the specified range, click on the

Clear Formatting button.

All the text in the range w ill be the same font, size, style and color.

NOTE
The

Clear Formatting button does not affect text alignment.

5. In the Scale Captions section, do one of the follow ing:l

To make all of the text in the selected range proportionally bigger, click

Scale up point

size.
l

To make all the text in the selected range proportionally smaller, click
size.

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Setting the Default Caption Format
If you w ant to alw ays use a specific font type and font size for all captions, you can set the default format byusing the Default Caption Format dialog box. This sets the default caption font face and font size for new
captions, but does not affect the formatting of existing captions or of new text typed into existing captions.

How to set the Default Caption Format
1. In the top menu, select Caption > Captions Default Format.
The Default Caption Format dialog box opens.

2. In the Font drop dow n, select the preferred default font face.
3. In the Font Size drop dow n, select or type the desired default font size.
4. Click Ok.

NOTE
The Default Captions Format is saved in your local preferences and w ill affectnew captions in all projects.

177Chapter 5: Script and Captions

Importing a Script
T-SBFND-006-001
If you already have a script w ritten for your project, you can import it into Storyboard Pro.
You can import a script in plain text (.txt), Rich Text Format (.rtf) or Final Draft XML (.fdx) directly into the
Script field of the Storyboard view .

TIP
If you have a properly structured script in Final Draft XML format, you can generate a new projectbased on your script in w hich empty scenes and panels are automatically generated based on the
structure of your script, and in w hich the caption fields of your panels are automatically filled w ith
excerpts from your script. For more information, see Creating a Project from a Final Draft Script on
page 35.

How to import a script into your Storyboard Pro project
1. In the Storyboard view , click the

Menu button just over the right side of the text field and:l

If your script is in plain text (.txt) or Rich Text Format (.rtf), select Import Caption.

l

If your script is in Final Draft XML (.fdx) format, select Import Final Draft Script.

2. In the file brow ser, locate and select your script file, then click on Open.
The script appears in the Script caption field.

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About Caption Fields
T-SBFND-006-003
Storyboard Pro allow s you to store information of various types for each panel in your project via captions,w hich can be view ed and edited in the Panel view .
Each panel in a project has its ow n caption fields in w hich you can enter information specific to that panel. By
default, a Storyboard Pro project w ill have the follow ing types of captions:lDialogue: The lines of dialogue spoken by the characters in the current panel.

lAction Notes: The actions performed by the characters in the current panel.

l

Slugging: Notes regarding the timing of dialogues and actions in the current panel. These can be added
w hile creating the storyboard to give instructions on how to create the animatic.

l

Notes: Any relevent information about the current panel or the current scene, such as the scene
heading, the characters and props, ambient sounds, background and foreground actions, continuity
notes or, if w orking on a live action project, the cast, crew , props or material required to complete theshot.

It is possible to customize the caption fields your project uses. You can add new caption fields, remove, hide,rename or reorder existing caption fields, adjust the amount of space each field occupies in the Panel view , etc.
W hile each panel has its ow n captions, the types of caption field themselves are saved at the project level.
This means that the amount of caption fields, their names and their order are determined for your entire
project. If you add a new caption field, every panel in your project w ill have this new caption field, but it w ill be
empty and you w ill get to fill it up separately for each panel. Likew ise, if you delete a caption field, it w ill bedeleted for every panel in your project, even in panels w here that caption field contains text.

NOTE
W hile the Storyboard view only has one caption field by default, the Script field, this caption field
the same w as as the caption fields in the Panel view , meaning that you can also add new caption
fields to the Storyboard view , rename them and reorder them and delete them as needed.

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Adding Captions
In each panel, there are four caption fields: Dialogue, Action Notes, Slugging and Notes. If you need to enter
more information, you can add a new caption for your panels. The new caption w ill be available for every
panel in your storyboard.
In the Storyboard view , by default, there is only one caption field w hich is called Script. If you need to, you can
add more captions to this view such as production notes. These captions are only for reference and w ill not beexported.
Just like in a traditional storyboard, you can add draw n indications to a panel’s caption. For this, you need to
add a Sketch caption to your panel.

NOTE
You cannot add a sketch caption to the Storyboard view .

How to add a panel caption field
1. Open the Panel view .
2. Do one of the follow ing:l

In the Panel view , click the

Menu button above any caption field and select Add Caption.

l

In the top menu, select Caption > Add Caption to Panels.

The Choose Field Name dialog box opens.
3. Type a name for your new caption field and click OK.
The new caption field appears below the existing ones. In the example below , the new caption
field is named "SFX".

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How to add captions in the Storyboard view
1. Open the Storyboard view .
2. Do one of the follow ing:l

In the Panel view , click the

Menu button above the Script caption field and select Add

Caption.
l

Select Caption > Add Caption to Storyboard.

The Choose Field Name dialog box opens.
3. Type a name for your new Caption field and click OK.
The new caption field appears below the Script caption field . In the follow ing example, the new
caption is named "Director Notes".

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Renaming Captions
T-SBFND-006-005
If it is more convenient for you, you can rename the captions.

How to rename a caption
1. In the Panel or Storyboard view , do one of the follow ing:lSelect Caption > Rename Caption and then select the caption to rename from the
list.

l

In the caption to rename, click the Caption Menu button and select Rename Caption.

2. Type a new name for your caption field.

NOTE
After you have changed the names of the captions and you are certain you w ant to keep thesenames throughout the project, you can set the new names as the default by selecting Caption> Save Captions Layout as Default.

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Deleting Captions
How to delete captions
1. Display the Panel or Storyboard view , depending on w hether it is a panel caption or storyboard
caption you w ant to delete.
2. In the Panel or Storyboard view , select a caption to delete. Click the Caption Menu

button andselect Delete Caption. You can also select Caption > Delete Caption > select a caption to delete
from the list.
A w arning message opens.

‣

If you are sure you w ant to delete the caption, click Yes.

‣

If you w ant to cancel the process, click No.

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Saving the Caption Layout as Default
T-SBADV-004-003
If you w ant the current layout of your caption fields to be the default layout for all your future Storyboard Pro
projects, you can save it as the default layout for captions.
This w ill save:l

The amount of caption fields.

l

The name of each caption field.

lTheir order of the caption fields.

Any project you create from this point on w ill have this caption field configuration.
The default caption layout also includes any caption field you might have added to the Storyboard view .
Additionally, if you have any sketch field in the current panel, that w ill be added to the default layout as w ell,meaning that every panel you create w ill have its ow n sketch field.

How to save the caption layout as default
1. In the top menu, select Caption > Save Captions Layout as Default.

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Expanding and Collapsing Captions
T-SBADV-004-001
W hen you have more than one caption field in a panel, you can expand or collapse them. Note that there must
be more than one caption field in a panel in order to do this.

How to expand and collapse captions
1. Display the Panel or Storyboard view .
2. Click the Expand and Collapse

button of the desired caption.

3. On the first click, the selected caption expands and the other ones collapse.

4. On the second click, the selected caption collapses and the other ones expand.

5. On the third click, all the captions return to their original state187

Chapter 5: Script and Captions

Hiding Captions
T-SBADV-004-002
You can hide caption fields that you don't intend to use. This allow s you to remove them from your w orkspace
w ithout deleting their content.

How to hide a caption in the Panel view
1. Select Caption > Show/Hide Captions.
The Show /Hide Captions dialog box opens.

2. Deselect the captions you w ant to hide. If you have added your ow n custom captions, they also
appear in the list. Any captions that you renamed appears as you renamed them.

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Adding Text to Captions
T-SBFND-006-004
There are several w ays to add text to a Caption field, and editing it is very easy. The quickest and easiest w ay
to add text to the caption fields is to drag and drop it. For example, if you imported a script into the Script
caption field of the Storyboard view , you can select the text you need and drop it in the desired panel’s caption
field.
If you did not import a script or if you w ant to add more text, you can simply type in the needed instructions
and information into the caption field.

How to type text into a panel caption
1. In the Thumbnails or Timeline view , select the panel for w hich you w ant to type captions.
2. Open the Panel view . By default, it w ill be in the right pane of your w orkspace.

3. Click inside the caption field you w ant to type in.
4. Start typing the caption.

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Chapter 5: Script and Captions

How to drag and drop text from the script into caption fields
1. Sw itch to the Vertical w orkspace by doing one of the follow ing:l

In the W orkspace toolbar, click on the

Vertical W orkspace button.

l

From the top menu, select W indows > W orkspace > W orkspace > Vertical.

2. In the right pane of your w orkspace, select the Storyboard tab.
Your w orkspace now has a vertical roll of each panel in your storyboard to the left, w ith theircorresponding caption fields in the middle, and the script for your storyboard to the right.

3. In the Thumbnails view , scroll to the panel in w hich you w ant to add captions.
4. In the Script caption field of the Storyboard view , select the part of your script that you w ant to add
to a panel caption.
5. In the Script caption, drag the selected text and drop it in the appropriate caption field of yourpanel.

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Storyboard Pro 22 User Guide

6. Repeat this until you have copied all the necessary text for each of your panels into their caption
fields.

TIP
You can also drag and drop text from any panel caption to another panel caption, orfrom a panel caption to the script.

7. Once you are done, you can restore the w orkspace you w ere using by selecting it from theW orkspace toolbar or from the top menu. For example, the default w orkspace is the Draw ing
w orkspace. To restore this w orkspace, do one of the follow ing:l

In the W orkspace toolbar, click on thel

In the top menu, select W indows > W orkspace > Drawing.

191

Draw ing W orkspace button.

Chapter 5: Script and Captions

Searching Text in Captions
T-SBADV-004-004
You can search captions to find a specific part of your text. This can become very handy w hen you have a large
number of captions and text in your project.

How to search for text in captions
1. In the Panel or Storyboard view , select the caption field w here you w ant to start searching.
2. Do one of the follow ing:lRight above the selected caption field, click on the

Menu button and select Find Text in

Captions.
l

In the top menu, select Caption > Find Text in Captions.

lPress Ctrl + Shift + F (W indow s) or ⌘ + Shift + F (macOS).

The Find Text in Captions dialog box appears.

3. In the Find field, type in the w ord, phrase or character string you are looking for.
4. If you only w ant to find instances of the search string that have the same case as the w ay you typed
it in the Find field, check the Case sensitive option.
For example, if the Case sensitive option is not checked, the search string "My Storyboard" w illmatch against "my storyboard", "MY STORYBOARD" and "My Storyboard". If it is checked, thesearch string "My Storyboard" w ill only match against "My Storyboard", w here every letter being inthe same case.
5. Select the Direction in w hich you w ant to search:l

Forward: Searches from the current position of the text cursor to the end of the selected
caption field, then searches in the next caption fields in the current panel, and then in theensuing panels.

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Backward: Searches from the current position of the text cursor to the beginning of thecaption field, and then searches in the previous caption fields in the current panel, and thenin previous panels.

6. Click Find.
The first instance of the search string that is found w ill be made visible and w ill be highlighted inblue.

7. Click Find again to locate the next instance of the search string that can be found in your project.

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Searching and Replacing Text in Captions
Using the Find Text in Captions dialog box, you can search for a specific string of text in all of your project's
captions, and replace that string w ith a different string. You can either cherry pick w hich instances of thestrings get replaced, or instantly replace all instances of the search string in your project w ith the replacement
string.

How to search for text in captions
1. In the Panel or Storyboard view , select the caption field w here you w ant to start searching.
2. Do one of the follow ing:lRight above the selected caption field, click on the

Menu button and select Find Text in

Captions.
l

In the top menu, select Caption > Find Text in Captions.

lPress Ctrl + Shift + F (W indow s) or ⌘ + Shift + F (macOS).

The Find Text in Captions dialog box appears.

3. In the Find field, type in the w ord, phrase or character string you are looking for.
4. In the Replace field, type in the w ord, phrase or character string you w ant to replace the searchstring w ith.
5. If you only w ant to find instances of the search string that have the same case as the w ay you typed
it in the Find field, check the Case sensitive option.
For example, if the Case sensitive option is not checked, the search string "My Storyboard" w illmatch against "my storyboard", "MY STORYBOARD" and "My Storyboard". If it is checked, thesearch string "My Storyboard" w ill only match against "My Storyboard", w here every letter being inthe same case.
6. Select the Direction in w hich you w ant to search:

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Storyboard Pro 22 User Guidel

Forward: Searches from the current position of the text cursor to the end of the selected
caption field, then searches in the next caption fields in the current panel, and then in theensuing panels.

l

Backward: Searches from the current position of the text cursor to the beginning of thecaption field, and then searches in the previous caption fields in the current panel, and thenin previous panels.

7. Click Find.
The first instance of the search string that is found w ill be made visible and w ill be highlighted inblue.

8. Do one of the follow ing:l

To replace the highlighted instance of the search string w ith the replacement string, click
Replace.

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NOTE
This w ill replace the highlighted instance of the search string, and then it w ill
instantly find and jump to the next instance of the search string.

l

To skip this instance and find the next instance of the search string, click Find again.

l

To replace all instances of the search string in your project w ith the replacement string, click
Replace All.

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About Editing a Project's Captions in a Spreadsheet Editor
Storyboard Pro allow s you to export your project's captions in a spreadsheet in the Comma Separated Values(.csv) format. This format of spreadsheet can be opened and edited in spreadsheet editing softw are such as
Microsoft Excel, LibreOffice Calc and Google Sheets.
Storyboard Pro can also import a spreadsheet in the same format, and update the captions in your project w ith
the content of the spreadsheet. Hence, you can export your project's captions in a spreadsheet, edit them in athird-party softw are, and then import the edited spreadsheet and update the captions in your project.
This procedure cab be useful if you w ant to make sw eeping changes to your project's captions, if you w ant tow rite your captions from scratch into a spreadsheet, or if you need your project's captions to be review ed.

NOTE
CSV is a text-based spreadsheet format that is commonly supported by spreadsheet editors, andw hich is easy to process in scripts and other softw are as it is merely a text file containing the valueof each cell, typically separated by a comma. How ever, it does not support advanced spreadsheet
features such as text formatting and formulas.

IMPORTANT
If your captions contain non-latin character (ie: Japanese, Chinese, Korean, etc.), you should avoid
editing a CSV containing your project's captions in Microsoft Excel, as it w ill display those nonlatin characters, but it w ill not save them in your CSV file. LibreOffice Calc and Google Sheets
support saving CSV files w ith non-latin characters.

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Chapter 5: Script and Captions

Exporting Captions to CSV
T-SBADV-004-005
It is possible to export your project's captions into a Comma Separated Values (.csv) file, w hich is a text
based spreadsheet format that can typically be opened and edited in spreadsheet editing softw are such as
Microsoft Excel, LibreOffice Calc or Google Sheets.

How to export your project's captions in CSV format
1. Make sure your caption fields are up to date, and save your project.
2. In the top menu, select File > Export > CSV.
The Export to CSV dialog appears.

3. In the Destination Path section, click on the Brow se button.
A Save As dialog appears.
4. In the Save As dialog, brow se to the location w here you w ant to export the CSV file.
5. In the File Name field, type the name of the CSV file you w ant to export.
6. Click Save.

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7. In the CSV Export Options section of the Export to CSV dialog, check the follow ing options:lInclude Column Namesl

Include Sequence Namesl

Include Scene Namesl

Include Panel Namesl

Include Captions

NOTE
The Include Sequence Names option w ill only appear if your project contains
sequences.

8. If your captions have specific text formatting, you might w ant to check the Include Rich Text
Formatting option. Otherw ise, if you import your CSV file back into yourStoryboard Pro project
later, the text formatting in your captions w ill be discarded. How ever, keep in mind that this w ill

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cause the CSV file to contain all the formatting metadata alongside the captions, w hich w ill make it
difficult to read and to edit in a spreadsheet editor.
9. Click Export.
The CSV file w ill be saved at the specified location.

NOTE
W hen you open the CSV file in a spreadsheet editor, you may be prompted to provide
the follow ing information:lCharacter Set/Encoding: This is the name of the character set selected in the
Encoding drop-dow n of the Export to CSV dialog. By default, it is set to UTF- 8.

lSeperated by/Separator: This is the character used to separate the fields, w hichcan be selected in the Field Separator drop-dow n of the Export to CSV dialog. By
default, this is set to comma (,).

l

String delimiter: This should alw ays be set to quotation marks/quotes (")

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Editing a CSV File Exported by Storyboard Pro
How to open and edit a CSV file in an external spreadsheet editor is up to the softw are you choose to use. The
most commonly used spreadsheet editors that support CSV files are Microsoft Excel, LibreOffice Calc and
Google Sheets.
The follow ing are guidelines to follow w hen using a spreadsheet editor to edit your CSV file:lMicrosoft Excel w ill display but w ill not save non-latin characters (ie: Chinese, Japanese, Korean, etc.) to
CSV format. Hence, if you w ant to edit your CSV file in a spreadsheet editor and your captions use nonlatin characters, you must use LibreOffice Calc or Google Sheets instead.

l

If you w ant to use another softw are, test it first by opening the exported CSV file in your softw are,saving it as a copy and importing the copy back into your Storyboard Pro project to see if it causes any
unexpected issue.

l

You can open a CSV file directly in Microsoft Excel and LibreOffice Calc. To open a CSV file in Google
Sheets, you must upload it to your drive, view it, then click Open with Google Sheets near the top.

l

W hen opening the CSV file, you may be prompted to provide the follow ing information:lCharacter Set / File Origin / Encoding: This is the name of the character set selected in the
Encoding drop-dow n of the Export to CSV dialog. The default Encoding for CSV files exportedby Storyboard Pro is UTF- 8.

lDelimited or Fixed W idth: CSV files exported by Storyboard Pro are alw ays delimited.

l

Separators / Delimiters: This is the character used to separate the fields, w hich can be selectedin the Field Separator drop-dow n of the Export to CSV dialog. By default, CSV files exported by
Storyboard Pro are separated by commas (,).

l

String Delimiter / Text Qualifier: CSV files exported by Storyboard Pro use double- quotes (").

l

In the spreadsheet, line breaks in the captions w ill be represented by the new line symbol \n.

lMicrosoft Excel and LibreOffice Calc may prompt you to save the file using their ow n spreadsheet
format, as those formats support storing more information than the CSV format. How ever, Storyboard
Pro can only import spreadsheets in CSV format. Hence, you must confirm that you w ant to save yourspreadsheet in CSV format.

lGoogle Sheets w ill automatically save your spreadsheet in XLSX format w hen you make any change toit. You can still export the modified sheet in CSV format by selecting File > Download > Commaseparated values (.csv, current sheet) from the top menu.

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Chapter 5: Script and Captions

Importing Captions from a CSV File
Once you have made changes to the captions in the CSV file exported from your project, you can import it backinto your project. Storyboard Pro w ill find each caption field in your CSV file that contains different text that its
corresponding caption field in your Storyboard Pro project, and w ill import the updated captions from the CSV
file into your project.

How to update the captions in your projects using an edited CSV file
1. Open the Storyboard Pro project you w ant to update.
2. In the top menu, select File > Update Captions from CSV.
The Import CSV dialog appears.

3. Click on the

Brow se button right of the file name field.

The Select CSV File dialog appears.
4. Brow se to the folder that contains your CSV file and select it.
5. Click Open.
6. In the Import CSV dialog, click Import.
The Report section w ill fill up w ith information about each caption in your project that has been202

Storyboard Pro 22 User Guide

updated.

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Chapter 5: Script and Captions

Adding Sketch Captions
Alongside text captions, you can also add sketch captions to your panels.
Sketch captions are special caption fields in w hich you can draw . You can use any draw ing tool in a Sketch
caption. You can use this to add draw n annotations to your panels.

Like other panel captions, sketch captions are specific to each panel. How ever, contrary to text caption fields,
sketch caption fields are not added to your project. They are added to a panel.
This means that, if you add a sketch caption field to a single panel, you w ill not have a sketch caption field forany other panel in your project. You must manually add sketch caption fields to each panel in w hich you w ant
to add a sketch caption.

How to add a sketch caption field to a panel
1. In the Thumbnails view or Timeline view , select the panel to w hich you w ant to add a sketch
caption field.
2. Open the Panel view .
3. Do one of the follow ing:l

In the Panel view , click the

Menu button above a caption field and select Add Sketch.

l

In the top menu, Select Caption > Add Sketch to Current Panel.

The Choose Field Name dialog box opens.
4. Type a name for the Sketch caption field and click OK.
The Sketch field appears below the existing caption.

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How to draw in a sketch caption field
1. In the Tools toolbar, select the draw ing tool you w ant to sketch w ith.
2. In the Colour view , select the colour you w ant to draw your sketch w ith.
3. Just above the sketch caption field, click on the

Expand / Collapse button to expand the sketch

caption field and collapse the other caption fields.

4. In the Sketch caption field, start draw ing just like you w ould in the Stage or Camera view .

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About Spell Checking
T-S7NEW -006-002
Storyboard Pro can check the spelling of w ords in your script in the Storyboard view as w ell as in panel
captions in the Panel view .
There are tw o approaches to spell checking:l

Automatic spell checking checks for any spelling mistakes in the Storyboard and Panel view s andunderlines them w ith a w avy red line to bring them to your attention.

l

The Spelling dialog, w hich can be opened from the Caption menu, allow s you to go through every
spelling mistake in your project one by one, to either pick a w ord that closely matches the misspelled
w ord from a list of suggestions or to type in the proper spelling, and allow s you to instantly replace
misspelled w ord w ith the properly spelled w ord.

Storyboard Pro picks up on spelling mistakes by considering any w ord that is not part of its dictionary as aspelling mistake. Hence, depending on the language used by your production, you can configure it to perfom
spell checking against one of the follow ing dictionaries:lEnglish (United States, United Kingdom, Canada & Australia)l

Spanish (Spain)lFrench (France)l

Korean207

Chapter 5: Script and CaptionslPortuguese (Brasil & Portugal)lRussianBecause the spell checking feature of Storyboard Pro considers any w ord that isn't in its selected dictionary to
be a spelling mistake, Storyboard Pro may detect spelling mistakes w here there aren't, such as w ith proper
nouns, abbreviations, and w ords that w ere made up for your production's narrative universe. To remedy this,Storyboard Pro allow s you to add w ords that it detects as misspelled to your personal dictionary, after w hichit w ill no longer consider them spelling mistakes.
If the language used by your production is not listed above, you can simply disable automatic spell checking.
This is recommended, as otherw ise Storyboard Pro w ill consider almost every w ord in your script and captions
to be misspelled.

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Enabling and Disabling Automatic Spell Checking
By default, automatic spell checking is enabled. This means that every w ord in your script and captions that
does not match against a w ord in the selected dictionary w ill appear underlined w ith a w avy red line toindicate that there might be a spelling mistake.

It is possible to disable this by toggling the Check Spelling W hile Typing option.

How to disable or re- enable automatic spell checking
1. In the top menu, select Caption > Spelling > Check Spelling W hile Typing.
2. To re-enable automatic spell checking, select the same menu item.

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Changing the Language Dictionary for Spell Checking
If you use automatic spell checking, you w ill need the dictionary used by Storyboard Pro to match thelanguage in w hich you are typing your script and captions. Otherw ise, almost every w ord in your script andcaptions w ill be considered by Storyboard Pro as a spelling mistake.
Storyboard Pro supports spell-checking in the follow ing languages:lEnglish (United States, United Kingdom, Canada & Australia)l

Spanish (Spain)lFrench (France)l

KoreanlPortuguese (Brasil & Portugal)lRussianIf you are typing your script and captions in a language that is not listed above, it is recommended to disable
automatic spell checking instead—see Enabling and Disabling Automatic Spell Checking.

NOTE
By default, spell checking is done in English (US) if you launch Storyboard Pro for the first time in
English and in Spanish (ES) if you launch Storyboard Pro for the first time in Spanish.
If you launch Storyboard Pro for the first time in Chinese or Japanese, no dictionary w ill be selectedby default, and you w ill have to select a dictionary to enable spell checking. Storyboard Pro does
not have Chinese and Japanese dictionaries.

How to change the dictionary used for automatic spell checking
1. In the top menu, select Captions > Spelling > Spell Check.
The Spelling dialog appears.

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2. In the Language drop-dow n at the bottom, select the language in w hich you intend to type yourscript:lEnglish (AU): English (Australia)lEnglish (US): English (United States)lEnglish (CA): English (Canada)lEnglish (GB): English (United Kingdom)lEspañol (ES): Spanish (Spain)lFrançais (FR): French (France)l한국어 (KR): KoreanlPortuguês (BR): Portuguese (Brasil)lPortuguês (PT): Portuguese (Portugal)lрусский (RU): Russianl

No Spellchecking: Disables spellchecking

Automatic spell-checking w ill now be done using the selected dictionary.
3. Click Close.

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Finding and Correcting Spelling Mistakes
At any time w hile or after typing your script or filling out your project's captions, you can use the Spelling
dialog to go through and correct each spelling mistake that is detected by Storyboard Pro's spell checker.
The Spelling dialog w ill go through every spelling mistake it can find in your project, including in its script andin its panel captions. It w ill start searching for spelling mistakes starting w ith the text field that is currently
selected, at the position w here the typing cursor is placed.

How to correct spelling mistakes in your project's script or captions
1. Place the typing cursor w here you w ant to start checking for spelling mistakes:l

If you w ant to check the spelling of your entire script, open the Storyboard view , and click
inside the Script field, near the top-left corner, to position the typing cursor at the beginningof your script.

l

If you w ant to check the spelling of all of your project's captions, select the first panel in yourproject in the Thumbnails or Timeline view , then open the Panel view and click inside thefirst caption field, near the top-left corner, to position the typing cursor at the beginning of
this caption.

l

If you w ant to check the spelling of a specific caption in your project, select the panel
containing that caption in the Thumbnails or Timeline view , open the Panel view , then click212

Storyboard Pro 22 User Guide

inside the caption field you w ant to check, near the top-left corner, to position the typing
cursor at the beginning of this caption.

l

If you just w ant to see the spelling suggestions for a specific misspelled w ord, simply
highlight that w ord.

2. In the top menu, select Captions > Spelling > Spell Check.
The Spelling dialog w ill appear. The first w ord it finds in your script or captions that does not exist
in its dictionary w ill be selected in the Storyboard or Panel view . It w ill also appear in the Spelling
dialog, next to the label Unknown W ord:.
Suggestions for how to spell the w ord, if any exist, w ill be listed in the list below . The firstsuggestion in the list w ill be selected and w ill also appear in the Replace W ith: field.

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Chapter 5: Script and Captions

3. If your script and captions are not w ritten in the language selected in the Language drop-dow n,
open this drop-dow n and select the appropriate dictionary among the follow ing:lEnglish (AU): English (Australia)lEnglish (US): English (United States)lEnglish (CA): English (Canada)lEnglish (GB): English (United Kingdom)lEspañol (ES): Spanish (Spain)lFrançais (FR): French (France)l한국어 (KR): KoreanlPortuguês (BR): Portuguese (Brasil)lPortuguês (PT): Portuguese (Portugal)lрусский (RU): Russianl

No Spellchecking: Disables spellchecking

4. For each spelling mistake picked up by the Spelling dialog, do one of the follow ing:l

To correct this specific instance of the w ord, either select the proper spelling in the spellingsuggestion list, or type in the proper spelling in the Replace W ith: field, then click Replace
Once.

l

To replace all instances of this w ord that you have spelled this w ay in your project w ith theproper spelling, either select the proper spelling in the spelling suggestion list, or type in theproper spelling in the Replace W ith: field, then click on Replace All.

NOTE
This w ill replace the spelling of the selected w ord in your script and all of yourproject's captions.

l

To skip correcting this w ord and jump to the next spelling mistake, click Skip.

l

To ignore every instance of this w ord that is spelled in this specific w ay, click Ignore All.

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NOTE
Storyboard Pro w ill ignore instances of this spelling mistake for the remainder ofthe session. Next time you launch Storyboard Pro, it w ill resume picking up on
this spelling mistake.

l

If the w ord is spelled properly and you don't w ant the Spelling dialog to pick up on it in the
future, click Add to Dictionary. This w ill add the w ord to your personal dictionary,
preventing Storyboard Pro from considering it a spelling mistake in the future.

Each time you take an action on a spelling mistake, the Spelling dialog w ill instantly jump to thenext spelling mistake it finds as it cycles through your project's script and captions.
Once all the spelling mistakes have been fixed, the Uknown W ord: field w ill display No errors
found.
5. Once you are done checking the spelling in your project, click Close.

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Chapter 5: Script and Captions

Adding W ords to the Personal Dictionary
Spell checking in Storyboard Pro w ill consider any w ord in your script and captions that cannot be found in theselected dictionary as a spelling mistake. This means that it may find spelling mistakes w here there are none,such as w ith proper nouns, abbreviations and w ords that w ere made up for your production's cinematic
universe.
To remedy this, you can add a w ord that Storyboard Pro considers a spelling mistake to your personal
dictionary. The personal dictionary is a list of w ords, saved in your user preferences, that w ill not be
considered spelling mistakes.

How to correct spelling mistakes in your project's script or captions
1. In the Storyboard or Panel view , highlight the w ord that you w ant to add to your personal
dictionary.<

2. In the top menu, select Captions > Spelling > Spell Check.
The Spelling dialog w ill appear. The selected w ord is displayed in the Unknown W ord: field.

3. In the top-right corner of the dialog, click Add to Dictionary.
The w ord w ill be added to your personal dictionary and w ill no longer be considered a spelling
mistake.

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4. Click Close.

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Chapter 5: Script and Captions

Removing W ords from the Personal Dictionary
It is possible to view a list of the w ords in your personal dictionary and delete w ords that w ere added by
mistake or that should no longer be in it.

How to remove words from your personal dictionary
1. In the top menu, select Caption > Spelling > Spell Check.
The Spelling dialog appears.
2. Near the bottom of the dialog, click on the Personal Dictionary button.
The Personal Dictionary dialog appears.

3. In the list of w ords, select the w ord you w ant to remove.
4. Click Remove from Dictionary.
The selected w ord is removed from your personal dictionary and w ill be considered a spelling
mistake again.
5. Click Close.

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219

Chapter 6: Layers

Chapter 6: Layers
T-SBFND-007-001
Storyboard Pro allow s you to w ork w ith layers. Each panel in your project has its ow n list of layers, each of
w hich can contain a separate draw ing.

Composed together, the layers make the draw ing that appears in your panel. W orking w ith layers allow s you
to keep separate elements in your panels, such as backgrounds, characters and props, into separate draw ing
spaces, as w ell as to manipulate or animate them if needed.
W hen you create a new project, or add a new scene or panel to your project, the panel w ill alw ays have tw olayers by default: A character or prop layer (A) and a background layer (BG). You can add as many layers as
you need to a panel, and you can also rename, reorder and delete layers.
Once your layer list is set up for your panel, you can start draw ing on each layers. To draw on a specific layer,
simply select this layer in the Layer panel, the Thumbnails view or the Layers view . W hen you use a draw ing
tool in the Stage view , the artw ork you create or edit is alw ays the one in the currently selected layer. Hence,
you must alw ays mind w hich layer is selected w hen draw ing or editing your artw ork.
A layer in a panel can be copied into your library then added to another panel. Hence, draw ing your sceneelements on multiple layers can allow you to reuse draw ings w hen a later panel or scene features the sameelement.

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Viewing the List of Layers
The go-to w ay of selecting and managing layers in a panel is to use the Layer panel, w hich is, by default, in theright section of the Stage and Camera view s.

How ever, it is also possible to add the Layers view to your w orkspace, w hich w orks the same w ay. You canthen hide the Layer panel by clicking on its

Collapse button in its top-left corner, leaving more space tow ork in the Stage and Camera view s.

You can also manage layers using the Thumbnails view . If the size of the Thumbnails view is big enough, eachpanel in it w ill have a vertical list of layers on its right edge, w hich allow s you to scroll through and selectlayers. Left of the Thumbnails view , under the Tools toolbar, is a Layer toolbar, w hich allow s you to add andremove layers to the selected panel.

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Chapter 6: Layers

There are several w ays to display layers in Storyboard Pro. The tw o main w ays are in the Layer panel of theStage and Camera view s, and the Layers view . Both view s display a thumbnail of each layer, follow ed by theirname and some toggle buttons to control the behavior of your layers.

How to view or hide layers in the Stage or Camera view
1. In the Stage or Camera view , do one of the follow ing:l

If the Layer panel is displayed, click on the Collapse

button in its top-left corner tocollapse the panel.

l

If the Layer panel is hidden, click on the Expand
view to display the panel.

222

button in the top-right corner of theStoryboard Pro 22 User Guide

How to view layers in the Layers view
1. Do one of the follow ing:l

In the upper-right corner of a view , click the Add Viewl

Select W indows > Layers.

The Layers panel displays all the layers in the selected panel.

223

button and select Layers.

Chapter 6: Layers

About Layer Types
T-SBFND-007-002
Storyboard Pro supports four types of layers: Vector draw ing layers, bitmap draw ing layers, 3D layers andgroups.
l

Vector Layers: Vector draw ings are made of points and curves that compose the contours of the shapesof the artw ork, along w ith the colour or textures these shapes are filled w ith. Hence, the artw ork invector layers can be scaled up and zoomed in w ithout losing quality, unless they contain a texture.

W hen draw ing on a vector layer, each draw ing stroke and pencil line is a separate object w hich can be
manipulated individually. You can select single draw ing strokes, then move them around and transformthem, even if draw ing strokes w ere applied over them. Additionally, because draw ing strokes are madeof points and curves, it is possible to edit their shape, making it easy to make corrections and changes toyour artw ork.
lBitmap Layers: Bitmap draw ings are composed of a grid of pixels, w hich are small points that eachhave a single solid colour. Bitmap draw ing tools allow you to lay on brush strokes onto a single flat
canvas, and to tw eak your artw ork by the pixel if needed.

W hen you draw on a bitmap layer, each brush or pencil stroke is composited into the canvas, so it
remains a single draw ing that can only be painted or erased upon, but w hich does not allow you to
tw eak individual parts of it.
Bitmap artw ork can only be scaled up or zoomed in on as much as their pixel density allow s w ithout
losing picture quality. By default, bitmap artw ork has a pixel density of 100%, w hich is only enough to224

Storyboard Pro 22 User Guide

display the artw ork w ithout zooming in on it or scaling it up, otherw ise Storyboard Pro must generate
new pixels w ithin the artw ork, w hich is liable to make it look blurry or pixelated.
Hence, you might w ant to set the required pixel density for your bitmap artw ork, based on w hether
you'll need to zoom on it or scale it up, before you start draw ing on a bitmap layer—see Setting the
Resolution of Bitmap Layers on page 255.
l

3D Layers: W hen you import a 3D model into your library, adding it to a panel w ill store the model into
a 3D layer. You can then manipulate and animate the 3D model, just like you can w ith a draw ing layer.

lGroup: A group can contain several layers of any type. Just like you can transform and animate a layer,
you can also transform and animate a group. Transformations and animations applied to a group w ill
affect every layer inside the group simultaneously—see Grouping Layers on page 236.

In the Layer panel of the Stage or Camera view , layers can be quickly identified by their type by referring to thesmall colour bar on their left edge.

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Chapter 6: Layers

Adding Layers
T-SBFND-007-003
By default, a panel contains a background (BG) and a draw ing layer (A), but you can add as many layers as youneed to each panel in your project.

NOTE
W hen adding a layer, you must decide if you need to add a vector layer or a bitmap layer. In mostuse cases, vector layers are preferable. For more information on layer types and how to choose theright type of layer to add, see About Layer Types on page 224.

How to add a layer to a panel
1. In the Thumbnails or Timeline view , select the panel to w hich you w ant to add a new layer.
2. In the Layer panel of the Stage or Camera view , the Layers view or the Thumbnails view , select thelayer over w hich you w ant to create a new layer.
3. Do one of the follow ing:lClick on the

Add Vector Layer or

Add Bitmap Layer button. These buttons arelocated at the bottom of the Layer panel in the Stage and Camera view s, at thebottom of the Layers view and in the Layer toolbar.
l

In the top menu, select Layer > New > Vector Layer or New Bitmap Layer.

NOTE
If you added a bitmap layer, and you intend to scale it up or zoom in on it, makesure to increase its pixel density before you start draw ing on it—see Setting the
Resolution of Bitmap Layers on page 255.

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Selecting Layers
T-SBFND-007-004
You can select any layer from the Stage view , Layers panel, or Thumbnails view . Selected layers turn blue.

How to select a layer
1. Do one of the follow ing:lStage view and Layers panel: Click the layer you w ant to select.

l

Thumbnails view: Click the layer tab of the layer you w ant to select. Arrow s aboveand below the layer tabs indicate additional layers.

l

To select multiple layers, press Ctrl (W indow s) or ⌘ (macOS) and click each layer
you w ant to select. Also, press Shift and click one layer and then another to select asequence of layers.

How to select the next and previous layers
1. Select a layer.
2. From the top menu, select one of the follow ing:lLayer > Select Next Layer to select the next layer up the layer stack, stopping at the
top of the stack.

l

Layer > Select Previous Layer to select the next layer dow n the layer stack, stoppingat the bottom of the stack.

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Chapter 6: Layers

Duplicating Layers
Duplicating layers is a quick w ay to perform a quick copy and paste in one operation. Unlike copying a layer,
you cannot paste multiple copies of a layer on other panels. Duplicating layers is only available w ithin one
panel. Duplicated layers retain their names and are appended w ith a number.

How to duplicate a layer
1. Select a layer and do one of the follow ing:‣

Right-click the layer and select Duplicate Selected Layers.

‣

In the Stage view , Layers panel or Layers toolbar, click the Duplicate Selected Layer‣

Select Layer > Duplicate Layers.

228

button.

Storyboard Pro 22 User Guide

Renaming Layers
T-SBFND-007-006
W hen layers are named appropriately, you can w ork faster and keep track of all the layers.

How to rename a layer
1. Select the panel w ith the layer you w ant to rename.
2. Do one of the follow ing:lSelect Layer > Rename Layers.

lRight-click the layer’s tab and select Rename Layer.

lDouble-click the layer tab.

3. In the Change Layer Name dialog box, type in a new name for the layer.

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Chapter 6: Layers

Deleting Layers
T-SBFND-007-005
You can delete layers that you do not need to avoid cluttering the layer list.

How to delete a layer from a panel
1. In the Layer panel of the Stage or Camera view , the Layers view or the Thumbnails view , select thelayer you w ant to delete.
2. Do one of the follow ing:lClick on the

Delete Selected Layers button. This button is located at the bottom of

the Layer panel in the Stage and Camera view s, at the bottom of the Layers view andin the Layer toolbar.
lRight-click the layer and select Delete Layers.

l

In the top menu, select Layer > Delete Layers.

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Storyboard Pro 22 User Guide

Copying Layers
You can reuse draw ings from other panels throughout your storyboard. You can also modify draw ing objects
and transformations after they have been copied to a new layer, instead of redraw ing similar objects.
W hen you copy a layer, it is placed on the Clipboard, so you can paste it in many different locations if needed.

How to copy a layer to another panel by dragging
1. Click the tab of the layer you w ant to copy. Hold dow n Ctrl (W indow s/Linux) or ⌘ (macOS) andselect additional layers if needed.
2. Drag the selected layer to the layer section of the destination panel. Drop the layers at a specificposition to place it in the desired layer order.

W hen you copy a layer, it retains its original layer name in the new panel. If a layer w ith the same
name already exists, then you w ill be prompted to give it a new name or overw rite the existinglayer.
For example, if layer A is copied to a panel, w here a layer A already exists, the copied layer w ill be
named A_1 by default. If it is copied into the panel a second time, the new layer w ill be named A_2.

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Chapter 6: Layers

How to copy a layer to another panel by using copy and paste
1. Select the layer you w ant to copy. Hold dow n Ctrl (W indow s/Linux) or ⌘ (macOS) and selectadditional layers if needed.
2. Do one of the follow ing:‣

Select Layer > Copy Layers. Select the destination panel, and from the top menu, select Layer> Paste Layers.

‣

Right-click the layer tab and select Copy Selected Layers. Select the destination panel, rightclick the layer tab and select Paste Layer.

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Reordering Layers
Layers can be rearranged to bring them closer to the front or back in relation to the other layers in a panel. For
example, if you w ant to have a character move to the front of a shot, you can move the character layer above
the others. In Storyboard Pro, the layers at the top of the list are displayed above the other layers in the Stageview . The layer order w ill be reflected in the final export.
There are several different w ays to change the order of layers in a panel. You can reorder layers by selecting alayer and dragging it to a new location, or reorder layers through the Layers menu. You can drop a layer into
collapsed groups.

How to arrange a layer by dragging
1. Select a layer to move.
2. Drag the layer above or below other layers to change their display priority in the Stage view .

How to arrange a layer using the Layers menu
1. Select a layer to modify.
2. Select one of the follow ing:‣

Layer > Arrange > Bring Layer to Front to move the selected layer in front of all other layers in
the current panel.

‣

Layer > Arrange > Bring Layer to Forward to move the selected layer up one spot in thecurrent panel.

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Chapter 6: Layers‣

Layer > Arrange > Send Layer to Back to move the selected behind all other layers in thecurrent panel.

‣

Layer > Arrange > Bring Layer Backward to move the selected layer dow n one spot in thecurrent panel.

NOTE
If you changed the Z-depth, it supecedes the layer order.

How to drop a layer into collapsed group
1. Select a layer to drop.

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Storyboard Pro 22 User Guide

2. Drag the layer into a collapsed group.
The layer w ill be placed at the top of the group, once dropped.

235

Chapter 6: Layers

Grouping Layers
T-SBFND-007-007
Grouping layers helps organize your w ork and keeps your list of layers uncluttered. You can group selected
layers or create an empty group layer and add layers to it.
W hen you group selected layers, they become the sub-layers of the group layer. The first new ly-createdgroup layer is named Group. Subsequent group layers are appended w ith a number. For example, Group_1.
The number increments w ith each new group layer you create. The selected group layer is highlighted in blue
and its sub-layers are displayed below .
W ithin a group layer, you can create sub-groups to further streamline your w ork, and rename them to suit yourproject—see Renaming Layers on page 229. Grouped layers can also be animated.

How to group layers
1. In the Layer panel of the Stage or Camera view or in the Layers view , select at least tw o layers togroup.
2. Do one of the follow ing:lClick theGroup Selected Layers button. This button can be found at the bottom of theLayer panel in the Stage or Camera view and at the bottom of the Layers view .
lRight-click on the selection, then select Group Selected Layers.

l

In the top menu, select Layer > Group Selected Layers.

TIP
You can drag and drop layers into or out of groups.

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Storyboard Pro 22 User Guide

How to ungroup a group layer
1. Select a group layer.
2. Do one of the follow ing:lRight-click and select Ungroup Selected Layer.

lSelect Layer > Ungroup Selected Layer.

The selected group layer is ungrouped. The group layer disappears and its child layers are nolonger grouped.

How to expand or collapse a group layer
1. Click the Expand/Collapse button on a group layer.

How to create an empty group layer
1. Select Layer > New > Group Layer.
A new , empty group layer is created in the list of layers and is highlighted in blue. The new layer ispositioned above the layer that w as selected before you created the group layer.

How to add layers to an empty group layer
1. Select a layer.
2. Drag and drop it on a group layer.

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Chapter 6: Layers

Showing and Hiding Layers
W hen w orking w ith many layers, you can temporarily hide certain layers to avoid cluttering the stage.

You can also hide a group. W hen a group is hidden, all of the layers it contains appear hidden, but theirindividual visibility state is preserved. Therefore, if you hide only some layers inside a group, hide the groupitself, then unhide the group, the layers that w ere individually hidden w ill remain hidden and the ones thatw ere visible w ill be visible again.

How to show or hide a layer
1. Do one of the follow ing:l

In the Layer panel or the Layers view , click theShow /Hide Layer icon just left of the layer.

l

In the Thumbnails view , click on thel

In the Layer panel, the Layers view or the Thumbnails view , right-click on the layer andShow /Hide Layer icon just beneath the layer's name.

select Show/Hide Layersl

In the Layer panel, the Layers view or the Thumbnails view , select the layer, then selectLayer > Show/Hide Layers from the top menu.

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Storyboard Pro 22 User Guide

How to show or hide multiple layers
1. Do one of the follow ing:l

In the Thumbnails view , ALT+Click the eyes icon

beneath the layer's name toShow /Hide multiple layers.
l

In the Layer panel, the Layers view or the Thumbnails view , right-click on the layerand select Show/Hide Layerl

ALT+Click the eyes icon

to show or hide other layers.

How to hide all layers except one
1. In one of the follow ing locations:lLayer panel of the Camera or Stage viewlLayer viewlThumbnail view

Alt + click the Show /Hideicon on the layer you w ish to keep visible.

All other layers are hidden.

How to show all layers

NOTE
For this feature to take effect, all layers except one must be hidden.

1. In one of the follow ing locations:lLayer panel of the Camera or Stage viewlLayer viewlThumbnail view

Alt + click the Show /Hideicon on the only visible layer.

All layers become visible.

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Chapter 6: Layers

Locking and Unlocking Layers
You can lock a selected layer to protect any objects on it from being changed. Once locked, you can unlock thelayer to make changes to any objects on it.

How to lock or unlock a layer
1. Do one of the follow ing:l

In the Layer panel or the Layers view , click the

Lock/Unlock icon just left of the layer.

l

In the Thumbnails view , click on thel

In the Layer panel, the Layers view or the Thumbnails view , select the layer. Then, do one of

Lock/Unlock icon just beneath the layer name.

the follow ing:l

From the top menu, select Layer > Lock/Unlock Layers.

l

In the Layer toolbar, click on thel

Use the keyboard shortcut Alt + L.

Lock/Unlock Layers button.

How to lock all layers except one
1. In one of the follow ing locations:lLayer panel of the Camera or Stage viewlLayer viewlThumbnail view

Alt + click the

Lock/Unlock icon on the layer you w ish to keep unlocked.

All other layers become locked.

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How to unlock all layers

NOTE
For this feature to take effect, all layers except one must be locked.

1. In one of the follow ing locations:lLayer panel of the Camera or Stage viewlLayer viewlThumbnail view

Alt + click the

Lock/Unlock icon on the only unlocked layer.

All layers become unlocked.

241Chapter 6: Layers

Transforming Layers
T-SBFND-007-010
Using the Layer Transform tool, you can re-position, rotate and scale one or several draw ing layers. Contrary
to the Select tool, w hich can do the same thing to a selection of artw ork, the Layer Transform tool has no
permanent effect on your artw ork. You can reset transformations done w ith the Layer Transform tool.
The Layer Transform tool is also essential in animating layers. If your layer has animation keyframes,
transformations done w ith the Transform tool w ill be animated, w hereas those done w ith the select tool w ill
alw ays apply to the w hole panel—see Animating Layers on page 649.

How to reposition, rotate and scale a drawing layer
1. In the Thumbnails or Timeline view , select the panel w ith the layer you w ant to transform.
2. In the Layer Panel of the Stage or Camera view or in the Layers view , select the layer you w ant totransform.
3. In the Tools toolbar, select theLayer Transform tool.

In the Stage or Camera view , the controls of the Layer Transform tool appear around the selecteddraw ing layer.

4. Using the manipulator box, transform the layer so that it is in the desired position, angle and size:lTo move the layer, either click on its artw ork or on the blue point in the centre, then drag it to
the desired position.

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TIPSl

If you are having trouble dragging the layer by its artw ork, you can also click
and drag on theblue point in the centre. How ever, this point may be

obstructed by the layer's

pivot point . If that is the case, you can click anddrag on the pivot point to move it out of the w ay, then click and drag on thecentre point to move the layer.
l

You can also nudge the selection by using the arrow keys on your keyboard.

l

You can also enter specific coordinates in the

Horizontal Offset andVertical Offset fields in the Tool Properties view .

lTo scale the layer, click on one of the squares at the edges or corners of the manipulator box
and drag them to stretch or shrink the draw ing.

TIPSl

You can preserve the horizontal and vertical proportions of the selection byholding the Shift key.

l

You can also enter specific scale percentages in the
Vertical Scale fields in the Tool Properties view .

243

Horizontal Scale andChapter 6: LayerslTo rotate the layer, move the cursor just outside of one of the corners of the manipulator box
until the mouse cursor becomes. Then, click and drag in either direction to rotate thelayer clockw ise or counterclockw ise.

TIPSl

You can rotate the artw ork in 15° increments by hold the Shift key.

l

You can also enter a specific angle in degrees in theAngle field of theTool Properties view .
lYou can also rotate the clip in 90° increments by clicking on the

Rotate 90

CW button in the Tool Properties view to rotate it 90° clockw ise, or on the
Rotate 90 CCW button to rotate it 90° counterclockw ise.

l

To flip the layer horizontally, click on the

Flip Horizontally button in the Tool Properties

view .
l

To flip the layer vertically, click on the

Flip Vertically button in the Tool Properties view .

lTo reset a layer to its original position, scale and angle, do one of the follow ing:lSelect Layer > Reset Transform.

lPress Ctrl + R (W indow s) or ⌘ + R (macOS).

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Resetting Transformations
W hen you no longer need a layer's transformation, you can easily reset the layer to its original position, scale
and angle.

How to reset layer animation back to its default state
1. In the Layer panel of the Stage or Camera view or in the Layers view , select the transformed layer.
2. Do one of the follow ing:lSelect Layer > Reset Transform.

lPress Ctrl + R (W indow s) or ⌘ + R (macOS).

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Chapter 6: Layers

Merging Layers
T-SBFND-007-008
There are three w ays to merge layers. You can quickly merge the current layer dow n w ith the layer just below
it, you can quickly merge a selection of layers or you can merge specific layers w ith specific parameters w ith
the Merge Layers dialog box. The resulting layer w ill be a single draw ing layer, w hich you can edit andanimate like any other draw ing layer.
Using the Merge Layers dialog box gives you more control over the result of the merge. You can pick a namefor the resulting layer, specify w hether it is a vector or bitmap layer, select source layers, and more.

NOTEl

W hen merging layers, the animation on all layers being merged is discarded.

l

If you quickly merge a bitmap layer w ith a vector layer, the resulting layer w ill be a bitmap
layer.

l

Layers containing a 3D object cannot be merged.

l

The artw ork in hidden layers is not added to the merged artw ork.

How to quickly merge one layer with the layer below it
1. Select the topmost of the tw o layers you w ish to merge.
2. Do one of the follow ing:lRight-click and select Merge Down.

l

Press Ctrl + E (W indow s) or ⌘ + E (macOS)l

In the top menu, select Layer > Merge Down.

How to quickly merge a selection of layers
1. Select the layers to merge.
2. Do one of the follow ing:lRight-click and select Merge Selected Layers.

lSelect Layer > Merge Selected Layers.

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How to merge layers using the Merge Layers dialog box
1. Select the layers to merge.
2. Do one of the follow ing:lRight-click and select Merge Layers.

lSelect Layer > Merge Layers.

The Merge Layers dialog box opens.

3. In the Name field, enter a name for the merged layer.
4. Select one of the follow ing:l

Vector Layer: Makes the merged layer a vector layer. If there are bitmap layers in yourselection, they w ill be converted to vector rectangles w ith a bitmap texture inside them.

lBitmap Layer: Makes the merged layer a bitmap layer. If there w ere vector layers in yourselection, they w ill be converted to bitmap.

5. If your merged layer is bitmap, set the Bitmap Layer Canvas parameters.
lResolution Factor: The proportions of bitmap pixels to store in the draw ing for each pixelthat is visible w hen the draw ing is not zoomed in or scaled up. You should increase thisparameter if you intend to scale up or zoom in on the draw ing.

l

W idth Factor/W idth: The w idth of the bitmap layer's canvas relative to the w idth of thestage.

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Chapter 6: LayerslHeight Factor/Height: The height of the bitmap layer's canvas, relative to the height of thestage.

6. If you w ant to discard the layers being merged together to only have the merged layer, check the
Delete Source Layers option. If you w ant to preserve the layers being merged along w ith themerged layer, uncheck this option.
7. If you w ant invisible layers that are part of the selected layers to also be discarded, check theRemove Invisible Layers option. Since invisible layers do not get added to the merged artw ork, thisoption is unchecked by default.
8. Click OK.

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Changing Layer Opacity
T-SBFND-007-009
If necessary, you can modify the opacity of layers.

NOTE
Layer transparency is not supported w hen exporting to the Toon Boom and/or FBX formats.

How to change the layer opacity
1. Select the layer w hose opacity you w ant to modify.
2. In the Stage or Layers view , do one of the follow ing in the Opacity field:lType in a new opacity betw een 0 and 100.

l

Click in the Opacity field and use the up/dow n arrow s on your keyboard to set theopacity.

The changes you make are reflected in the Stage view .

How to modify the layer opacity in other wayslRight-click a layer and select Change Layer Opacity.

lSelect Layer > Change Layer Opacity.
In the Change Layer Opacity w indow that opens, enter a new opacity.

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Chapter 6: Layers

Converting a Template or Group to a Drawing Layer
If you have imported an animated template or a template containing multiple elements, for example, atemplate created in Harmony, or a template made from importing a Flash Movie (.sw f) file, you might not beable to edit it w ith the draw ing tools. This is because the template is not a simple draw ing layer.
To remedy this, you can convert layers that contain templates into simple draw ing layers. Likew ise, you canconvert a group of draw ing layers to a single draw ing layer using the same method.

NOTES
l

In Storyboard Pro, a draw ing layer can only contain one draw ing for the w hole panel, w hereas
a template may be animated and contain several frames w ith different draw ings in each frame.
If you convert an animated template to a draw ing, the appearance of the template at current
frame w ill be used to generate a static draw ing layer.

lConverting a template or a group to a draw ing w ill discard any 3D object they contain.

How to convert a template layer or a group layer to a drawing layer
1. If your template is an animated template, move the timeline playhead to the frame w hich you w ant
to use to make the draw ing layer.
2. Select the layer in w hich the template w as imported or the group layer you w ish to convert.
3. Do one of the follow ing:lRight-click the selected layer and select Convert to Drawing.

l

In the top menu, select Layer > Convert to Drawing.

The selection is converted to a simple draw ing layer, w hich you can now edit freely w ith theStoryboard Pro draw ing tools.

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Converting Layers between Bitmap and Vector Layers
T-SBADV-007-002
You can convert a vector layer to a bitmap layer, and you can convert a bitmap layer to a vector layer.
If you convert a vector layer to a bitmap layer, the vector artw ork w ill be rasterized into a bitmap image.
Hence, the artw ork w ill no longer be scalable and you w ill only be able to draw , paint or erase over it.
Since bitmap layers have a canvas size and a pixel density, you w ill be prompted to choose the canvas size andpixel density of the layer w hen converting vector artw ork to bitmap artw ork.
If you convert a bitmap layer to a vector layer, the bitmap artw ork w ill be stored in a vector rectangle w ith abitmap texture. This artw ork w ill still technically be bitmap artw ork, but any artw ork you draw on that layerfrom that point on w ill be vector artw ork.

How to convert a bitmap layer to a vector layer
1. Select one or several bitmap layers.
2. Do one of the follow ing:lRight-click the selected layer and select Convert to Vector Layer.

l

In the top menu, select Layer > Convert to Vector Layer.

The layer is converted to a vector layer, as indicated by its colour in the layer list.

How to convert a vector layer to a bitmap layer
1. Select one or more layers to convert.
2. Do one of the follow ing:lRight-click the selected layer and select Convert to Bitmap Layer.

l

In the top menu, select Layer > Convert to Bitmap Layer.

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Chapter 6: Layers

If your layer w as a vector layer, you w ill need to enter some parameters for the bitmap layer it w ill
be converted to. The Choose Bitmap Layer resolution dialog appears.

3. Select a canvas size and pixel density for the new bitmap layer and click OK.
The follow ing message appears.

4. Click OK.
The layer is converted to a bitmap layer, as indicated by its colour in the layer list.

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Setting Textured Vector Brush Resolution
In general, artw ork in vector layers is not resolution-dependent, as most of it is made of vector shapes that canbe scaled up or dow n. How ever, if you draw on a vector layer using a textured brush, the vector shapes yourbrush creates w ill be filled w ith a bitmap texture, w hich is resolution dependent. This means that if you scale
up or zoom in on your artw ork, you w ill be able to see the individual pixels that make the textures in yourbrush strokes.
Just like w ith bitmap layers, the pixel density for textured brush strokes in vector layers can be set at the levelof the layer. By default, the pixel density of vector layers is set to 100%, w hich means that your textures w illdrop in quality as soon as you scale them up or zoom in on them. Hence, if your scene has camera zoom-ins, or
if you intend to scale up the artw ork containing textured brushes, you should increase the pixel density of thelayer to at least the percentage at w hich it w ill be scaled up. For example, if a layer gets scaled up to 200%,
and the camera performs a 2x (6 fields) zoom on it, the layer w ill end up being scaled up by 400% in total.
Hence, you should set the pixel density of that layer to at least 400% before you start draw ing on it.

W ARNING
If you increase the pixel density of a vector layer that already contains textured brush strokes,
Storyboard Pro w ill need to resample the textures, w hich w ill make it lose quality. Hence, you
should alw ays set the proper pixel density for your layer before you start draw ing w ith textured
brushes.

How to change the pixel density for textured brushes strokes in existing drawings
1. From the Layers panel or the Layers view , select the vector layer for w hich you w ant to change thepixel density.
2. Do one of the follow ing:lRight-click the layer and select Change Vector Layer Brush Resolution.

l

From the top menu, select Layer > Change Vector Layer Brush Resolution.

The Change Vector Layer Brush Texture Resolution dialog appears.

3. In the Pixel Density field, set the pixel density to at least the amount of time your textured artw ork
w ill be zoomed in. For example, if a layer gets scaled up to 200%, and the camera performs a 2x (6253Chapter 6: Layers

fields) zoom on it, the layer w ill end up being scaled up by 400% in total. Hence, you should set the
pixel density of that layer to at least 400% before you start draw ing on it.
4. If your layer already contains textured brush strokes, and you w ant the texture in these brushstrokes to be resampled to fit this new Pixel Density setting, check the Apply to Existing Strokes
option.
5. Click OK.

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Setting the Resolution of Bitmap Layers
By default, bitmap layers have a pixel density of 100%, w hich is just enough to display the artw ork properly as
long as it does not get scaled up and as long as the camera does not zoom in on it. If you intend to zoom in on abitmap layer or to scale it up, it is important to increase its pixel density to at least the percentage at w hich it
w ill be scaled up during the scene, to avoid any loss of picture quality. For example, if a bitmap layer getsscaled up to 200% in a panel, and the camera performs a 2x (6 fields) zoom on it, the layer w ill end up being
scaled up by 400% in total. Hence, you should set the pixel density of that layer to at least 400% before you
start draw ing on it.
Also, contrary to vector layers, bitmap layers have a limited canvas. By default, the dimensions of this canvas
are set to 200% of your project's w idth and height, w hich gives you some extra space to draw beyond theedges of the camera field. You should increase your layer's canvas size if you intend to draw a very large image
that extends w ay beyond the edges of the camera. You can increase your layer's canvas size at any timew ithout loss of picture quality. How ever, if you shrink the canvas size of your layer, its artw ork w ill be cropped
to fit the new canvas.

W ARNING
If you increase the pixel density of a bitmap layer that already contains artw ork, Storyboard Pro
w ill need to resample the artw ork to preserve its proportions, w hich w ill make it lose picture
quality. Hence, you should alw ays set the proper pixel density for your bitmap artw ork before you
start draw ing.

How to change the resolution of a bitmap layer
1. From the Layers panel or the Layers view , select the bitmap layer for w hich you w ant to change theresolution.
2. Do one of the follow ing:lRight-click the layer and select Change Bitmap Layer.

lFrom the top menu, select Layer > Change Bitmap Layer Resolution.

The Change Bitmap Layer Resolution dialog box opens.

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Chapter 6: Layers

3. In the W idth and Height fields, enter the percentage for the dimensions of the bitmap canvas,
relative to the camera frame. By default, these settings are set to 200%, w hich means thedimensions of the canvas are tw ice the ones of the camera frame, giving you extra space to draw
beyond the edges and pan your artw ork, if needed.
4. In the Pixel Density field, set the pixel density to at least the amount of time your bitmap artw ork
w ill be zoomed in. For example, if a layer gets scaled up to 200%, and the camera performs a 2x (6fields) zoom on it, the layer w ill end up being scaled up by 400% in total. Hence, you should set the
pixel density of that layer to at least 400% before you start draw ing on it.
5. If your layer already contains artw ork, and you w ant it to be resampled to fit the new Pixel Density
setting, check the Resample Bitmap option.

NOTE
If you leave this option unchecked, your artw ork w ill be scaled up if you decrease thepixel density, or scaled dow n if you increase it.

6. Click OK.

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Importing Images as Layers
T-SBADV-009-003
If you have bitmap images that you w ant to use for a panel, you can import them as layers inside the panel.
You can them use them as they are in the panel, or use them as references, draw over them in a different layer,then hide or discard them. This is typically useful if you have backgrounds and overlays ready for the panel you
are w orking on, or if you w ant to use a reference image to help you draw .
The follow ing image formats can be imported in Storyboard Pro:l

Portable Netw ork Graphics (.png)lPhotoshop Document (.psd, .psb)lTruevision Targa Image (.tga)lTagged Image File Format (.tif)lBitmap Image (.bmp)lJpeg (.jpg, .jpe, .jpeg)lSillicon Graphics Image (.sgi)lToon Boom Vector Graphic (.tvg)

lToon Boom Scan (.scan)lToon Boom Optimized Bitmap (.opt)

lY'UV frame (.yuv)l

PAL frame (.pal)

NOTES
l

By default, images are imported as bitmap textures. It is possible to vectorize images upon
import—see Vectorizing Images on Import on page 261.

l

Storyboard Pro does not support import of 8-bit CMYK or 16-bit RGB or CMYK format PSD
files. You can currently import only 8-bit RGBA format PSD files.

How to import images as layers in a panel using the Import Images dialog
1. In the Thumbnails or Timeline view , select the panel to w hich you w ant to import images.
2. In the top menu, select File > Import > Images as Layers.
The Choose Image Files dialog box opens.

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Chapter 6: Layers

3. Brow se to the directory containing the images to import.
4. Select the images to import.

TIP
You can select multiple files by doing one of the follow ing:l

W hile pressing Ctrl (W indow s/Linux) or ⌘ (macOS), click on each file you w ant toselect.

l

W hile pressing Shift, click on the first file you w ant to select, then one the last file
you w ant to select to select every file in-betw een.

5. Click Open.
6. If you selected a Photoshop Document (.psd) file w ith multiple layers, a message w ill appear
giving you the option to import each layer separately.
lClick Yes to import each layer in the document as its ow n layer in the panel.

l

Click No to import the entire document as a single layer in the panel.

A layer is created in your panel, containing the imported image. If you selected more than one
image, each image w ill be imported into its ow n layer, in alphanumerical order.

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Storyboard Pro 22 User Guide

How to import images as layers in a panel using drag & drop
1. Open an Explorer (W indow s) or Finder (macOS) w indow .
2. Brow se to the location of the images you w ant to import.
3. Select all the images you w ant to import.

TIP
You can select multiple files by doing one of the follow ing:l

W hile pressing Ctrl (W indow s/Linux) or ⌘ (macOS), click on each file you w ant toselect.

l

W hile pressing Shift, click on the first file you w ant to select, then one the last file
you w ant to select to select every file in-betw een.

4. Make sure that both the Storyboard Pro w indow and the Explorer or Finder w indow are visible.
5. In the Thumbnails or Timeline view , do at least one of the follow ing:lSelect the panel to w hich you w ant to import images.

l

Scroll to the panel to w hich you w ant to import images.

6. In the Explorer or Finder w indow , click and drag on one of the selected files, then:l

To import the images into the current panel, drop the selected files in the Stage View, theCamera View or the Layers view .

lTo import the images into any other panel, drop the selected files over the target panel in
the Thumbnails or Timeline view .

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NOTE
The thumbnail for the target panel may take a few seconds to update.

The image w ill be imported into a layer in the target panel, on top of all the other layers in thatpanel.

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Vectorizing Images on Import
T-SBADV-009-004
By default, w hen you import an image into your project using either the Import Image as Layers or Import
Images as Scenes commands, the imported images w ill be vectorized in colour and fit the camera frame. The
image resulting from a colour vectorization w ill appear exactly as the original picture.
W ith the Storyboard Pro, more options are available w hich give you better control over the vectorization ofimported images. To access these options, you must first select the Display Vectorize Options Dialog option in
the Preferences dialog box.

How to set the vectorization options
1. Do one of the follow ing to open the Preferences dialog:ll

W indows:l

In the top menu, select Edit > Preferences.

l

Press Ctrl + U.

macOS:l

In the top menu, select Storyboard Pro 22 > Preferences.

l

Press ⌘ + U.

2. In the User Preferences dialog box, select the Import/Export tab.
3. Select the Display Vectorize Options Dialog option.

4. Select File > Import > Images as Layers.
5. In the brow ser that opens, select an image to import.
The Import Images dialog box opens.

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The preview area displays the original image on the left and the resulting image on the right. The
preview of the resulting image automatically updates each time you modify a parameter.

6. In the Import Options section, set the follow ing parameters:l

As Bitmap Layer: Preserves the exact look of the imported images and imports it in abitmap layer.

lColour to Vector Layer: Preserves the exact look of the imported images and imports
it in a vector layer.

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Storyboard Pro 22 User GuidelGray Scale to Vector Layer: Imports the selected images as a gray scale in a vector
layer.

lBlack and W hite to Vector Layer: Imports the images as black line art. W hen you
enable this option, more options become available:lThreshold (%): Filters out noise in your images. Noise can be dirt or faint smudges on
your scanned images. For example, if your value is set to 70%, all colour values
below 70% are converted to w hite and ignored in the final image. If your value is set
to 100%, only completely black lines w ill be kept.

lExpand: Enter a value betw een 1 and 100 to thicken lines or the outer edges of thebitmap. Use this option if your line art is too fine or pale so that their visibility is
increased in the softw are.

l

Smooth: Enter a value betw een 1 and 5 to set the smoothness level. Greatersmoothness equals less jaggedness and imperfections, but at a greater loss to detail.

7. In the Resampling Options section, set the follow ing parameters:lMaximum Size: Enter a specific maximum size for your imported image to be scaled
dow n to. The original ratio of the image w ill be preserved during the operation. You
can see the final values resulting from the scaling process in the Scale Size fields.
Note that you can not use these fields to scale up an image.

l

Scaled Size: Displays the final size the image w ill be scaled after it is imported in yourproject.

8. Once you have set the vectorization options:l

Saves as default: Saves the current settings. Every time you open this dialog box, thenew default parameters w ill automatically be set. The import images commands w ill
still use this new default even if you deselect the Display Vectorize Options Dialog
preferences.

l

Do not show this dialog again: Deselects the Display Vectorize Options dialog
option in the Preferences dialog box directly from here.

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Chapter 7: Draw ing

Chapter 7: Drawing
Storyboard Pro has many pow erful tools, view s, and features for sketching, draw ing and animating w ith ease.
This chapter describes the main assets needed w hen draw ing , as w ell as tips on how to start and use thesetools efficiently.

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About Drawing Tools
T-SBFND-008-001

Drawing Tools
The tw o main draw ing tools in Storyboard Pro are theBrush tool and thePencil tool. Depending on thedraw ing style you w ant to achieve, you may prefer to w ork w ith vector or bitmap layers.
On vector layers, it is possible to draw w ith pencil lines, textured pencil lines, vector brushes and textured
vector brushes. W hile pencil lines are vector centrelines to w hich you can add thickness, brush strokes are
solid vector shapes filled w ith a colour, and textured brush strokes are brush strokes filled w ith a bitmap
texture that filter out their colour.

On bitmap layers, you can only draw using solid or textured bitmap brushes. Hence, w hile vector layers are
more flexible because they allow you to easily manipulate and tw eak parts of your artw ork, they can also
accommodate more art styles.
How ever, if you use a textured brush on a vector layer, your brush strokes w ill have a bitmap texture. Thismeans that, just like w ith artw ork in bitmap layers, attempting to tw eak or resize a textured brush stroke w ill
require Storyboard Pro to resample the texture, w hich is liable to make it lose picture quality, unless its texture
resolution w as sufficiently increased before you started draw ing.
One pitfall of using textured brushes on vector draw ings is that, w hile bitmap draw ings are alw ays made of asingle flat canvas, vector brush strokes are kept as separate objects. This means that laying on a lot of
textured brush strokes on a vector draw ing w ill require Storyboard Pro to store the texture for each of thesestrokes, and to composite them together in real time to display your draw ing. This can cause texture-heavy

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Chapter 7: Draw ing

vector draw ings to be heavier on application performance and in file size than bitmap draw ings. This is
how ever the only case w here a vector draw ing is likely to be heavier than a bitmap draw ing.
Though not recommended for sketching, textured pencil lines are a good compromise. Textured pencil lines
are lighter and easier to edit. This means that the texture w ill update w ith the transformation if you scale or
tw eak your pencil line. This also means that you are able to change the texture applied to an existing pencil
line or to apply a texture to a pencil line that does not already have one. Brush textures are recommended overtextured pencil lines w hen trying to achieve natural-looking brushes.

NOTE
Even if you flatten your artw ork, textured brush strokes of different colours cannot be flattened
together on vector layers.

The follow ing table compares the different approaches to draw ing available in Storyboard Pro:
Drawing Tool

Solid Pencil

Layer Type

VectorSpecifics

Advantages: Very light and easy to tw eak. Can be manipulated, recoloured
and tw eaked by the centreline. Can be zoomed in on or scaled up w ithout
losing quality.
Disadvantages: Not optimized for transparency.
Recommended Use: Clean draw ings w ith a solid and uniform outline style.

Advantages: Light and easy to tw eak. Can be manipulated, recoloured andtw eaked by the centreline. Can be zoomed in on or scaled up w ithout losing
quality.
Textured
PencilVectorDisadvantages: Not optimized for transparency. Not recommended forsketching. Does not look as natural as textured brushes.
Recommended Use: For light textured or mixed-style artw ork that demands a
lot of line manipulation.

Solid Vector
Brush

VectorAdvantages: Light file size. Reproduces traditional animation style. Can be
manipulated, recoloured and edited by the contour or centreline. Can bezoomed in on or scaled up w ithout losing quality.
Disadvantages: Cannot reproduce the look of natural media.
Recommended Use: Sketches, clean traditional animation-style draw ings.

Textured
Vector Brush

VectorAdvantages: Can reproduce the look of natural media. As capable as textured
bitmap brushes, but can be manipulated, edited and recoloured like solid
vector brushes.

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Storyboard Pro 22 User Guide

Drawing Tool

Layer TypeSpecifics

Disadvantages: Overlapping brush strokes can make the draw ing heavy on
application performance and file sizes. Brush strokes of different colours
cannot be flattened together. Tw eaking, scaling up or zooming in on artw ork is
liable to make it lose texture quality.
Recommended Use: For light bitmap-style textured artw ork or mixed-styleartw ork.

Advantages: Can reproduce the look of natural media. Better performance andlighter file size than texture-heavy vector artw ork. Can be edited pixel by pixel.
Textured
Bitmap Brush

Bitmap

Disadvantages: Brush strokes are alw ays flattened together and cannot be
modified individually. Can only be draw n or erased upon. Scaling up or
zooming in on artw ork is liable to make it lose picture quality.
Recommended Use: Texture-heavy bitmap artw ork.

Here are the draw ing tools available in Storyboard Pro, follow ed by the types of layer on w hich they aresupported. If you are editing a vector layer, then all of the tools are available to you. If you are draw ing on abitmap layer, some tools are not available. W hen tools are not available, they are grayed out in the Tools
toolbar.

Icon

Tool Name

Vector Layer✓

SelectSelect by Colour✓

Cutter✓Contour Editor✓

Centerline Editor✓

Perspective✓

267

BitmapLayer✓✓

Chapter 7: Draw ing

Icon

Tool Name

Vector Layer

Bitmap
Layer✓

Edit Gradient/Texture

Brush

✓

✓

Pencil

✓

Stamp

✓

Eraser

✓

✓

Text

✓

✓

Line

✓

✓

Rectangle✓✓

Ellipse✓✓Polyline✓✓✓

Paint Unpainted✓✓

Unpaint

✓

✓

Paint

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Storyboard Pro 22 User Guide

Icon

Tool Name

Vector Layer

Close Gap✓

Colour Eyedropper✓

BitmapLayer✓✓

Pencil Texture Eyedropper

Each draw ing tool has a series of options to customize its behaviour and draw ing style. W hen you select atool, the Tool Properties view displays the properties of the currently selected tool, w here you can configure
your draw ing tool's behavior and style, if applicable.

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Chapter 7: Draw ing

About the Brush Tool
The Brush tool allow s you to draw by creating shapes based on your draw ing strokes and filling them w ith
colour or textures. W hen used w ith a tablet, it is pressure sensitive, just like a real life brush.
You can use the Brush tool on both Vector

or Bitmap

layers. In either case, the Brush tool can be madeto create solid or textured brush strokes w ith almost the same capabilities. The main difference is that, on
bitmap layers, your brush strokes are fully bitmap, and are alw ays flattened into the canvas, w hereas on
vector layers, your brush strokes are made of a vector contour w ith a bitmap fill, and are kept as separate
draw ing objects that can be manipulated individually. This has the follow ing implications:lTextured artw ork is easier to edit and tw eak on vector layers, as you can manipulate textured brushstrokes w ith the Select Tool, the Contour Editor and the Centerline Editor.

l

On a bitmap layer, very texture-heavy artw ork may turn out to be lighter, both in terms of performanceand file size, than on a vector layer.

lErasing textured artw ork w ith a textured eraser w ill look more natural on a bitmap layer than on avector layer—see Creating a Textured Eraser on page 398.

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NOTE
Should you choose to draw on bitmap layers, or to draw on vector layers w ith textured brushes,
you should mind that your artw ork w ill be resolution dependent. By default, the pixel density ofbitmap and textured artw ork is 100%, meaning that zooming in or scaling up your artw ork w ill
make it appear pixelated. To increase the pixel density of your artw ork and prevent it fromappearing pixelated, see Setting Textured Vector Brush Resolution on page 253 if you are w orking
on a vector layer, and Setting the Resolution of Bitmap Layers on page 255 if you are w orking on abitmap layer.

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Drawing with the Brush Tool
T-SBFND-008-002
W hen creating a new project in Storyboard Pro, you can immediately start draw ing in the selected panel using
one of the draw ing tools at your disposal.

NOTE
To learn more about the options of the Brush tool, see Creating a Solid Brush on page 274 andCreating a Textured Brush on page 278.

How to draw with the Brush tool
1. In the Timeline or Thumbnails view , select the panel in w hich you w ant to draw .
2. In the Layer panel of the Stage view , select the layer on w hich you w ant to draw .
3. Do one of the follow ing:l

In the Tools toolbar, select theBrush tool.

l

In the top menu, select Tools > Brush.

lPress Alt + B.

4. In the Presets list of the Tool Properties view , select a brush preset to use.
5. Use the Maximum Size slider to select the desired size for your brush.
6. In the Colour view , do one of the follow ing to select a colour:lDouble-click on the Current colour sw atch to open the Colour Picker w indow .

l

Use the Hue, Saturation and Value sliders to select the colour w ith w hich you w ant to draw .

lSelect a colour sw atch from the sw atch list.

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7. In the Stage view , draw a brush stroke.

TIPSl

You can quickly adjust the size of the selected draw ing tool by pressing and holding the O
key, then clicking and dragging in the draw ing space. If you are using a tablet pen, doing
this w ith the eraser tip of your pen w ill adjust the size of the Eraser tool, regardless of
w hich draw ing tool is selected.

l

If you press and hold the Shift key before or w hile draw ing, you w ill draw a straight line.

l

If you press and hold the Shift and Alt keys before or w hile draw ing, you w ill draw astraight horizontal or vertical line.

l

If you press and hold the Ctrl (W indow s/Linux) or ⌘ (macOS) key w hile draw ing, yourdraw ing stroke w ill turn into a closed shape.

l

If you press and hold Alt before draw ing a stroke, and start draw ing near existing artw ork,
the start of your draw ing stroke w ill connect to that artw ork.

l

If you press and hold Alt w hile draw ing a stroke, and end your draw ing stroke near
existing artw ork, the end of that draw ing stroke w ill connect to that artw ork.

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Chapter 7: Draw ing

Creating a Solid BrushW hen draw ing w ith the Brush tool on a vector layer, you can use either solid vector brushes or textured vector
brushes. By default, your brush w ill be a solid vector brush. A solid vector brush creates a vector shape andsimply fills it w ith the selected colour, making lightw eight, simple crisp strokes.
A solid vector brush's tip can be shaped like a circle, a diamond or a square, and can be configured to have a
specific size, aspect ratio and angle. Also, solid vector brushes can be automatically smoothed by Storyboard
Pro as you draw .
If you are draw ing on a bitmap layer, you can only use textured brushes. You can create a textured brush thatmakes solid looking strokes, but they can not be automatically smoothed by Storyboard Pro, nor can they
tw eaked w ith vector tools such as the Contour Editor. For more information, see About Layer Types on page224.

You can now control the Size properties w ith input options such as Pressure, Tilt and Speed. You can use acombination of multiple inputs to control a single property. Also, you can control the Angle Function by
selecting any one option from the drop dow n list.

How to create a solid vector brush
1. In the Tools toolbar, select the Brushor Erasertool.

2. In the Tool Properties view , click the arrow button to open the Brush/Eraser Properties dialog.

The Brush Properties dialog opens.

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1. In the Brush Type dropdow n list, select Solid Vector.
2. In the brush tip list, select either Circle, Diamond or Square.
3. Use the Maximum Size slider to set the maximum size of your brush tip.

4.

NOTE
W hen draw ing w ith a mouse, your brush is alw ays at its maximum size. W hen draw ing
w ith a pressure-sensitive pen tablet, your brush's size w ill range betw een its minimum
and maximum size, depending on the amount of pressure you put on the pen w hen
draw ing.

5. You can control the size properties by clicking on the arrow button on right and the Size Properties
dialog box w ill appear.

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Chapter 7: Draw ing

6.

NOTE
Please see Brush Properties Dialog and to learn more about Brush Tool options, see
Brush Tool Properties.

7. If you are using a pressure-sensitive pen tablet, use the Minimum Size slider to set the size of yourbrush w hen using your pen w ith very little pressure. The minimum size is set to a percentage ofyour brush tip's maximum size, w hich is 25% by default. If you don't w ant the pressure on your pen
to affect the brush size, set this parameter to 100%.

8.

NOTE
The "Size Proportional to Camera" option has been moved to the new Size Properties
w indow .

9. If you w ant your brush tip to have uneven dimensions, use the Roundness slider to shrink the brushtip vertically all the w hile preserving its horizontal size.
10. If you w ant your brush tip to be at an angle, use the Angle slider to rotate your brush tip.
11. If you w ant your brush tip to stretch w hen you tilt your pen, use the Pen Tilt Sensitivity slider to
set how much the tip should stretch. The tip w ill stretch by the percentage you set, in the direction
in w hich you tilt the pen.

NOTE
This option only w orks if your tablet and your pen support tilt sensitivity.

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12. If you w ant your brush tip to rotate w ith the angle of your pen tip use the Angle Function. You canselect one of the follow ing options:lConstant: The static orientation of the brush tip expressed in degrees.

lHeading: The orientation of the brush tip is determined by the direction in w hich the strokeis draw n. It changes dynamically as the stroke is draw n.

lAzimuth: W hen the pen is tilted, it uses the direction in w hich the pen eraser is facing.

lTwist (if supported by pen): It uses the tw ist angle of the stylus and is only available w ith
W acom Art Pen.

13. Click on the Smoothing tab.

14. Use the Centerline Smoothing slider to set the amount of smoothing Storyboard Pro should
perform on your stroke's direction, curves and corners. A higher setting w ill prevent your line frombeing shaky, but is liable to reduce your draw ing precision and to round sharp corners into curves.
15. Use the Contour Smoothing slider to set the amount of smoothing Storyboard Pro should perform
on your stroke's contour. A higher setting w ill round sharp corners and reduce the amount ofcontrol points for the resulting vector shape.
16. Either close or set aside the Brush Properties dialog.
17. In the Stage view , start draw ing to test your brush settings.

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Chapter 7: Draw ing

Creating a Textured Brush
Using textured brushes, you can create an infinite range of fuzzy, textured and w atercolour lines. You can use
bitmap brush tips, adjust your line's hardness and opacity, combine tw o tips and apply a paper texture to yourbrush strokes so as to adapt the Brush tool to a variety of art styles and create natural-looking brush strokes.
W hen draw ing on a vector layer, brushes are solid vector brushes by default. You can how ever create atextured vector brush w hich combines both Storyboard Pro's vector and bitmap draw ing capabilities. You can
tw eak textured vector brush strokes using various vector editing tools such as the Contour Editor,thePerspective tool and the Envelope tool, and Storyboard Pro w ill resample the textures inside your brushstrokes w ith each modification.
If you are draw ing on a bitmap layer, your brush is alw ays textured. You can configure a textured brush to lookcrisp and solid if desired, but brush strokes on bitmap layers cannot be tw eaked or smoothed.

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Configuring a Textured Brush Tip
The Brush tool supports tw o types of brush tips: Solid and Textured. Solid brush tips are plain shapes that canbe used to draw vector shapes filled w ith a solid color, w hereas textured brush tips are bitmap images w ith
various shapes and opacity levels that can be used to create natural-looking brush strokes.

Solid brush tips are not customizable. The selection is limited to either a circle, diamond or square-shaped
brush tip, the proportions and angle of w hich can be adjusted. W hile Storyboard Pro also comes bundled w ith
preset textured brush tips, it is also possible to create and use your ow n textured brush tips.

How to configure a textured brush tip
1. In the Tools toolbar, select the Brush

tool or press Alt + B.

2. In the Tool Properties view , click the Arrow button to open the Brush Properties view .

3. If you are draw ing on a vector layer, set the Brush Type to Textured Vector to enable the textured
brush options. If you are draw ing on a bitmap layer, the textured brush options are alw ays enabled.

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4. In the Brush Tip list, select the desired brush tip. If you w ant to create your ow n brush tip, see
Adding a Brush Tip on page 283.
5. Use the Maximum Size slider to set the maximum size of your brush tip.

6.

NOTE
W hen draw ing w ith a mouse, your brush is alw ays at its maximum size. W hen draw ing
w ith a pressure-sensitive pen tablet, your brush's size w ill range betw een its minimum
and maximum size, depending on the amount of pressure you put on the pen w hen
draw ing.

7. You can control the size properties by clicking on the arrow button on right and the Size Properties
dialog box w ill appear.

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Storyboard Pro 22 User Guide

8.

NOTE
Please see Brush Properties Dialog and to learn more about Brush Tool options, see
Brush Tool Properties.

9. If you are using a pressure-sensitive pen tablet, use the Minimum Size slider to set the size of yourbrush w hen using your pen w ith very little pressure. The minimum size is set to a percentage ofyour brush tip's maximum size, w hich is 25% by default. If you don't w ant the pressure on your pen
to affect the brush size, set this parameter to 100%.

10.

NOTE
The "Size Proportional to Camera" option has been moved to the new Size Properties
w indow .

11. If you w ant your brush tip to have uneven dimensions, use the Roundness slider to shrink the brushtip vertically all the w hile preserving its horizontal size.
12. If you w ant your brush tip to be at an angle, use the Angle slider to rotate your brush tip.
13. If you w ant your brush tip to stretch w hen you tilt your pen, use the Pen Tilt Sensitivity slider to
set how much the tip should stretch. The tip w ill stretch by the percentage you set, in the direction
in w hich you tilt the pen.

NOTE
This option only w orks if your tablet and your pen support tilt sensitivity.

14. If you w ant your brush tip to rotate w ith the angle of your pen tip use the Angle Function. You canselect one of the follow ing options:281

Chapter 7: Draw ing

lConstant: The static orientation of the brush tip expressed in degrees.

lHeading: The orientation of the brush tip is determined by the direction in w hich the strokeis draw n. It changes dynamically as the stroke is draw n.

lAzimuth: W hen the pen is tilted, it uses the direction in w hich the pen eraser is facing.

lTwist (if supported by pen): It uses the tw ist angle of the stylus and is only available w ith
W acom Art Pen.

15. Use the Hardness slider to set how much of the outer part of your brush tip should fade totransparency. If you set it to 100 %, the brush w ill be completely solid. If you set it to 0 %, thebrush w ill only be opaque in its center, and w ill gradually become transparent tow ards its edges.
16. Use the Spacing slider to set how much distance you must drag your brush before Storyboard Pro
prints the brush tip onto your canvas, relative to your brush's size. The default setting is 7%, w hichproduces a relatively realistic brush stroke-like result. If this setting is too low , your brush strokes
might feel too thick and opaque. If this setting is too high, your strokes w ill look like the brush tip
has been stamped repeatedly over your canvas instead of dragged on it.
17. If you w ant the size of your brush tip to vary each time it's printed on your canvas, set the Random
Size setting to any value above 0 %.
18. If you w ant the angle of your brush tip to be random each time the tip is printed on your canvas, set
the Random Angle setting to any value above 0 °.
19. If you w ant the spacing betw een each instance of the brush tip to be random, set the Random
Spacing setting to any value above 0 %.
20. If you w ant the spacing betw een each instance of the brush tip to be random, set the Random
Spacing setting to any value above 0 %.
21. In the Stage view , start draw ing to test your brush settings.

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Adding a Brush Tip
In the Brush or Eraser Properties dialog, you w ill find a set of default brush tips w hich are bundled w ith
Storyboard Pro, but you can also create your ow n brush tips, then export your collection or import an existingset.
To make your ow n brush tip, you must first create an image file containing the brush tip, either in Storyboard
Pro or in a third party softw are, like Adobe Photoshop, then import it into Storyboard Pro. A brush tip must be
a greyscale image. Colors in brush tips are not acknow ledged by Storyboard Pro, as brush tips only use thecolour you are painting w ith in Storyboard Pro. Your brush tip should also not contain transparency, as
Storyboard Pro determines the brush tip's transparency based on its black, w hite and grey levels. Its blackparts w ill appear 100% opaque, its w hite parts w ill appear 100% transparent, and its grey parts w ill appear
semitransparent.
You can import brush tips in any image format supported by Storyboard Pro. It is recommended to create
brush tips in a resolution ranging from 100 x 100 pixels to 400 x 400 pixels.
Brush tips are shared betw een the brush tool and the eraser tool. Like paper textures and brush presets, paper
textures are saved in your preferences. You can also export your brush tips into an .xml file, and import themon a different w orkstation, allow ing you to share your brush tips betw een the different people collaborating
on your project.

How to add a brush tip
1. In the Tools toolbar, select the Brushor Erasertool.

2. In the Tool Properties view , click the arrow button to open the Brush/Eraser Properties dialog.

3. If you are draw ing on a vector layer, set the Brush Type to Textured Vector if you are using thebrush tool or the Eraser Type to Textured Eraser or Textured, Preserve Vector if you are using theeraser tool.
4. Do one of the follow ing:lClick on the Paper Texture menu iconlClick the Add Paper Texture button.

and select Add.

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5. In the file brow ser w indow , navigate to the location of your texture image file and select it.
6. Click Open to import the file into the Paper Texture library.
By default, an imported texture is given the name of the image file.

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Storyboard Pro 22 User Guide

Renaming Brush Tips
You can rename your bitmap brush tips to keep your list organized.

How to rename a brush tip
1. In the Tools toolbar, select the Brushor Erasertool.

2. In the Tool Properties view , click the arrow button to open the Brush/Eraser Properties dialog.

3. If you are draw ing on a vector layer, set the Brush Type to Textured Vector if you are using thebrush tool or the Eraser Type to Textured Eraser or Textured, Preserve Vector if you are using theeraser tool.
4. Select the brush tip you w ish to rename.
5. Click on the Paper Texture menu icon

and select Rename.

6. In the Rename dialog box that appears, type in the new name of the brush tip.
7. Click OK.

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Deleting Brush Tips
You can delete unnecessary brush tips to keep your list organized.

How to delete a brush tip
1. In the Tools toolbar, select the Brushor Erasertool.

2. In the Tool Properties view , click the arrow button to open the Brush/Eraser Properties dialog.

3. If you are draw ing on a vector layer, set the Brush Type to Textured Vector if you are using thebrush tool or the Eraser Type to Textured Eraser or Textured, Preserve Vector if you are using theeraser tool.
4. Select the brush tip you w ish to delete.
5. Do one of the follow ing:lClick on the Paper Texture menu iconlClick the Delete

and select Delete.

button.

NOTE
You can delete any brush tip in the Paper Texture library, including the default paper textures,
except for the three solid brush tips: Circle, Diamond and Square. Also, brush tips w ill not get
deleted if they are used in a brush preset.

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Storyboard Pro 22 User Guide

Exporting Brush Tips
You can export brush tips to share, backup or install on a new computer.

How to export brush tips
1. In the Tools toolbar, select the Brushor Erasertool.

2. In the Tool Properties view , click the arrow button to open the Brush/Eraser Properties dialog.

3. If you are draw ing on a vector layer, set the Brush Type to Textured Vector if you are using thebrush tool or the Eraser Type to Textured Eraser or Textured, Preserve Vector if you are using theeraser tool.
4. Click on the Paper Texture menu icon

and select Export.

The Export Tips and Textures dialog opens. This dialog allow s you to export both your textured
brush tips and your paper textures.

5. By default, both your brush tips and your paper textures are selected for export. If you only w ish toexport your brush tips, uncheck the Select Paper Textures option.
6. Click Export.

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7. In the Export Textures w indow that appears, brow se to a location w here you w ant save the .xml
file and give it a name.
8. Click Save.

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Importing Brush Tips
You can import Storyboard Pro brush tips you previously exported.

How to import brush tips
1. In the Tools toolbar, select the Brushor Erasertool.

2. In the Tool Properties view , click the arrow button to open the Brush/Eraser Properties dialog.

3. If you are draw ing on a vector layer, set the Brush Type to Textured Vector if you are using thebrush tool or the Eraser Type to Textured Eraser or Textured, Preserve Vector if you are using theeraser tool.
4. Click on the Paper Texture menu icon

and select Import.

5. In the brow ser w indow that appears, navigate to and select the .xml file in w hich you exported
your brush tips.
6. Click Open.
In the Import Tips and Textures dialog box appears.

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Chapter 7: Draw ing

7. If the selected .xml file also contains paper textures, they w ill be selected for import along w ith
the brush tips by default. If you w ish to only import the paper textures, uncheck the Select Paper
Textures option.
8. Click Import.
The imported brush tips appear in the Brush Tips Library.

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Changing the Brush Tip Display
You can display your preset list as thumbnails or a list.

How to change the Brush Tips thumbnail display
1. In the Tools toolbar, select the Brushor Erasertool.

2. In the Tool Properties view , click the arrow button to open the Brush/Eraser Properties dialog.

3. If you are draw ing on a vector layer, set the Brush Type to Textured Vector if you are using thebrush tool or the Eraser Type to Textured Eraser or Textured, Preserve Vector if you are using theeraser tool.
1. Click on the Brush Tips menu icon.

2. Select one of the follow ing options:lSmall Thumbnail: Displays brush tips in a grid of small thumbnails.

lLarge Thumbnail: Displays brush tips in a grid of large thumbnails w ith their name.
The default view setting.

l

List View: Displays brush tips in a list, w ith their name on the left and their texture on
the right of each row .

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Chapter 7: Draw ing

Configuring Smoothing for a Textured BrushIf you are draw ing on a vector layer, the Brush Properties dialog w ill have a Smoothing tab, w hich allow s toconfigure how Storyboard Pro automatically smooths your brush strokes. If you are draw ing on a bitmap layer,
this topic is not applicable, as bitmap layers do not support automatic smoothing.

How to configure a textured brush's smoothing
1. In the Brush Properties dialog, open the Smoothing tab.

2. Use the Centerline Smoothing slider to set the amount of smoothing Storyboard Pro should
perform on your stroke's direction, curves and corners. A higher setting w ill prevent your line frombeing shaky, but is liable to reduce your draw ing precision and to round sharp corners into curves.
3. Use the Contour Smoothing slider to set the amount of smoothing Storyboard Pro should perform
on your stroke's contour. A higher setting w ill round sharp corners and reduce the amount ofcontrol points for the resulting vector shape.
4. In the Stage view , start draw ing to test your brush settings.

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Storyboard Pro 22 User Guide

Configuring Antialiasing and Transparency for a Textured Brush
A textured brush can be either antialiased or not antialiased. W ithout antialiasing, your brush strokes w ill only
create fully opaque artw ork. W ith antialiasing enabled, you also have the option to set the flow and opacity ofyour brush, allow ing you to simulate the effect of inks and paints w ith various consistencies.
You can now control the Flow /Opacity properties w ith input options such as Pressure, Tilt and Speed. You can
use a combination of multiple inputs to control a single property.

NOTE
If you are w orking on a vector layer, make sure the Brush Type option in the Tip tab is set to
Textured Vector Brush to enable the textured brush options.

How to configure a brush's antialiasing and transparency settings
1. In the Brush Properties dialog, open the Transparency tab.

2. If you w ant your brush to have antialiasing or transparency, enable the Antialiasing option.

NOTE
If the Antialiasing option is disabled, all Transparency settings w ill be disabled, andyour brush w ill only create fully opaque artw ork.

3. Use the Maximum Flow slider to set the consistency of your brush strokes. A low er flow w ill makeyour stroke more transparent tow ards the extremities and more opaque in its center, w hereas ahigher flow w ill make your stroke consistently opaque.

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4. If you are using a pressure-sensitive pen tablet, use the Minimum Flow slider to set the percentageof the maximum flow that you w ant your brush to use w hen using your pen w ith very little
pressure. If you don't w ant the pressure on your pen to affect the flow , set this parameter to 100%.
5. Use the Maximum Opacity slider to set the maximum opacity of your brush strokes.
6. If you are using a pressure-sensitive pen tablet, use the Minimum Opacity slider to set thepercentage of the maximum opacity that you w ant your brush to use w hen using your pen w ithvery little pressure. If you don't w ant the pressure on your pen to affect the opacity, set thisparameter to 100%.

NOTE
You can control the Flow /Opacity properties by clicking on the arrow button on theright and Flow /Opacity Properties Dialog box w ill appear.

NOTE
Please see Brush Properties Dialog and to learn more about Brush Tool option, see
Brush Tool Properties.

7. If you w ant the Flow of your brush to be randomized, set the Random Flow setting to any value
over 0 %.
8. If you w ant the Opacity of your brush to be randomized, set the Random Opacity setting to any
value over 0 %.
9. In the Stage view , start draw ing to test your brush settings.

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Configuring a Textured Brush with a Dual Tip
Textured brushes can also have a dual tip. A dual tip is a secondary tip that can be blended into your primary
tip in various blend modes, w ith its ow n full set of tip settings.

NOTE
If you are w orking on a vector layer, make sure the Brush Type option in the Tip tab is set to
Textured Vector Brush to enable the textured brush options.

How to configure a brush with a dual tip
1. In the Brush Properties dialog, click on the Dual Tip tab.
2. Check the check box in the Dual Tip tab to enable the Dual Tip functionality.

295Chapter 7: Draw ing

3. In the Brush Tip list, select the desired brush tip. If you w ant to create your ow n brush tip, see
Adding a Brush Tip on page 283.
4. In the Blend Mode drop-dow n list, select the algorithm w ith w hich you w ant your secondary tip toblend into your primary tip:lMultiply w ill draw the least opaque pixel of either brush tip, making more spaced out,
inconsistent strokes.

lColor Dodge w ill add the opacity of the pixels in both brush tips, making moreopaque strokes.

lCombine w ill draw the most opaque pixel of either brush tip, combining the tip
shapes w ithout increasing their opacity.

5. Use the Maximum Size slider to set the maximum size of your brush tip.

6.

NOTE
W hen draw ing w ith a mouse, your brush is alw ays at its maximum size. W hen draw ing
w ith a pressure-sensitive pen tablet, your brush's size w ill range betw een its minimum
and maximum size, depending on the amount of pressure you put on the pen w hen
draw ing.

7. You can control the size properties by clicking on the arrow button on right and the Size Properties
dialog box w ill appear.

8.

NOTE
Please see Brush Properties Dialog and to learn more about Brush Tool options, see
Brush Tool Properties.

9. If you are using a pressure-sensitive pen tablet, use the Minimum Size slider to set the size of yourbrush w hen using your pen w ith very little pressure. The minimum size is set to a percentage ofyour brush tip's maximum size, w hich is 25% by default. If you don't w ant the pressure on your pen
to affect the brush size, set this parameter to 100%.

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Storyboard Pro 22 User Guide

NOTE

10.

The "Size Proportional to Camera" option has been moved to the new Size Properties
w indow .

11. If you w ant your brush tip to have uneven dimensions, use the Roundness slider to shrink the brushtip vertically all the w hile preserving its horizontal size.
12. If you w ant your brush tip to be at an angle, use the Angle slider to rotate your brush tip.
13. If you w ant your brush tip to stretch w hen you tilt your pen, use the Pen Tilt Sensitivity slider to
set how much the tip should stretch. The tip w ill stretch by the percentage you set, in the direction
in w hich you tilt the pen.

NOTE
This option only w orks if your tablet and your pen support tilt sensitivity.

14. If you w ant your brush tip to rotate w ith the angle of your pen tip use the Angle Function. You canselect one of the follow ing options:lConstant: The static orientation of the brush tip expressed in degrees.

lHeading: The orientation of the brush tip is determined by the direction in w hich the strokeis draw n. It changes dynamically as the stroke is draw n.

lAzimuth: W hen the pen is tilted, it uses the direction in w hich the pen eraser is facing.

lTwist (if supported by pen): It uses the tw ist angle of the stylus and is only available w ith
W acom Art Pen.

15. Use the Hardness slider to set how much of the outer part of your brush tip should fade totransparency. If you set it to 100 %, the brush w ill be completely solid. If you set it to 0 %, thebrush w ill only be opaque in its center, and w ill gradually become transparent tow ards its edges.

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Chapter 7: Draw ing

16. Use the Spacing slider to set how much distance you must drag your brush before Storyboard Pro
prints the brush tip onto your canvas, relative to your brush's size. The default setting is 7%, w hichproduces a relatively realistic brush stroke-like result. If this setting is too low , your brush strokes
might feel too thick and opaque. If this setting is too high, your strokes w ill look like the brush tip
has been stamped repeatedly over your canvas instead of dragged on it.
17. If you w ant the size of your brush tip to vary each time it's printed on your canvas, set the Random
Size setting to any value above 0 %.
18. If you w ant the angle of your brush tip to be random each time the tip is printed on your canvas, set
the Random Angle setting to any value above 0 °.
19. If you w ant the spacing betw een each instance of the brush tip to be random, set the Random
Spacing setting to any value above 0 %.
20. If you w ant the spacing betw een each instance of the brush tip to be random, set the Random
Spacing setting to any value above 0 %.
21. In the Stage view , start draw ing to test your brush settings.

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Storyboard Pro 22 User Guide

Configuring a Brush with a Paper Texture
Paper textures are bitmap textures that you can apply to your brush strokes as you draw . They act astransparency filters that are tiled over your brush strokes to make them look grainy, as if you w ere draw ing on
a rough paper surface. W hile Storyboard Pro comes bundled w ith preset paper textures, it is also possible tocreate and use your ow n paper textures.

How to configure a brush with a paper texture
1. In the Brush Properties dialog, click on the Paper Texture tab.
2. Check the check box in the Paper Texture tab to enable paper textures.

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3. In the paper texture list, select the desired paper texture. If you w ish to create your ow n paper
texture, see Adding a Paper Texture on page 301.
4. Using the Texture Scale slider, select the scaling factor at w hich to scale the paper texture w hen
applying it to your brush strokes.
5. If you w ant your brush strokes to get more opaque as you drag your brush or w hen you draw overthem, enable the Additive option.
6. If you w ant the paper texture to alw ays be aligned to the same grid regardless of w here you draw
your strokes, enable the Aligned option. Otherw ise, your paper textures w ill be positioned relative
to w here you start your draw ing stroke, and if you draw tw o strokes one over the other, their paper
textures w ill clash w ith each other.
7. In the Stage view , start draw ing to test your brush settings.

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Adding a Paper Texture
In the Brush Properties dialog, you w ill find a set of default paper textures w hich are bundled w ith Storyboard
Pro, but you can also create your ow n paper textures, then export your collection or import an existing set.
To make your ow n paper texture, you must first create an image file containing the texture, either inStoryboard Pro or in a third party softw are, like Adobe Photoshop, then import it into Storyboard Pro. A paper
texture must be a greyscale image. Colors in paper textures are not acknow ledged by Storyboard Pro, as
paper textures are applied onto the colour you are painting w ith in Storyboard Pro. Your texture should also
not contain transparency, as Storyboard Pro determines the texture's transparency based on its black, w hiteand grey levels. W hen draw ing w ith a paper texture, its black parts w ill appear 100% opaque, its w hite parts
w ill appear 100% transparents, and its grey parts w ill appear semitransparent.
You can import brush tips in any image format supported by Storyboard Pro. It is recommended to create
paper textures in a resolution ranging from 100 x 100 pixels to 400 x 400 pixels.
Like brush tips and brush presets, paper textures are saved in your preferences. You can also export yourpaper textures into an .xml file, and import them on a different w orkstation, allow ing you to share yourtextures betw een the different people collaborating on your project.

How to add a paper texture
1. In the Tools toolbar, select the Brush

tool or press Alt + B.

2. In the Tool Properties view , click the Arrow button to open the Brush Properties view .

3. If you are draw ing on a vector layer, set the Brush Type to Textured Vector to enable the textured
brush options. If you are draw ing on a bitmap layer, the textured brush options are alw ays enabled.
4. Click on the Paper Texture tab.
5. Check the check box in the Paper Texture tab to enable paper textures.

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1. In the Brush Properties dialog, do one of the follow ing:l

From the Paper Texture menu, select Add.

l

Click the Add Paper Texture button.

2. In the brow ser w indow that appears, navigate to w here you saved your texture file.
3. Click Open to import the file into the Paper Texture library.
By default, an imported texture is given the name of the image file.

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Renaming a Paper Texture
You can rename your paper textures to keep your list organized.

How to rename a paper texture
1. In the Tools toolbar, select the Brush

tool or press Alt + B.

2. In the Tool Properties view , click the Arrow button to open the Brush Properties view .

3. If you are draw ing on a vector layer, set the Brush Type to Textured Vector to enable the textured
brush options. If you are draw ing on a bitmap layer, the textured brush options are alw ays enabled.
4. Click on the Paper Texture tab.
5. Check the check box in the Paper Texture tab to enable paper textures.

6. Select the texture you w ant to rename.
7. Click on the Paper Texture menu icon

and select Rename.

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8. In the Rename Texture dialog box that appears, type in the new name for the texture.

9. Click OK.

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Deleting Paper Textures
You can delete unnecessary paper textures from your preset list.

How to delete a paper texture
1. In the Tools toolbar, select the Brush

tool or press Alt + B.

2. In the Tool Properties view , click the Arrow button to open the Brush Properties view .

3. If you are draw ing on a vector layer, set the Brush Type to Textured Vector to enable the textured
brush options. If you are draw ing on a bitmap layer, the textured brush options are alw ays enabled.
4. Click on the Paper Texture tab.
5. Check the check box in the Paper Texture tab to enable paper textures.

1. Select the texture you w ant to delete.
2. Do one of the follow ing:lClick on the Paper Texture menu iconlClick the Delete

and select Delete.

button.

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NOTE
You can delete any paper texture in the Paper Texture library, including thedefault paper textures, as long as no brush preset is using that paper texture.

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Exporting Paper Textures
You can export paper textures into an .xml file w hich w ill contain their name and bitmap texture. This can be
useful if you w ish to back up or share your paper textures.

How to export paper textures
1. In the Tools toolbar, select the Brush

tool or press Alt + B.

2. In the Tool Properties view , click the Arrow button to open the Brush Properties view .

3. If you are draw ing on a vector layer, set the Brush Type to Textured Vector to enable the textured
brush options. If you are draw ing on a bitmap layer, the textured brush options are alw ays enabled.
4. Click on the Paper Texture tab.
5. Check the check box in the Paper Texture tab to enable paper textures.

6. Click on the Paper Texture menu icon

and select Export.

The Export Tips and Textures dialog opens. This dialog allow s you to export both your textured
brush tips and your paper textures.

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7. By default, both your brush tips and your paper textures are selected for export. If you only w ish toexport your paper textures, uncheck the Select Brush Tips option.
8. Click on the Export button.
9. In the Export Textures dialog that appears, brow se to a location w here you w ould like to save the.xml file, then type in the desired file name.
10. Click Save.

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Importing Paper Textures
You can import paper texture presets you previously exported from Storyboard Pro.

How to import paper textures
1. In the Tools toolbar, select the Brush

tool or press Alt + B.

2. In the Tool Properties view , click the Arrow button to open the Brush Properties view .

3. If you are draw ing on a vector layer, set the Brush Type to Textured Vector to enable the textured
brush options. If you are draw ing on a bitmap layer, the textured brush options are alw ays enabled.
4. Click on the Paper Texture tab.
5. Check the check box in the Paper Texture tab to enable paper textures.

6. Click on the Paper Texture menu icon

and select Import.

7. In the brow ser w indow that appears, navigate to and select the .xml file in w hich you exported
your paper textures.
8. Click Open.
In the Import Tips and Textures dialog box appears.

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9. If the selected .xml file also contains brush tips, they w ill be selected for import along w ith thepaper textures by default. If you only w ish to import the paper textures, uncheck the Select Brush
Tips option.
10. Click Import.
The imported paper textures w ill appear in the Paper Texture Library.

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Changing the Paper Texture Display
You can change the w ay the paper textures are displayed in the paper textures list of the Brush Properties
dialog.

How to change the Paper Texture thumbnail display
1. In the Tools toolbar, select the Brush

tool or press Alt + B.

2. In the Tool Properties view , click the Arrow button to open the Brush Properties view .

3. If you are draw ing on a vector layer, set the Brush Type to Textured Vector to enable the textured
brush options. If you are draw ing on a bitmap layer, the textured brush options are alw ays enabled.
4. Click on the Paper Texture tab.
5. Check the check box in the Paper Texture tab to enable paper textures.

1. Click on the Paper Texture menu icon.

2. Select one of the follow ing options:lSmall Thumbnail: Displays paper textures in a grid of small thumbnails.

lLarge Thumbnail: Displays paper textures in a grid of large thumbnails w ith theirnames. The default view setting.

l

List View: Displays paper textures in a list, w ith their name on the left and their
texture on the right of each row .

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About Brush Presets
Setting up your brush to perfectly reproduce the desired art style can require a lot of tw eaking as w ell as trial
and error. Once you have found the correct settings for your brush, you w ill w ant to reuse it throughout yourproject for consistency. You can do that by creating and using brush presets.

Storyboard Pro comes preloaded w ith many brush presets w hich you can select from the Tool Properties view .
It is also possible to create your ow n brush presets by configuring your brush, then saving it as a preset.
Like brush tips and paper textures, brush presets are saved in your preferences. You can also export yourbrush presets into an .xml file, and import them on a different w orkstation, allow ing you to share your brush
presets betw een the different people collaborating on your project.

NOTES
l

Brush presets are not to be confused w ith brush tips and paper textures. A brush tip is one ofthe properties of a brush. A brush preset contains all of the properties for a given brush.
How ever, both can be exported, imported and managed similarly.

l

Brush presets for vector layers and for bitmap layers are separate. A brush preset createdw hile w orking on a vector layer cannot be used w hen w orking on a bitmap layer, and viceversa.

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Creating a Brush Preset
You can create your ow n custom brush presets by configuring your brush, then adding it as a preset.

How to create a brush preset
1. Make sure the current draw ing layer is vector if you w ish to create a vector brush preset, or bitmap
if you w ish to create a bitmap brush preset—see About Layer Types on page 224.
2. In the Tools toolbar, select the Brush

tool or press Alt + B.

3. Click on the Arrow button to open the Brush Properties dialog.

4. Configure your brush to be exactly how you w ish to use it in the future—see Creating a Solid Brushor Creating a Textured Brush.
5. Do one of the follow ing:l

From the Brush Properties dialog, click on the New Brush Preset

button in the top-right corner.
l

In the Tool Properties view , click the New Brush Presetl

In the Tool Properties view , open the Brush Presets menu

button.
and select New Brush

Preset.
6. In the New Preset w indow , type a name for your new brush preset.
Your new brush preset is added to the end of the list of brush presets.

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Selecting a Brush Preset
Storyboard Pro provides you w ith default brush presets available in the Tool Properties view .

How to select a brush preset
1. In the Tools toolbar, select the Brush

tool or press Alt + B.

2. In the Tool Properties view , select a brush preset from the Presets list.

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Updating a Brush Preset
If you w ant to modify the settings of an existing custom preset, you can do so by adjusting the parameters in
the Tool Properties view , then updating your preset w ith your brush current's parameters.

How to update a brush preset
1. In the Tools toolbar, select the Brush

tool or press Alt + B.

1. In the Tool Properties view , select the Brush Preset you w ish to update.
2. Click on the Arrow button to open the Brush Properties view .

3. Configure your brush to be exactly how you w ish to use it in the future—see Creating a Solid Brushor Creating a Textured Brush.
4. Click on the Update Brush Preset

button in the upper-right corner of the Brush Properties

dialog.

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Renaming a Brush Preset
To keep your list comprehensive and organized, you can name your custom brush presets.

How to rename a brush preset
1. In the Tools toolbar, select the Brush

tool or press Alt + B.

2. In the Tool Properties view , select a brush preset to rename.
3. Open the Brush Preset menu

and select Rename Brush.

4. Type in a new name for the brush and click OK.

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Deleting a Brush Preset
You can keep your preset list clean by deleting unw anted custom presets.

How to delete a brush preset
1. In the Tools toolbar, select the Brush

tool or press Alt + B.

2. In the Tool Properties view , select the brush preset you w ant to delete.
3. Do one of the follow ing:lClick the Delete Brushbutton.

lOpen the Brush Preset menu

and select Delete Brush.

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Exporting Brush Presets
You can export brush presets into an .xml file w hich w ill contain all of your brush's settings. This can be
useful if you w ish to back up or share your brush presets.

How to export pencils, brushes and erasers
1. In the Tools toolbar, select either the Brush, Pencil

2. In the Tool Properties view , open the Brush Preset menu

or Erasertool.

and select Export Brushes.

The Export Brushes dialog opens. This dialog allow s you to export brush presets for the Brush,
Pencil and Eraser tools.

3. By default, the presets for all your tools w ill be selected for export. If you only w ish to export
presets for specific tools, uncheck Select/Deselect All and select the tools for w hich you w ant toexport the presets.
4. Click Export.
5. In the Export Presets dialog that appears, brow se to the location w here you w ant to save the .xml
file and enter its file name.
6. Click Save.

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Importing Brush Presets
You can import brush presets that you previously exported from Storyboard Pro.

How to import pencils, brushes and erasers
1. In the Tools toolbar, select either the Brush, Pencil

2. In the Tool Properties view , open the Brush Preset menu

or Erasertool.

and select Import Brushes.

3. In the brow ser w indow that appears, navigate to and select the .xml file in w hich you exported
your brush presets.
4. Click Open.
The Import Brushes dialog box opens.

5. By default, the presets for any tools included in the file w ill be selected for import. If you only w ish
to import presets for specific tools, uncheck Select/Deselect All and select the tools for w hich you
w ant to export the presets
6. Click Import.
The imported brush, eraser and pencil styles w ill appear in the Presets list.

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Chapter 7: Draw ing

Changing the Brush Preset Display
You can display your preset list as thumbnails or a list.

How to change the way presets are previewed in the Tool Properties view
1. In the Tool Properties view , open the Brush Presetsmenu.

2. Select one of the follow ing options:lSmall Thumbnail: Displays presets in a grid of small thumbnails w ith a preview of
their tip.

lLarge Thumbnail: Displays presets in a grid of big thumbnails, w ith their name and apreview of their tip.

lStroke View: Displays presets in a list, w ith their name and a preview of a stroke
done w ith each preset.

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Painting with the Stencil Brush tool
The Stencil Brush

tool is not meant for draw ing or painting on its ow n. Instead, it can be used to paint overexisting artw ork. This can be done in one of tw o w ays on vector layers:lRepaint Brush

mode: Existing artw ork is repainted, ignoring empty zones.

lOverlay Brush

mode: Existing artw ork acts as a mask. Draw ing or painting over existing artw ork

results in these strokes being cut by the boundaries of the mask. These strokes are not flattened w ith
the existing artw ork and remain editable. This can be useful to quickly add shadow s to draw ings.

W hen w orking on bitmap layers, these modes do not appear in the Tool Properties view . In that instance, theStencil Brush tool behaves as if the Repaint Brush mode is enabled. The Stencil Brush tool w orks on all typesof brush strokes, pencil lines and fills.

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Chapter 7: Draw ing

How to repaint with the Stencil Brush tool
1. In the Tools toolbar, click and hold on the Brush
Stencil Brush

tool to display the menu beneath and select thetool, or use the keyboard shortcut Alt + X.

2. In the Tool Properties view , customize the brush as desired (size, colour).
3. In the Tool Properties view , click on the Repaint Brush Modebutton.

4. In the Stage or Camera view , draw or paint over existing artw ork.

The artw ork is repainted, ignoring empty zones.

How to create an overlay with the Stencil Brush tool
1. In the Tools toolbar, click and hold on the Brush
Stencil Brush

tool to display the menu beneath and select thetool, or use the keyboard shortcut Alt + X.

2. In the Tool Properties view , customize the brush as desired (size, texture, colour).
3. In the Tool Properties view , click on the Overlay Brush Modebutton.

4. In the Stage or Camera view , draw or paint over existing artw ork.

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The Stencil Brush tool strokes are cut by the underlying artw ork's boundaries, but still remain
separate and editable from the underlying artw ork.

How to create an overlay with the Stencil Brush tool using multiple layers
1. In the Tools toolbar, click and hold on the Brush
Stencil Brush

tool to display the menu beneath and select thetool, or use the keyboard shortcut Alt + X.

2. In the Tool Properties view , customize the brush as desired (size, texture, colour).
3. In the Tool Properties view , click on the Overlay Brush Modebutton.

4. In Layers panel of the Camera or Stage view , select all the layers you need to create the desiredmask shape. You can do this in one of the follow ing w ays:323

Chapter 7: Draw ingl

To select a range of noncontinuous layers, hold Ctrl (W indow s) or ⌘ (macOS) as you
click on the desired layers.

l

To select a continuous range of layers, click on the layer at the top of the range, then
Shift + click the bottom layer in the range.

NOTE
The first layer you select is indicated by a more prominent highlight. This is thelayer that w ill contain the new strokes made by the Stencil Brush.

5. In the Stage or Camera view , draw or paint over the existing artw ork.

Though the Stencil Brush used the outer contour of all draw ings on selected layers to make themask, the brush stroke is only draw n on the layer that w as selected first in the range.

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About the Brush Tool Modes
W hen you select the Brush

tool or the Stencil Brush

tool, the Tool Properties view displays thedifferent Brush modes that can control how the brush strokes behave for that tool. Click on the Brush Modebuttons to enable or disable the different modes.
W hen draw ing on a vector layer, the Brush tool creates individual strokes w ith editable vector contours. On
bitmap layers, the Brush tool lays dow n strokes as pixels, w here all strokes are flattened into a single image.
Depending on w hich layer type you have selected (vector or bitmap), the Brush modes in the Tool Properties
panel w ill vary.

Draw Behind Mode
W hen enabled, your draw ing strokes w ill be added underneath the existing artw ork instead of over it.

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NOTEYour stroke w ill appear over your artw ork as you draw it, until you release the mouse cursor ortablet pen. If you w ant a live preview of your stroke, activate the Realistic Preview option by
selecting View > Realistic Preview from the top menu.

Auto- Fill Mode
W hen enabled, if you draw a closed shape, it w ill automatically be filled w ith the selected colour.

Auto Flatten Mode
By default each brush stroke you draw is stored as a separate draw ing object that can be manipulated
individually. W ith the Auto Flatten option enabled, all overlapping brush strokes w ill be merged together intoa single draw ing object. This w ill make your artw ork lighter in both file size and processing time, but may limit
your ability to tw eak and modify your artw ork.

Snapping
Opens a pop-up menu in w hich you can enable or disable the Snap to Alignment Guides option. W hen thisoption is enabled, theBrush tool w ill snap to nearby alignment guides so that you can draw along theiraxis, as if you w ere draw ing against a rule.

NOTE
For more information on alignment guides, see About Alignment Guides on page 500

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Chapter 7: Draw ing

Overlay
NOTE
Only available if the Stencil Brush tool and a vector layer are selected.

In this mode, existing artw ork form the boundaries of a mask by having their layers selected. Draw ing or
painting over existing artw ork results in these strokes being cut by the boundaries of the mask. These strokes
are not flattened w ith the existing artw ork and remain editable. This can be useful to quickly add shadow s to
draw ings.

Repaint
NOTE
Only available if the Stencil Brush tool and a vector layer are selected.

In this mode, existing artw ork is repainted, ignoring empty zones.

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About the Pencil Tool
The Pencil tool is used to draw and sketch on vector layers.

Vector strokes produce files that are very light, and are ideal for long projects because you do not have tocompromise on efficiency during playback. Also, you can modify the shape of the lines after you draw themusing the Contour Editor or Perspective tool. The strokes are stored as separate lines until the draw ing is
flattened.
•

Advantage: File sizes are light, centreline is easy to edit, can be zoomed in on or scaled up w ithout
losing quality.

•

Disadvantage: Not optimized for transparency. Textured pencil lines are NOT recommended forsketching (heavy compared to solid pencil lines). Textured pencil lines do not look as natural as
textured brushes.

•

Recommended Use:
Solid pencil lines: For sketching, creating clean draw ings w ith a solid and uniform outline style and forartw ork you intend to scale or film from different distances (close, mid, far).
Textured pencil lines: For light textured or mixed-style artw ork that demands a lot of line manipulationthat you may intend to scale or film from different distances (close, mid, far).

The Pencil tools support pressure sensitivity, allow ing you to create lines w ith variable thickness, producing
central vector lines of constant or variable w idth, making a clean line. This means that a pencil line’s control
points (used to deform its shape) are located along the length of the central spine. The Pencil tool is very
useful for tracing, clean or final draw ings.
You can customize pencils, controlling the line’s colour, size, smoothness, and the minimum and maximum
w idth.

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Drawing with the Pencil Tool
T-SBFND-008-003
You can draw w ith the Pencil tool to create central vector lines.

How to draw with the Pencil tool
1. In the Thumbnails or Timeline view , select the panel on w hich you w ant to draw .

2. In the Camera, Stage, or Thumbnails view , select a vector layer to draw on.

3. In the Tools toolbar, select the Pencil

tool or press Alt + 9.

4. You can change the current colour by adjusting the sliders in the Colour view , or click a sw atch touse that colour. To add colour sw atches—see Adding Colour Sw atches on page 581.

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Chapter 7: Draw ing

5. In the Stage view , start draw ing.

TIPSl

You can quickly adjust the size of the selected draw ing tool by pressing and holding the O
key, then clicking and dragging in the draw ing space. If you are using a tablet pen, doing
this w ith the eraser tip of your pen w ill adjust the size of the Eraser tool, regardless of
w hich draw ing tool is selected.

l

If you press and hold the Shift key before or w hile draw ing, you w ill draw a straight line.

l

If you press and hold the Shift and Alt keys before or w hile draw ing, you w ill draw astraight horizontal or vertical line.

l

If you press and hold the Ctrl (W indow s/Linux) or ⌘ (macOS) key w hile draw ing, yourdraw ing stroke w ill turn into a closed shape.

l

If you press and hold Alt before draw ing a stroke, and start draw ing near existing artw ork,
the start of your draw ing stroke w ill connect to that artw ork.

l

If you press and hold Alt w hile draw ing a stroke, and end your draw ing stroke near
existing artw ork, the end of that draw ing stroke w ill connect to that artw ork.

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Converting Pencil Lines to Brush Strokes
The Pencil Lines to Brush Strokes operation converts the selected centreline pencil strokes into contour
strokes brush lines. This feature w orks for both solid and textured pencil lines.

How to convert pencil lines to brush strokes
1. In the Tools toolbar, select the Selecttool.

2. In the Camera or Stage view , select the strokes you w ant to convert.
3. Do one of the follow ing:l

From the top menu, select Tools > Convert > Pencil Lines to Brush Strokes .

lRight-click on the selection, select Convert > Pencil Lines to Brush Strokes.

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Using Pencil Presets
W hen you select the Pencil tool, its properties and options appear in the Tool Properties view . You can use
these properties to change the size of the pencil line, define how the line size responds to pressure on thestylus, how the line acts in relation to other lines in the scene, and how to modify the line’s direction and size
after it has been draw n.
The Preview area lets you see a preview of the stroke your draw ing tool w ill make.

You can set the minimum and maximum sizes of your tool, w hich w ill produce the thick and thin effect on yourline. This w orks w ith the pressure sensitivity of a pen tablet.
Also, you can optimize the smoothness of the contour of lines. You can modify the central line smoothness of
your line using this option. This parameter smooths the initial movement of your line. Increasing the value w ill
result in a smoother line w ith few er less control points.
There are several line shapes to choose from. You can select how the start, end, and joints in the pencil line are
draw n.
Using the Pencil tool, you can draw invisible lines. This can be useful to draw tones and highlights directly on
the character.

How to change the Presets displayl

In the Tool Properties view , click the Brushmenu, and select Small Thumbnail, Large

Thumbnail, or Stroke View.

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How to select a pencil stylel

In the Tool Properties, select a pencil style from the Presets section.

How to add a pencil preset
1. Click the Add Brushbutton. The new pencil style appears in the list of presets.

How to rename a pencil preset
1. In the Tool Properties view , select a pencil to rename.
2. From the Brush menu, select Rename Brush.
3. Type in a new name for the pencil.

How to delete a pencil preset
1. In the Tool Properties view , select a pen to delete.
2. Do one of the follow ing:

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Chapter 7: Draw ing‣

Click the Delete Brush‣

From the Brush menu, select Delete Brush.

button.

How to export pencils, brushes and erasers
1. In the Tools toolbar, select either the Brush, Pencil

2. In the Tool Properties view , open the Brush Preset menu

or Erasertool.

and select Export Brushes.

The Export Brushes dialog opens. This dialog allow s you to export brush presets for the Brush,
Pencil and Eraser tools.

3. By default, the presets for all your tools w ill be selected for export. If you only w ish to export
presets for specific tools, uncheck Select/Deselect All and select the tools for w hich you w ant toexport the presets.
4. Click Export.
5. In the Export Presets dialog that appears, brow se to the location w here you w ant to save the .xml
file and enter its file name.
6. Click Save.

How to import pencils, brushes and erasers
1. In the Tools toolbar, select either the Brush, Pencil

2. In the Tool Properties view , open the Brush Preset menu

336

or Erasertool.

and select Import Brushes.

Storyboard Pro 22 User Guide

3. In the brow ser w indow that appears, navigate to and select the .xml file in w hich you exported
your brush presets.
4. Click Open.
The Import Brushes dialog box opens.

5. By default, the presets for any tools included in the file w ill be selected for import. If you only w ish
to import presets for specific tools, uncheck Select/Deselect All and select the tools for w hich you
w ant to export the presets
6. Click Import.
The imported brush, eraser and pencil styles w ill appear in the Presets list.

How to draw invisible lines
1. Select the panel and layer on w hich you w ant to draw .
2. In the Tools toolbar, select the Pencil

tool or press Alt + 9.

3. In the top menu, select View > Extras > Show Strokes to display the invisible lines in the Stageview .
4. In the Tool Properties view , set the size to 0. You can also adjust the smoothness.
5. In the Stage view , start draw ing.

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Chapter 7: Draw ing

6. You can modify the stroke shape w ith the Contour Editor
Tool on page 436.

338

tool—see About the Contour Editor

Storyboard Pro 22 User Guide

Creating a Pencil
T-LAY-001-001
You can configure a pencil's size, how much Storyboard Pro should automatically smooth your pencil lines
w hen draw ing, the shape of the tips and corners of your pencil line as w ell as its texture.

How to modify the pencil settings
1. In the Tools toolbar, select the Pencil

tool or press Alt + /.

2. In the Tool Properties view , click on the arrow button next to the stroke preview area to open the
Pencil Properties dialog.

The Pencil Properties dialog opens.

3. Use the Maximum Size slider to set the maximum size of your pencil line.
4. If you are using a pressure-sensitive pen tablet, use the Minimum Size slider to set the size of yourpencil w hen using your pen w ith very little pressure. The minimum size is set to a percentage ofyour pencil's maximum size, w hich is 20% by default. If you don't w ant the pressure on your pen toaffect the pencil size, set this parameter to 100%.
5. Use the Centerline Smoothing slider to set the amount of smoothing Storyboard Pro should
perform on your pencil stroke's centreline. A higher setting w ill prevent your line from being shaky,but is liable to reduce your draw ing precision and to round sharp corners into curves.

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6. If you are using a pressure-sensitive tablet, use the Contour Smoothing slider to set the amount ofsmoothing Storyboard Pro should perform on your pencil stroke's contour. A higher setting w illsmoothen the variations in your pencil line's thickness and reduce its amount of control points, but
may affect the precision of the variations in line thickness.

NOTE
This parameter is only useful if you are draw ing w ith a pressure-sensitive tablet, as it
only affects the control points for the thickness of your pencil line. W hen draw ing w ith
a mouse, the pencil line has a uniform thickness, and hence its contour only has control
points at its extremiities.

7. Click on the Shape pop-up buttons to select w hether you w ant the Start and End of your pencil
lines to be Round or Flat, and w hether you w ant the points and corners w here pencil lines Join to
be Round, Mitre-shaped or Beveled.

8. Click on the Texture tab.

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9. If you w ant your pencil line to have a texture, select the desired pencil line texture from the pencil
line texture library. Otherw ise, select None. For more information on pencil line textures, see About
Pencil Line Textures on page 342.
10. Either close or set aside the Pencil Properties dialog.
11. In the Camera or Draw ing view , start draw ing to test your pencil settings.

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About Pencil Line Textures
Just like the Brush tool, the Pencil tool also supports textures. How ever, there are important differences
betw een the w ay brush textures and pencil textures w ork.
For one thing, a pencil line texture is applied w ith regard to the w idth and direction of the pencil lines. For
example, if you draw a spiral w ith a dash texture, the dashes w ill follow the curves of the spiral, and if you
draw a thicker line w ith the same texture, the dashes w ill be both longer and thicker.

Like colours, pencil textures are stored in special palettes in your scene. W hile brush textures are stored inyour artw ork as bitmap data, pencil textures are stored in your artw ork by linking the pencil line w ith its pencil
texture in the palette. This means that if you scale or tw eak your pencil line, the pencil texture w ill be updated
based on the new line's shape and the original texture. This also means that you are able to change the pencil
texture of an existing pencil line or to apply a texture to a pencil line that does not already have one.

Pencil line textures can also be used w ith the Line, Rectangle, Ellipse and Polyline tools, as those tools also
draw pencil lines.

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Drawing with Pencil Textures
You can draw a textured pencil line by selecting the pencil texture, then draw ing.
There are tw o w ays to select a pencil texture. In the Colour view , you can select a pencil texture palette, thenone of its pencil texture sw atches, as you w ould do to select a colour, or you can select a pencil texture fromthe current pencil texture palette in the Pencil Properties dialog.
Your pencil texture w ill be combined w ith the selected colour to make a textured colour line.

NOTE
You can also draw w ith textured pencil lines w ith the Line, Rectangle and Ellipse tools.

How to draw with a textured pencil line
1. In the Colour view , select the colour w ith w hich you w ish to draw .
2. In the Tools toolbar, select the Pencil

tool or press Alt + /.

3. In the Tool Properties view , click on the arrow button next to the stroke preview area to open the
Pencil Properties dialog.

4. In the Pencil Properties dialog, click on the Texture tab.

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5. In the Texture library, select a texture for the pencil.
6. In the Camera or Stage view , draw a pencil line.

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Applying Texture to a Pencil LineYou can apply a pencil texture to an existing pencil line. You can also change a textured pencil line's texture byfollow ing the same steps.

NOTE
You can also apply pencil line textures on artw ork created w ith the Line, Rectangle, Ellipse andPolyline tools.

How to apply a pencil line texture to an existing pencil line using the Tool Properties
view
1. In the Tools toolbar, select the Selecttool or press Alt + S.

2. In the Stage or Camera view , select a pencil line.

3. In the Tool Properties view , scroll dow n to the pencil texture library panel.

4. Select the pencil texture you w ish to apply.
5. The selected pencil line now uses the selected pencil line texture.

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Editing a Pencil Line's Texture
You can modify a pencil line's texture by using the Edit Gradient/Texture tool. You can scale the texture by its
length and thickness, as w ell as offset its starting position.

How to scale the length or thickness of a pencil line texture.
1. In the Tools toolbar, select the Edit Gradient/Texture

tool or press Shift + F3.

2. Click on the pencil line you w ant to edit.

3. Drag one of the square-shaped handles to scale the texture's length, thickness, or both
simultaneously.

How to offset a pencil line's texture.
1. In the Tools toolbar, select the Edit Gradient/Texture
2. Click on the pencil line you w ant to edit.

3. Drag the triangle-shaped handle to offset the texture.

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About the Pencil Tool Modes
The Pencil tool allow s you to draw simple contour lines that are defined by their centerline and their thickness.
W hen you select the Pencil tool, the Tool Properties view displays the different Pencil modes that control how
the pencil line is draw n.

Draw Behind Mode
W hen enabled, your draw ing strokes w ill be added underneath the existing artw ork instead of over it.

NOTEYour stroke w ill appear over your artw ork as you draw it, until you release the mouse cursor ortablet pen. If you w ant a live preview of your stroke, activate the Realistic Preview option by
selecting View > Realistic Preview from the top menu.

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Auto- Fill Mode
W hen enabled, if you draw a closed shape, it w ill automatically be filled w ith the selected colour.

Trim Extra Lines Mode
W hen enabled, if you draw a closed shape, the lines extending from the point w here your stroke intersects
w ith itself w ill be automatically trimmed off.

Align Handles After Trim Mode
If the Trim Extra Lines Modeis enabled, enable this to automatically smoothen the corner at w hich yourstroke intersects w ith itself.

Auto Flatten Mode
By default each pencil line you draw is a separate draw ing object w hich can be manipulated individually. W ith
the Auto-Flatten mode enabled, overlapping pencil lines w ill be merged together into single draw ing objects.
Pencil lines w ill be broken w here they intersect, allow ing you to select any segment of your artw ork as if it
w as a separate stroke.

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Auto Close Gap Mode
W hen enabled, small gaps betw een the pencil lines you draw w ill be closed by an invisible stroke to makesure your shapes are closed and that they can be filled w ith the Paint tool.
W hen draw ing contours w ith pencil lines, the centreline is used to determine w hether or not the contour isclosed, but the visible tips of the pencil line w ill extend a bit beyond the tips of its centreline, making it
possible to have shapes that appear closed, but are not really. This can prevent the shape from being filled
w ith the Paint tool. Enabling this option w hen draw ing w ith the Pencil or Line tool w ill prevent you fromleaving invisible gaps in your contours.

Snapping
Opens a pop-up menu in w hich you can enable or disable the Snap to Alignment Guides option. W hen thisoption is enabled, thePencil tool w ill snap to nearby alignment guides so that you can draw along theiraxis, as if you w ere draw ing against a rule.

NOTE
For more information on alignment guides, see About Alignment Guides on page 500

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About the Rectangle, Ellipse and Line Tools

The rectangle, ellipse and line tools allow you to quickly add solid regular shapes and straight and curvedlines to your artw ork. Draw ing w ith are made of pencil lines, w hich means they are defined by a centreline tow hich Storyboard Pro adds an even thickness.

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Drawing lines with the Line Tool
You can draw simple straight or curved lines using the Line tool. The line w ill be added to your artw ork as asimple pencil stroke.

How to draw with the Line tool
1. In the Timeline or Thumbnails view , select the panel, then layer on w hich you w ant to draw .
2. In the Tools toolbar, select the Linetool.

3. In the Stage view , click and hold w here you w ant the line to start, then move the mouse cursor
w here you w ant the line to end.

l

If you w ant to snap the angle of your line to the nearest 15° angle, hold the Shift key.

l

If you w ant to snap the end of your line to the nearest shape, hold the Alt key.

l

If you w ant to draw a curved line, hold Ctrl (W indow s) or ⌘ (macOS). The line w ill end
w here your mouse cursor currently is, and moving the mouse cursor w ill pull the line's curve
tow ards it.

TIP
You can use the Contour Editor

tool to tw eak the shape of your line—see About theContour Editor Tool on page 436.

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Drawing Curved Lines with the Line Tool
The Line tool allow s you to draw curved lines very quickly by draw ing a straight line, then defining its curveright after.
There are three w ays to do this:l

In Straight Line Mode, the default mode of the Line tool, you can press and hold the Ctrl (W indow s) or⌘ (macOS) key w hile draw ing a line to define a simple curve for it.

l

In Curved Line Mode, after draw ing a line, you are prompted to move the mouse cursor or tablet pen
and click once to define the line’s curve.

l

In S Curve Line Mode, after draw ing a line, you are prompted to click once to position the line’s first
Bezier handle, and then once more to position its second Bezier handle.

NOTE
You can also define the curve of an existing line using the Contour Editor tool—see About theContour Editor Tool on page 436.

How to draw a curved line in Straight Line Mode
1. In the Tools toolbar, select the
2. In the Tool Properties view , click

Line tool.
Straight Line Mode.

3. In the Stage or Camera view , click and drag to draw a line, but don’t release the mouse button ortablet pen.

4. W hile holding the mouse button or tablet pen dow n, press and hold the Ctrl (W indow s) or ⌘(macOS) key.
5. Move the mouse or pen in the general direction of the desired curve.

6. W hen the curve looks as intended, release the mouse button or pen to preserve it.

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How to draw a curved line in Curve Line Mode
1. In the Tools toolbar, select the
2. In the Tool Properties view , click

Line tool.
Curve Line Mode.

3. In the Stage or Camera view , click and drag to draw a line, then release the mouse button or tablet
pen.

4. Move the mouse or pen in the general direction of the desired curve.

5. W hen the curve looks as intended, click to preserve it.

How to draw a curved line in S Curve Line Mode
1. In the Tools toolbar, select the
2. In the Tool Properties view , click

Line tool.
Curve Line Mode.

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3. In the Stage or Camera view , click and drag to draw a line, then release the mouse button or tablet
pen.

4. Move the mouse cursor or pen w here you w ant the curve’s first Bezier handle (from the start of theline) to be positioned, then click.

5. Move the mouse cursor or pen w here you w ant the curve’s second Bezier handle (from the end of
the line) to be positioned, then click.

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Drawing shapes with the Rectangle or Ellipse tools
You can draw rectangles, squares, ellipses and circles using the Rectangle and Ellipse tools. The shapes w ill
be added to your artw ork using pencil lines.

How to draw with the Rectangle or Ellipse tool
1. In the Timeline or Thumbnails view , select the panel and layer on w hich you w ant to draw .
2. In the Tools toolbar, select the Rectangle

or Ellipse

tool.

3. In the Stage view , click and hold w here you w ant one of the corners of your shape to be, then movethe mouse cursor w here you w ant the opposing corner of the shape to be.

TIPSl

To draw a perfect square or circle (w ith equal w idth and height), hold the Shift key.
You can also enable theDraw Square or

Draw Circle option in the Tool

Properties view .
lTo draw the rectangle or ellipse from its centre instead of its corner, hold the Alt
key.

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About the Rectangle, Ellipse and Line Tool Modes
W hen you select the Rectangle, Ellipse, Polyline or Line tool, the Tool Properties view displays the different
modes that control how the shape is draw n. Different modes are available depending on the selected tool andw hether the layer is vector or bitmap.

Draw Behind Mode
W hen enabled, your draw ing strokes w ill be added underneath the existing artw ork instead of over it.

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NOTEYour stroke w ill appear over your artw ork as you draw it, until you release the mouse cursor ortablet pen. If you w ant a live preview of your stroke, activate the Realistic Preview option by
selecting View > Realistic Preview from the top menu.

Auto Fill Mode
W hen enabled, the shape you draw is automatically filled w ith the selected colour. By default, draw ing ashape only creates its outlines.

NOTE
This option is not available w ith the Linetool, as it is not a closed shape.

SnappinglSnap to Contour: W hen enabled, w hile you're draw ing, the mouse cursor w ill automatically snap to the
nearby contours of existing artw ork, allow ing you to draw shapes that connect w ith other parts of yourdraw ing.

NOTE
If you draw a line w ith the Line tool and make its tip snap to a contour or another control
point in your artw ork, they w ill be locked together. You can then manipulate both
simultaneously using theContour Editor tool. You can also separate tw o draw ing

strokes that have been snapped together by selecting one of them w ith theand moving it aw ay.

359

Select tool

Chapter 7: Draw inglSnap to Alignment Guides: W hile draw ing, the draw ing tool w ill snap against nearby alignment
guides—see About Alignment Guides on page 500.

lSnap and Align: W hen enabled, w hile you're draw ing, the mouse cursor w ill automatically align w ith
the edges of strokes and shapes in your artw ork, allow ing you to draw shapes that align w ith parts ofyour draw ing.

Auto Flatten Mode
By default each pencil line you draw is a separate draw ing object w hich can be manipulated individually. W ith
the Auto-Flatten mode enabled, overlapping pencil lines w ill be merged together into single draw ing objects.
Pencil lines w ill be broken w here they intersect, allow ing you to select any segment of your artw ork as if it
w as a separate stroke.

Auto Close Gap Mode
W hen enabled, small gaps betw een the pencil lines you draw w ill be closed by an invisible stroke to makesure your shapes are closed and that they can be filled w ith the Paint tool.
W hen draw ing contours w ith pencil lines, the centreline is used to determine w hether or not the contour isclosed, but the visible tips of the pencil line w ill extend a bit beyond the tips of its centreline, making it
possible to have shapes that appear closed, but are not really. This can prevent the shape from being filled
w ith the Paint tool. Enabling this option w hen draw ing w ith the Pencil or Line tool w ill prevent you fromleaving invisible gaps in your contours.

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NOTE
This option is only available w ith the Linetool, as the Rectangle

and Ellipse

tools w ill

alw ays create closed shapes.

Straight Line Mode
W hen this mode is enabled, the Line tool draw s straight lines. In this mode, you can also draw curved lines.

How to draw a curved line in Straight Line Mode
1. In the Tools toolbar, select the Linetool.

2. In the Stage or Camera view , click and drag anyw here to define the start position and length of theline, but don’t release the mouse button or stylus.
3. Press and hold the Ctrl (W indow s) or ⌘ (macOS) and move the mouse or stylus to define the line’s
curve.
4. Once the line’s curve looks right, release the mouse button or stylus.

Curve Line Mode
This mode allow s you to draw a simple curved line in tw o clicks.

How to draw a curved line in the Curved Line Mode
1. In the Tools toolbar, select the Linetool.

2. In the Stage or Camera view , draw a line by clicking and dragging from the start point to the end
point of the line, then release the mouse button or stylus.
3. Move the mouse or style to define the curve of the line and click to set.

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S Curve Line Mode
W hen this mode is enabled, the Line tool draw s an S-shaped line.

How to draw an S- shaped curve in the S Curve Line Mode
1. In the Tools toolbar, select the Linetool.

2. In the Stage or Camera view , draw a line by clicking and dragging from the start point to the end
point of the line, then release the mouse or stylus.
3. Move the mouse or stylus to define the initial curve and click to set.
4. Move the mouse or stylus again to change the curve from the mid point and click again to set.

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About the Polyline Tool
The Polyline tool allow s you to create a line or a shape composed of multiple segments by defining each pointin the shape one by one. This tool w orks similarly to the Pen tool in picture editing softw are.
The most basic approach to using the Polyline tool is to simply click w here you w ant each point constituting
your line or shape to be created. Straight line segments w ill appear betw een each point you create, making asegmented line or a straight shape.

If you w ant your line or shape to have curves, you can then click and drag on the line segments using theContour Editor

tool to make them into curves.

Using a more advanced method, you can create curved lines directly w ith the Polyline tool. To do this, youmust hold the mouse button dow n and drag the mouse cursor w hen you click to create a point. This w ill create
the point's Bezier handles, w hich w ill influence the curve for the segment before and after this point. Hence, as
you drag out these Bezier handles, you can see the influence it has on the line segment you just created, but
you w on't get to see its influence on the next line segment you create until you create the next point.

Regardless of how you use the Polyline tool, you can alw ays tw eak the lines and shapes you have createdusing the Contour Editor

tool. Using both tools together allow s you to create complex straight and curved

shapes w ith all the precision you need.

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Drawing with the Polyline Tool
T-SBFND-008-007A
You can use the Polyline tool to draw complex segmented lines or curved lines by creating each point
constituting the line.

How to draw with the Polyline tool
1. In the Timeline or Thumbnails view , select the panel, then layer on w hich you w ant to draw .
2. In the Tools toolbar, select the Polyline

tool.

3. In the Stage view , do one of the follow ing:lClick to create a point w ith no Bezier handles.

lClick and drag to create a point and its Bezier handles in the same stroke.

TIP
W hile dragging to create a Bezier handle, you can:lHold the Alt key to only change the angle of the outer handle, and leave the innerhandle at its current angle.

lHold the Shift key to lock the angle of the handle at every 15 degrees.

4. Click or click and drag somew here else to create the second point in your line. A line w ill be draw n
betw een the first point and the second point.

5. Repeat the previous step until your line is complete.
6. W hile holding Ctrl (W indow s) or ⌘ (macOS), click anyw here in the draw ing space to release the
Polyline tool from the line you've been building. You can then start building a new line.
7. If you w ant to make adjustments to the line you created, you can use the Contour Editor
see Reshaping w ith the Contour Editor Tool.

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About the Polyline Tool Modes
W hen you select the Polyline tool, the Tool Properties view displays the different modes that control how the
shape is draw n.

Snap to Contour
W hen this option is enabled, clicking close to a contour in your draw ing w ill add the point to that contour. Theline you are building w ill be linked to that contour.

If this option is disabled, attempting to click on existing contours w ill alw ays create a point very close to that
contour, but not exactly on it. Therefore, it is necessary to enable this mode if you w ant to create lines thatbranch from into existing contours in your draw ing.

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NOTE
If you draw a line w ith the Line tool and make its tip snap to a contour or another control point inyour artw ork, they w ill be locked together. You can then manipulate both simultaneously using theContour Editor tool. You can also separate tw o draw ing strokes that have been snapped
together by selecting one of them w ith theSelect tool and moving it aw ay.

Auto- Fill Mode
W hen enabled, if you draw a closed shape, it w ill automatically be filled w ith the selected colour.

Trim Extra Lines Mode
W hen enabled, if you draw a closed shape, the lines extending from the point w here your stroke intersects
w ith itself w ill be automatically trimmed off.

Align Handles After Trim Mode
If the Trim Extra Lines Modeis enabled, enable this to automatically smoothen the corner at w hich yourstroke intersects w ith itself.

Auto Flatten Mode
By default each pencil line you draw is a separate draw ing object w hich can be manipulated individually. W ith
the Auto-Flatten mode enabled, overlapping pencil lines w ill be merged together into single draw ing objects.

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Pencil lines w ill be broken w here they intersect, allow ing you to select any segment of your artw ork as if it
w as a separate stroke.

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About the Stamp Tool
The Stamp tool allow s you to create stamps out of draw ings in your projects, then stamp those draw ings overyour artw ork. You can click on your artw ork to apply your stamp once, or draw a stroke w ith the Stamp tool, as
you w ould w ith the Brush or Pencil tool, to apply the stamp repeatedly along the stroke.

A stamp can contain one or several draw ings. W hen a stamp is made of multiple draw ings, it w ill cycle
through each one of its draw ings each time it is stamped onto your artw ork. Hence, w hen you draw a stroke
w ith a multi-draw ing stamp, you w ill see the stamp tool cycle through the sequence of draw ings as you draw
the stroke. The w ay the draw ings in a multi-draw ing stamp are cycled through can even be customized.
Among other settings, you can make it cycle backw ard, stamp random draw ings or even stamp only a specificdraw ing in the sequence.

Other than being able to easily re-use draw ings, The Stamp tool can be used to streamline draw ing if you
need to draw something that requires a lot of repetitive detail, such as starry skies, grass, w eather conditions
or particle-type effects. For example, a stamp made of a few different draw ings of a blade of grass can beused to draw a grass line by draw ing a few strokes of that stamp over the same horizontal line. The ability torandomize the size, angle and distance of the stamping can give the result of using this procedure a morenatural look.

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NOTES
l

To learn more about the Stamp tool properties, see the Reference Guidel

The Stamp tool replaces the Dynamic Brush option of the Brush tool in Storyboard Pro 5.5 andearlier.

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Creating a Stamp
T-SBADV-005-012C
You can create a stamp by draw ing the artw ork for your stamp, then selecting it and creating a stamp preset.

How to create a stamp
1. Create a vector layer in w hich you w ill draw the artw ork for your stamp by doing one of thefollow ing:l

In the Layer panel, the Layer toolbar or the Layers view , click on Add Vector Layerl

In the top menu, select Layer > New > Vector Layer.

.

2. In the new vector layer, draw the artw ork w ith w hich you w ant to create a stamp.

3. Do one of the follow ing:l

If you w ant to create a stamp w ith all the artw ork in the layer, select this layer in the Layer
panel, the Layers view or the Thumbnails view .

l

If you w ant to create a stamp w ith part of the artw ork in the layer, select the Selecttoolin the Tools toolbar, then select the parts of the artw ork you w ant to have in your stamp—
see Selecting Artw ork w ith the Select Tool on page 412.

4. In the Tools toolbar, select the Stamptool.

5. In the Tool Properties view , click on the New Preset

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6. In the New Preset dialog, type the desired name for your new stamp.
7. Click OK.
A stamp containing the selected artw ork is added to the Presets list for the Stamp tool. You can
now draw w ith the Stamp tool using this stamp.

NOTE
Once your stamp has been created, you can delete the artw ork you used to create it from yourproject. The artw ork in your stamps w ill be saved in your preferences.

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Creating a Multi- Drawing Stamp
You can create a stamp containing a series of draw ings. All you need to do is create each draw ing you w ant to
add to your stamp in a separate layer, then create a stamp w ith these layers selected. The resulting stamp w ill
cycle through each one of these draw ings as you use it.

How to create a multi- drawing stamp
1. In the current panel, create one vector layer for each draw ing you w ant to have in your stamp, by
doing one of the follow ing:l

In the Layer panel, the Layer toolbar or the Layers view , click on Add Vector Layerl

In the top menu, select Layer > New > Vector Layer.

.

NOTE
You do not have to w orry about the order in w hich the layers are for now , as you candecide in w hich order each layer is added to your stamp later.

2. In the first layer you have created, create the first draw ing you w ant to have in the draw ing
sequence of your stamp.
3. In the second layer you have created, create the second draw ing you w ant to have in the draw ing
sequence of your stamp.
4. Repeat until you have created every draw ing you w ant to have in the draw ing sequence of yourstamp.

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5. In the Layer panel of the Layers view , select all the layers you w ant to have in your stamp. The
order in w hich you select the layers w ill affect the order in w hich the draw ings are sequenced inyour stamp, hence:l

If you w ant the draw ing sequence to go from the bottommost layer to the topmost layer,
click on the bottommost layer then, w hile holding Shift, click on the topmost layer. This w ill
select all layers betw een the layers you clicked inclusively, in order from bottom to top.

l

If you w ant the draw ing sequence to go from the topmost layer to the bottommost layer,
click on the topmost layer then, w hile holding Shift, click on the bottommost layer. This w ill
select all layers betw een the tw o layers you clicked inclusively, in order from top to bottom.

l

If you w ant to create a sequence going through the draw ings in your layers in a more specificorder, press and hold the Ctrl key, and click on each layer you w ant to add to your stamp, in
the order in w hich you w ant them to be in the sequence.

l

If you w ant to exclude any of the selected layers from your sequence, hold Ctrl and click oneach one of the selected layers you w ant to exclude to unselected them.

6. In the Tools toolbar, select the

Stamp tool.

7. In the Tool Properties view , click on

New Preset.

The New Preset dialog appears.
8. In the New Preset dialog, type the desired name for your new stamp.

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9. Click OK.
A multi-draw ing stamp containing the artw ork in all the selected layers is added to the Presets list.
The first draw ing in the sequence appears in its thumbnail.
10. To preview the sequence of draw ings in your stamp, select it in the Presets list. The sequence w ill
appear in the preview area at the top of the Tool Properties view .

NOTE
Once your stamp has been created, you can delete the artw ork you used to create it from yourproject. The artw ork in your stamps w ill be saved in your preferences.

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Configuring a Stamp
W hen draw ing a stroke w ith the stamp tool, the w ay the stamp is applied in terms of size, angle, spacing canbe customized.

How to configure the size, pressure sensitivity, roundness, angle and spacing of astamp
1. In the Presets list of the Tool Properties view , select the stamp that you w ant to configure.
2. In the Tool Properties view , just right of the stroke preview area, click on the Show Extended
Properties

button.

The Stamp Properties dialog opens.

3. If you w ant to adjust the size of the stamp, change the Maximum Scale setting until you obtain thedesired size.

NOTE
The Scale of a stamp is relative to the original size of the draw ing used to create thestamp. At 100% scale, the stamp added to your artw ork w ill be the same size as its
original draw ing.

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Chapter 7: Draw ing

4. If you're using a pressure-sensitive pen tablet and w ant the size of the stamp to depend on theamount of pressure you put on your pen, reduce the Minimum Scale setting.
5. If you w ould like to flip the stamp horizontally, click on the tw o-ended horizontal arrow over thestamp thumbnail. If you w ould like to flip the stamp vertically, click on the tw o-ended verticalarrow left of the stamp thumbnails.

6. If your stamp is round or square, and you w ould like it to appear flat or squished, reduce theRoundness parameter. This w ill scale dow n the stamp vertically.

7. If you w ant your stamp to be added to your artw ork at an angle, change the Angle parameter. Thissetting rotates the stamp counterclockw ise, on a 360 degrees scale.

8. If you w ant to change the amount of space betw een each stamp w hen you draw a stroke w ith the
Stamp tool, adjust the Spacing parameter.

9. If you w ant the current settings to be saved to your stamp preset, click on the Update Brush Preset
button at the top-right corner of the Stamp Properties dialog.

NOTE
You can use the Stamp tool w ith the currently selected settings w ithout updating yourpreset.

You can randomize the size, angle and spacing of the stamp. This w ill make the Stamp tool apply a randomly
picked value to these parameters every time it applies a stamp to your artw ork.

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How to randomize the size, angle and spacing of a stamp
1. In the Presets list of the Tool Properties view , select the stamp that you w ant to configure.
2. In the Tool Properties view , just right of the stroke preview area, click on the Show Extended
Properties

button.

The Stamp Properties dialog opens.

3. If you w ant the size of the stamp to be randomized every time the stamp is added to your artw ork,decrease the Minimum Scale setting, then increase the Random Size setting.

NOTE
The Random Size setting makes the size of each stamp vary randomly betw een its
Minimum Scale and Maximum Scale. The higher the Random Size is, the closer to its
Minimum Scale the random size can be.

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Chapter 7: Draw ing

4. If you w ant the angle of your stamp to be randomized every time the stamp is added to yourartw ork, increase the Random Angle setting.

5. If you w ant the spacing of your stamp to be randomized every time the stamp is added to yourartw ork, increase the Random Spacing setting.

6. If you w ant the current settings to be saved to your stamp preset, click on the Update Brush Preset
button at the top-right corner of the Stamp Properties dialog.

NOTE
You can use the Stamp tool w ith the currently selected settings w ithout updating yourpreset.

You can make a multi-draw ing stamp cycle through its sequence of draw ings in several different w ays. You
can also randomize the cycle, or disable it so that it only stamps the draw ing of your choice.

How to change the way a multi- drawing stamp cycles through its drawings
1. In the Presets list of the Tool Properties view , select the stamp that you w ant to configure.
2. In the Tool Properties view , just right of the stroke preview area, click on the Show Extended
Properties

button.

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Storyboard Pro 22 User Guide

The Stamp Properties dialog opens.

1. In the Cycle drop-dow n, select the desired cycling method:lForward: Starts by applying the first draw ing in the sequence, then the next one, and so on
until it reaches the last draw ing in the sequence, then cycles back to the first one.

l

Reverse: Starts by applying the last draw ing in the sequence, then the previous one, and soon until it reaches the first draw ing in the sequence, then cycles back to the last one.

l

Forward- >Reverse: Starts by cycling forw ard through the sequence until it reaches the lastdraw ing, then cycles backw ard to the first draw ing, and so on.

lReverse- >Forward: Starts by cycling backw ard through the sequence until it reaches thefirst draw ing, then cycles back to the last draw ing, and so on.

lRandom: Applies a random draw ing in the sequence each time the stamp is applied.

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Chapter 7: Draw ingl

Hold: Applies a single one of the draw ings in the sequence over and over again.

2. If you selected the Hold option, select w hich one of the stamps in the sequence you w ish to stamp
onto your artw ork by changing the Stamp setting in the Tool Properties view . For example, if you
only w ant to stamp the second draw ing in the sequence, set the Stamp setting to 2.
3. If you w ant the cycle to restart at the beginning of each one of your draw ing strokes, enable theReset Cycle for Each Stroke option.
4. If you w ant the current settings to be saved to your stamp preset, click on the Update Brush Preset
button at the top-right corner of the Stamp Properties dialog.

NOTE
You can use the Stamp tool w ith the currently selected settings w ithout updating yourpreset.

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Updating a StampA stamp in your Presets list does not only contain its draw ings, but also its properties. If you have made anychanges to the properties of your stamp, and w ish for those properties to be set automatically w henever you
use that stamp, you can update the stamp. This w ill save the current properties of the stamp into its preset.
Once that is done, the current properties of the stamp w ill be loaded the next time you select it from the
Presets list, even after you close and reopen the project.

NOTE
You cannot update the draw ings in a stamp. You can only update its parameters. If you need to use
different draw ings for your stamp, you must create a new stamp—see Creating a Stamp on page370 and Creating a Multi-Draw ing Stamp on page 372.

How to update a stamp
1. In the Presets list of the Tool Properties view , select the stamp that you w ant to configure.
2. In the Tool Properties view , just right of the stroke preview area, click on the Show Extended
Properties

button.

The Stamp Properties dialog opens.

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3. In the Stamp Properties dialog, adjust the settings of your stamp as desired—see Configuring a
Stamp on page 375.
4. In the top-right corner of the Stamp Properties dialog, click on the Update Preset

button.

The selected stamp properties w ill be loaded w henever you select this stamp, even after you closeand reopen your project.

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Storyboard Pro 22 User Guide

Drawing with the Stamp Tool
Once you have created a stamp, you can start draw ing w ith it. You can either stamp it into your artw ork once ata time, or draw strokes w ith the tool, making it apply the stamp repeatedly onto your artw ork along yourstrokes.

How to draw with the Stamp tool
1. In the Layer panel of the Stage or Camera view or the Layers view , select the layer on w hich you
w ant to apply the stamp.
2. In the Tools toolbar, select the

Stamp tool.

3. In the Tool Properties view , select a stamp from the Presets list—see Creating a Stamp on page370 and Creating a Multi-Draw ing Stamp on page 372.

4. Move the mouse cursor over the Stage or Camera view . You w ill see the stamp under your mouse
cursor as it w ill be applied into your artw ork. If you w ant to adjust the size in w hich it w ill beapplied, adjust the Maximum Scale setting in the Tool Properties view .
5. By default, your stamp w ill be applied at an even size, angle and distance. Also, if your stamp is amulti-draw ing stamp, it w ill cycle through its draw ings in their original order. If you w ant yourstamp to be applied w ith different parameters, see Configuring a Stamp on page 375.
6. In the Stage or Camera view , do one of the follow ing:l

To apply the stamp once, simply click w here you w ant to apply it.

l

To draw a stroke along w hich the stamp is applied multiple times, simply draw a stroke w ith
the tool as you w ould w ith the Brush or Pencil tool.

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Chapter 7: Draw ing

TIPSl

If your stamp has multiple draw ings in it, you can select w hich draw ings to stamp by using
the Stamp slider in the Tool Properties view . You can also cycle through the stamp's
draw ings by pressing the Left Arrow and Right Arrow keys.

l

You can quickly adjust the size of the selected draw ing tool by pressing and holding the O
key, then clicking and dragging in the draw ing space. If you are using a tablet pen, doing
this w ith the eraser tip of your pen w ill adjust the size of the Eraser tool, regardless of
w hich draw ing tool is selected.

l

If you press and hold the Shift key before or w hile draw ing, you w ill draw a straight line.

l

If you press and hold the Shift and Alt keys before or w hile draw ing, you w ill draw astraight horizontal or vertical line.

l

If you press and hold the Ctrl (W indow s/Linux) or ⌘ (macOS) key w hile draw ing, yourdraw ing stroke w ill turn into a closed shape.

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Storyboard Pro 22 User Guide

Renaming Stamps
You can rename stamps you have created to make them easier to identify in the Presets list.

How to rename a stamp.
1. In the Tools toolbar, select the Stamptool.

2. In the Presets list of the Tool Properties view , select the stamp you w ant to rename.
3. Open the Brush Presets

menu, then select Rename Brush.

4. In the Rename Brush dialog, enter the new name for your stamp.
5. Click OK.
The stamp's new name updates in the Presets list.

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Chapter 7: Draw ing

Deleting Stamps
You can delete stamps you no longer need from the Presets list.

How to delete a stamp.
1. In the Tools toolbar, select the Stamptool.

2. In the Presets list of the Tool Properties view , select the stamp you w ant to delete.
3. Click on the Delete Brushbutton just above the Presets list.

The stamp is removed from the Presets list.

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Storyboard Pro 22 User Guide

Exporting Stamps
You can export stamps you have created to keep a backup of them, or to import them for use in anotherproject.

How to export stamps
1. In the Tools toolbar, select the Stamptool.

2. In the Tool Properties view , open the Brush Preset

menu and select Export Brushes.

The Export Brushes dialog opens. This dialog allow s you to export brush presets for the Brush,
Pencil, Eraser and Stamp tools.

3. By default, the presets for all your tools w ill be selected for export. If you only w ish to export yourstamps, uncheck Select/Deselect All, then check Stamp.
4. Click on Export.
A save dialog appears.
5. Brow se to the location w here you w ant to save the .xml file that w ill contain your presets.
6. Enter the desired file name for your presets file.
7. Click on Save.

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Chapter 7: Draw ing

Importing Stamps
You can import stamps you have exported from another project into your current project, allow ing you to reuse
them betw een projects or to restore backups of your stamps.

How to import stamps
1. In the Tools toolbar, select the Stamptool.

2. In the Tool Properties view , open the Brush Preset menu

and select Import Brushes.

An Open File dialog appears.
3. In the brow ser w indow that appears, navigate to and select the .xml file in w hich you exported
your stamps
4. Click Open.
The Import Brushes dialog box opens.

5. By default, the presets for any tools included in the file w ill be selected for import. If you only w ish
to import the stamps from this file, uncheck Select/Deselect All and check Stamps.
6. Click on Import.
The imported stamps w ill be added to the Presets list in the Tool Properties view .

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Storyboard Pro 22 User Guide

Changing The W ay Stamps Are Displayed
By default, your stamps are listed in the Tool Properties dialog as big thumbnails. You can also preview themw ith small thumbnails if you have many, or display them in a list w ith a preview of their stroke. The latter w ill
allow you to visually identify multi-draw ing stamps or stamps w ith randomness parameters.

How to change the way presets are previewed in the Tool Properties view
1. In the Tool Properties view , open the Brush Presetsmenu.

2. Select one of the follow ing options:lSmall Thumbnail: Displays presets in a grid of small thumbnails w ith a preview of
their tip.

lLarge Thumbnail: Displays presets in a grid of big thumbnails, w ith their name and apreview of their tip.

lStroke View: Displays presets in a list, w ith their name and a preview of a stroke
done w ith each preset.

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Chapter 7: Draw ing

Stamp Tool Modes
W hen you select the Stamp tool, its properties are displayed in the Tool Properties view .

Draw Behind Mode
W hen enabled, your draw ing strokes w ill be added underneath the existing artw ork instead of over it.

NOTEYour stroke w ill appear over your artw ork as you draw it, until you release the mouse cursor ortablet pen. If you w ant a live preview of your stroke, activate the Realistic Preview option by
selecting View > Realistic Preview from the top menu.

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Storyboard Pro 22 User Guide

About the Eraser Tool
Using the Eraser tool, you can erase portions of your draw ing by draw ing strokes over it.
Just like the Brush tool, the Eraser tool is pressure-sensitive, allow ing you to erase w ith more precision if you
are using a pen tablet.

It is a good idea to create and save erasers w ith precise sizes and parameters in order to save time w hen
draw ing and designing. Storyboard Pro provides you w ith a variety of default eraser styles and allow s you tocreate and save your ow n eraser presets.
Just like the Brush tool, you can use the Eraser tool on both vector and bitmap layers, and you can configure aneraser to have a solid or textured tip, to have automatic smoothing, a dual tip and a paper texture.

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Chapter 7: Draw ing

Erasing
W ith the Eraser tool, you can erase parts of draw ings.

How to erase with the Eraser tool
1. In the Thumbnails or Timeline view , select the panel w here you w ant to erase.
2. In the Thumbnails or Stage view , select a layer.
3. Do one of the follow ing:l

In the Tools toolbar, select the Eraser

tool

l

Use the keyboard shortcut Alt + E.

lFlip over your tablet pen so that the rounded end is now touching the tablet.

4. In the Presets list of the Tool Properties view , select a brush preset to use.

NOTE
To learn how to create an Eraser preset, see Creating a Solid Eraser on page 394 andCreating a Textured Eraser on page 398.

5. In the Tool Properties view , set the Maximum Size to the desired Eraser size.
You can also adjust the Eraser size using the keyboard shortcuts [ Decrease Brush Size and ]Increase Bush Size. The numerical value for the Maximum Size updates automatically in the Tool
Properties panel.

NOTE
If you are draw ing w ith a mouse, your strokes w ill alw ays be at their maximum size. If you areusing a pressure-sensitive tablet, your strokes w ill vary in size depending on the pressure ofyour pen, ranging betw een 25% to 100% of the maximum size.

6. In the Stage view , start erasing.

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Storyboard Pro 22 User Guide

TIPSl

You can quickly adjust the size of the selected draw ing tool by pressing and holding the O
key, then clicking and dragging in the draw ing space. If you are using a tablet pen, doing
this w ith the eraser tip of your pen w ill adjust the size of the Eraser tool, regardless of
w hich draw ing tool is selected.

l

If you press and hold the Shift key before or w hile draw ing, you w ill draw a straight line.

l

If you press and hold the Shift and Alt keys before or w hile draw ing, you w ill draw astraight horizontal or vertical line.

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Chapter 7: Draw ing

Creating a Solid Eraser
W hen using the Eraser tool on a vector layer, you can use either solid vector erasers or textured vector erasers.
By default, your eraser w ill be a solid vector eraser. A solid vector eraser cuts out the shape of its stroke fromyour vector artw ork.
A solid vector eraser's tip can be shaped like a circle, a diamond or a square, and can be configured to have a
specific size, aspect ratio and angle. Also, solid vector erasers can be automatically smoothed by Storyboard
Pro as you draw .
If you are erasing on a bitmap layer, you can only use textured erasers, although you can configured a textured
eraser to appear solid.

How to create a solid vector eraser
1. In the Tools toolbar, select the Eraser

tool or press Alt + B.

2. In the Tool Properties view , click the arrow button to open the Eraser Properties view .

The Eraser Properties dialog opens.

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Storyboard Pro 22 User Guide

3. In the Eraser Type dropdow n list, select Solid Vector.
4. In the brush tip list, select either Circle, Diamond or Square.
5. Use the Maximum Size slider to set the maximum size of your eraser tip, in pixels.

NOTE
W hen draw ing w ith a mouse, your eraser is alw ays at its maximum size. W hen
draw ing w ith a pressure-sensitive pen tablet, your eraser's size w ill range betw een its
minimum and maximum size, depending on the amount of pressure you put on the pen
w hen draw ing.

6. If you are using a pressure-sensitive pen tablet, use the Minimum Size slider to set the percentageof your eraser tip's maximum size your eraser should be w hen you use your pen w ith very little
pressure. If you don't w ant the pressure on your pen to affect the eraser size, set this parameter to
100%.

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Chapter 7: Draw ing

7. If you w ant your eraser tip to have uneven dimensions, use the Roundness slider to shrink theeraser tip vertically all the w hile preserving its horizontal size.
8. If you w ant your eraser tip to be at an angle, use the Angle slider to rotate your brush tip.
9. If you w ant your eraser tip to stretch w hen you tilt your pen, use the Pen Tilt Sensitivity slider to
set how much the tip should stretch. The tip w ill stretch by the percentage you set, in the direction
in w hich you tilt the pen.

NOTE
This option only w orks if your tablet and your pen support tilt sensitivity.

10. If you w ant your eraser ip to rotate w hen you rotate your pen, check the Use Pen Rotation check
box.

NOTE
This option only w orks if your tablet and your pen support pen rotation.

11. Click on the Smoothing tab.

12. Use the Centerline Smoothing slider to set the amount of smoothing Storyboard Pro should
perform on your stroke's direction, curves and corners. A higher setting w ill prevent your line frombeing shaky, but is liable to reduce your draw ing precision and to round sharp corners into curves.

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Storyboard Pro 22 User Guide

13. Use the Contour Smoothing slider to set the amount of smoothing Storyboard Pro should perform
on your stroke's contour. A higher setting w ill round sharp corners and reduce the amount ofcontrol points for the resulting vector shape.
14. Either close or set aside the Eraser Properties dialog.
15. In the Camera or Draw ing view , start erasing to test your eraser settings.

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Chapter 7: Draw ing

Creating a Textured Eraser
A textured eraser can have the same settings as a textured brush: It can have a bitmap tip of any shape, can be
hard or soft, semi-transparent, combine tw o tips and be applied w ith a paper texture effect.
W hen w orking on a bitmap layer, the eraser tool is alw ays textured, w hereas w hen w orking on vector layers,erasers are solid vector by default. A solid vector eraser merely cuts out the shape of the eraser stroke fromthe vector artw ork, w hereas a textured vector eraser makes the artw ork's bitmap texture more opaque or fully
invisible, depending on its intensity, then cuts out some of the vector artw ork that the eraser made fully
invisible.
A textured eraser w orks like a reverse textured brush: It makes the pixels in a brush stroke's texture more—orcompletely—transparent, depending on the eraser's intensity. This effect can only be obtained by using a
textured eraser on a textured brush stroke. If you use a textured eraser on solid vector shapes or on pencil
lines, the eraser w ill act like a solid vector eraser, that is, it w ill merely cut out the shape of the stroke from theartw ork. This is because solid vector shapes and pencil lines don't have a bitmap texture, and therefore thetextured eraser cannot w ork on the opacity of their individual pixels. Hence, w hen w orking on vector layers, it
is better to use a textured eraser only if all your artw ork is composed of textured brush strokes, or it mightw ield strange-looking results.

This outlines one of the advantages of w orking w ith bitmap layers. On bitmap layers, your brushes anderasers alw ays w ork as textured brushes and erasers.
Another issue you might encounter w hen erasing textured vector artw ork is that textured vector brush strokes
are not flattened together, w hereas on bitmap layers, your artw ork is alw ays flattened. This implies that if you
use a semi-transparent eraser on textured vector artw ork, and the artw ork has overlapping strokes, all the
strokes you erase w ill become semi-transparent, the resulting image w ill be a composite of the overlapping
strokes. On a bitmap layer, this w ould simply result in a single layer of semi-transparent artw ork.

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Storyboard Pro 22 User Guide

There are tw o different types of textured vector erasers: Textured and Textured, Preserve Vector. A simple
textured eraser w ill do tw o things: First, it w ill make textured brush strokes more or completely transparent
w here you erased, and second, it w ill cut out from the brush stroke's vector shape w here it made its texture
completely transparent. In contrast, a Textured, Preserve Vector-type eraser w ill only make the texture brushstrokes more or fully transparent, but w ill leave its vector shape intact.

Creating a textured eraser w orks exactly like creating a textured brush. Therefore, you can follow the steps in
the Creating a Textured Brush section to learn how to create a textured eraser.

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About Eraser Presets
Once you have found the correct settings for your eraser, you might w ant to reuse it throughout your projectfor consistency. You can do that by creating and using eraser presets.
Storyboard Pro comes preloaded w ith a few eraser presets w hich you can select from the Tool Properties
view . It is also possible to create your ow n eraser presets by configuring your eraser then saving it as a preset.
Like eraser tips and paper textures, eraser presets are saved in your preferences. You can also export youreraser presets into an .xml file, and import them on a different w orkstation, allow ing you to share your eraser
presets betw een the different people collaborating on your project.

NOTES
l

Eraser presets are not to be confused w ith eraser tips and paper textures. Eraser tips and paper
textures are one of the many properties of an eraser, w hereas an eraser preset contains all theproperties of a brush.

lEraser presets for vector layers and for bitmap layers are separate. An eraser preset createdw hile w orking on a vector layer cannot be used w hen w orking on a bitmap layer, and viceversa.

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Creating an Eraser Preset
You can create your ow n custom eraser preset by configuring your eraser, then adding it as a preset.

How to create an eraser preset
1. Make sure the current draw ing layer is vector if you w ish to create a vector eraser preset, or bitmap
if you w ish to create a bitmap eraser preset—see About Layer Types on page 224.
2. In the Tools toolbar, select the Eraser

tool or press Alt + E.

3. Click on the Arrow button to open the Eraser Properties dialog.

4. In the Eraser Properties dialog, configure your eraser—see Creating a Solid Eraser and Creating a
Textured Eraser.
5. Do one of the follow ing:l

From the Eraser Properties dialog, click on the New Brush Preset

button in the top-right corner.
l

In the Tool Properties view , click the New Brush Presetl

In the Tool Properties view , open the Brush Presets menu

button.
and select New Brush

Preset.
6. In the New Preset w indow , type a name for your new eraser preset.
Your new eraser preset is added to the end of the list of eraser presets.

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Selecting an Eraser Preset
Storyboard Pro provides you w ith default eraser presets available in the Tool Properties view .

How to select a brush preset
1. In the Tools toolbar, select the Eraser

tool or press Alt + E.

2. In the Tool Properties view , select an eraser preset from the Presets list.

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Storyboard Pro 22 User Guide

Updating a Brush Preset
If you w ant to modify the settings of an existing custom preset, you can do so by adjusting the parameters in
the Tool Properties view , then updating your preset w ith your brush current's parameters.

How to update a brush preset
1. In the Tools toolbar, select the Brush

tool or press Alt + B.

1. In the Tool Properties view , select the Brush Preset you w ish to update.
2. Click on the Arrow button to open the Brush Properties view .

3. Configure your brush to be exactly how you w ish to use it in the future—see Creating a Solid Brushor Creating a Textured Brush.
4. Click on the Update Brush Preset

button in the upper-right corner of the Brush Properties

dialog.

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Chapter 7: Draw ing

Renaming an Eraser Preset
To keep your list comprehensive and organized, you can name your custom brush presets.

How to rename a brush preset
1. In the Tools toolbar, select the Eraser

tool or press Alt + E.

2. In the Tool Properties view , select an eraser preset to rename.
3. Open the Brush Preset menu

and select Rename Brush.

4. Type in a new name for the brush and click OK.

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Storyboard Pro 22 User Guide

Deleting a Brush Preset
You can keep your preset list clean by deleting unw anted custom presets.

How to delete a brush preset
1. In the Tools toolbar, select the Eraser

tool or press Alt + E.

2. In the Tool Properties view , select the eraser preset you w ant to delete.
3. Do one of the follow ing:lClick the Delete Brushbutton.

lOpen the Brush Preset menu

and select Delete Brush.

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Chapter 7: Draw ing

Exporting Eraser Presets
You can export eraser presets into an .xml file w hich w ill contain all of your eraser's settings. This can be
useful if you w ish to back up or share your eraser presets.

How to export pencils, brushes and erasers
1. In the Tools toolbar, select either the Brush, Pencil

2. In the Tool Properties view , open the Brush Preset menu

or Erasertool.

and select Export Brushes.

The Export Brushes dialog opens. This dialog allow s you to export brush presets for the Brush,
Pencil and Eraser tools.

3. By default, the presets for all your tools w ill be selected for export. If you only w ish to export
presets for specific tools, uncheck Select/Deselect All and select the tools for w hich you w ant toexport the presets.
4. Click Export.
5. In the Export Presets dialog that appears, brow se to the location w here you w ant to save the .xml
file and enter its file name.
6. Click Save.

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Importing Eraser Presets
You can import eraser presets that you previously exported from Storyboard Pro.

How to import pencils, brushes and erasers
1. In the Tools toolbar, select either the Brush, Pencil

2. In the Tool Properties view , open the Brush Preset menu

or Erasertool.

and select Import Brushes.

3. In the brow ser w indow that appears, navigate to and select the .xml file in w hich you exported
your brush presets.
4. Click Open.
The Import Brushes dialog box opens.

5. By default, the presets for any tools included in the file w ill be selected for import. If you only w ish
to import presets for specific tools, uncheck Select/Deselect All and select the tools for w hich you
w ant to export the presets
6. Click Import.
The imported brush, eraser and pencil styles w ill appear in the Presets list.

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Chapter 7: Draw ing

Changing the Brush Preset Display
You can display your preset list as thumbnails or a list.

How to change the way presets are previewed in the Tool Properties view
1. In the Tool Properties view , open the Brush Presetsmenu.

2. Select one of the follow ing options:lSmall Thumbnail: Displays presets in a grid of small thumbnails w ith a preview of
their tip.

lLarge Thumbnail: Displays presets in a grid of big thumbnails, w ith their name and apreview of their tip.

lStroke View: Displays presets in a list, w ith their name and a preview of a stroke
done w ith each preset.

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About Eraser Tool Modes
The Eraser tool allow s you to remove parts of your artw ork by draw ing over them.
W hen you select the Eraser tool, the Tool Properties view displays the different modes available for this toolat the bottom.

Tip StyleW hen you erase part of a pencil line, this option determines the shape of the extremity of the pencil line w here
you erased:llRound: Leaves a round tip at the extremities of the pencil line you erased.

Flat: Leaves a flat tip at the extremities of the pencil line you erased. A flat tip is alw ays
perpendicular to the angle of the centreline of the pencil line, so it may not match the angle of youreraser stroke.

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lBevel: Leaves a bevel tip at the extremities of the pencil line you erased. A bevel tip is flat, but its
angle matches the angle of your eraser stroke.

Snapping
Opens a pop-up menu in w hich you can enable or disable the Snap to Alignment Guides option. W hen thisoption is enabled, theEraser tool w ill snap to nearby alignment guides so that you can erase along theiraxis, as if you w ere erasing against a rule.

NOTE
For more information on alignment guides, see About Alignment Guides on page 500

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About the Select Tool
The Select tool lets you select strokes and apply basic transformations such as repositioning, rotating, scalingor skew ing, using the different handles of the bounding box.
If you have text or pencil lines selected w ith the Select tool, their properties w ill display in the Tool Properties
view , allow ing you to make changes to your selection.

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Chapter 7: Draw ing

Selecting Artwork with the Select Tool
Before you can perform transformations such as a rotation, scale, skew or flip, you must select the objects
using the Select tool. You can click directly on a draw ing stroke to select it, or draw a lasso around several
draw ing strokes to select them together.

Once selected, you can transform all the objects w ithin the bounding box simultaneously. There are various
controls around the bounding box for you to manipulate a selection.

How to select objects
1. In the Timeline or Thumbnails view , select the panel and layer on w hich you w ant to select objects.
2. In the Tools toolbar, click the Selecttool or press Alt + S.

3. In the Stage view , do one of the follow ing:l

To select a single draw ing stroke, click on it.

l

To select all the draw ing strokes w ithin an area, draw a lasso around those strokes to selectthem simultaneously.

l

To select several specific draw ing strokes, hold the Ctrl key, then click on each draw ing
stroke you w ish to add to your selection.

l

To select all the artw ork, press Ctrl + A.

TIP
Your selection w ill be preserved even if you sw itch betw een panels or scenes, until you makea new selection.

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Transforming Artwork with the Select Tool.
Once a selection is made, you can manipulate it by moving it, rotating it, scaling it or skew ing it.

How to manipulate artwork in the Stage view
1. In the Stage view , make a selection—see Selecting Artw ork w ith the Select Tool on page 412.
2. Do one of the follow ing:l

To move the selection, move the mouse cursor over the selected artw ork, then click and drag
it.

TIPS
l

You can also nudge the selection by using the arrow keys on your keyboard.

lTo make it easier to move the selected artw ork, you can enable the SelectTool Bounding Box is Movable option in the Tools tab of the Preferences
dialog box. This lets you place the cursor anyw here inside the bounding box
and move its contents. This option applies to these tools: Select , Select by
Colour, and Cutter.

l

To resize the artw ork, position the cursor over one of the square points at the corners andover the edges of the bounding box. W hen you see the scale cursor appear, click and drag toresize.

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TIPSl

You can preserve the horizontal and vertical proportions of the artw ork in theselection by holding the Shift key.

l

You can scale the artw ork from the selection's pivot point by holding the Alt
key.

l

To rotate the selected artw ork, position the cursor at any corner of the bounding box. W hen
you see the rotate cursor, drag to rotate.

TIP
You can rotate the artw ork in 15° increments by hold the Shift key.

l

To skew the artw ork, position the cursor on any side of the bounding box and drag to skew .

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To rotate the selected artw ork by 90°, do one of the follow ing:l

In the Tool Properties view and click on Rotate 90 CW
or on Rotate 90 CCWl

to rotate it 90° clockw ise,to rotate it 90° counterclockw ise.

From the top menu, select Tools > Transform > Rotate 90 CW , Rotate 90 CCW or
Rotate 180.

l

To flip the artw ork, do one of the follow ing:lOpen the Tool Properties view and click the Flip HorizontallPress Alt + H to flip horizontally. Press Alt + V to flip vertically.

l

From the top menu, select Tools > Transform > Flip Horizontal or Flip Vertical.

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or Flip Vertical.

Chapter 7: Draw ing

W hen rotating your selection, your artw ork w ill rotate around its pivot point. This point is placed in the centreof your selection by default. You can move it to a different location before performing a rotation so that it
rotates around the preferred pivot point position instead.

How to adjust the pivot point
1. In the Stage view , select one or more objects.
The pivot point appears in the middle of the bounding box.

2. Click and drag the pivot point to a new position.

This becomes the new position of the pivot point for the selection. It w ill remain in this position
until you change the selection.

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Copying Artwork on Multiple Panels
T-SBFND-008-017
W hen developing the panels for a scene, you sometimes need to add elements to a layer after you havecompleted the draw ing and use it across several panels. For example, you may w ant to modify the draw ing forthe background layer used in multiple panels.

How to copy artwork on multiple panels
1. In the first panel, select the layer that contains the artw ork to propagate to other panels.

2. Select the rest of the panels in the series. Note that the name of the layer you w ant to change mustbe same in all the selected panels.
3. Select Layer > Copy Layers.

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Chapter 7: Draw ing

NOTE
To quickly select multiple panels, select the first panel and Shift+click the last
one in the series. Use the Thumbnails view .

4. Select Layer > Paste Layer Special. This command is only available w hen multiple panels are
selected.
The Paste Layer Special dialog box opens.
5. Select the Once Hold and Overwrite Existing Layers options.

The layer in each of the selected panels is replaced.

The other available options are as follow s:
Once: This w ill paste the layer or draw ing on the second panel for once only.
Once Hold: This w ill paste the layer or draw ing on all the selected panels.
Loop: This w ill run a loop or cycle until one sequence of layers is completed.
Ping- Pong: This is similar to loop and w ill run a cycle but in a ping pong pattern.

NOTE
If you only need to make a change to tw o panels, you can simply drag the layerfrom one panel and drop it in the Layers list of the other panel, and click replace.

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Editing Artwork on Multiple Panels
T-SBFND-008-016
You may w ant to re-size, reposition, hide, or delete a piece of artw ork appearing in multiple panels. Rather
than going into each panel to modify each version of the same artw ork individually, Storyboard Pro allow s you
to modify artw ork across multiple panels altogether if they appear on the same layer.

How to edit artwork on multiple panels
1. In the Thumbnails or Timeline view , select the first panel in the sequence containing the artw ork
you w ant to modify. In this panel, select all the layers you w ish to modify.
2. Hold Ctrl + Shift or ⌘ + Shift to activate a multiselection, and select the last panel in the sequence
containing the artw ork.
All the layers and panels containing the artw ork w ill now be selected.

NOTE
Please make sure the layers containing the artw ork have the same name in each panel.

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3. Activate the Select tool
4. Use the Marqueein the Tools toolbar.

tool to create a box around the artw ork to be modified. All the artw ork in theselected layers w ill appear together in the same panel for editing.

NOTE
Please be sure that you are not holding Ctrl + Shift or ⌘ + Shift w hen performing thisaction. Otherw ise, all the background elements w ill highlight.

TIP
It is recommended that you turn on Onion Skinw hen performing this action. Thisw ay, you w ill be able to see w here the artw ork is on the other panels. See Enabling theOnion Skin.

5. Use the Marquee box to re-size, move, or delete your artw ork.

The change you made is applied to all the selected panels.

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Flattening a Selection

The Flatten operation is used to merge draw ing objects and brush strokes into a single layer. If you draw newlines to fix a draw ing or a line w ith many brush strokes, it can be useful to flatten them all into a single shape.
By default, lines are draw n one on top of each other, if you intend repainting the lines or modifying their shape,
it w ill be easier if they are flattened—see About Project Optimization on page 64.
If you have selected strokes w hile using the flatten command, only these strokes w ill be flattened. If nostrokes are selected, the entire current layer w ill be flattened. If you have selected multiple layers, they w ill all
be flattened individually.

How to flatten a selection
1. In the Tools toolbar, select the Selecttool.

2. In the Stage view , select the strokes to flatten.
3. Do one of the follow ing:‣

In the Tool Properties view , click the Flatten‣

Press Alt + Shift + F.

‣

Select Tools > Flatten.

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Chapter 7: Draw ing

Grouping Objects
By grouping objects together, you can reposition, scale and apply other transformations to multiple objects ofa draw ing. You can also ungroup a group of objects to fine-tune individual objects.

NOTE
You can only group objects on one vector layer, you cannot group objects from several layers.
Also, you cannot group objects on bitmap layers.

How to group or ungroup objects
1. Select draw ing strokes in the Stage view .
2. In the top menu, select Edit > Group Drawing Selection or Ungroup Drawings.

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Converting Strokes
W hen draw ing on vector layers, you may w ant to change brush strokes to pencil lines to convert contour
strokes into centre line pencil strokes.

NOTE
Any line thickness information is lost upon conversion from brush to pencil

At times, you may w ant to change pencil lines to brush strokes. This converts a centre line stroke to a contour
line stroke. Or you can convert strokes to pencil lines.

How to convert pencil lines to brush1. Select the strokes you w ant to convert.
2. Right-click and Convert > Pencil Lines to Brush Strokes.

How to convert brush to pencil lines
1. Select the strokes you w ant to convert.
2. Right-click and select Convert > Brush Strokes to Pencil Lines.

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Chapter 7: Draw ing

Using the Select by Colour Tool
T-SBADV-005-019
The Select by Colour tool lets you quickly select all artw ork painted or draw n w ith the selected colour. This
makes it easy to select artw ork from a single layer that contains different colours and shades.

How to select by colour
1. In the Tools toolbar, click the Select by Colour

button.

2. In the Stage view , select a layer.
3. Click on a colour.
All artw ork painted or draw n w ith the selected colour is selected.

NOTE
Selecting this tool is simply activates the Select tool w ith its Select by Colour mode enabled. You
can achieve the same result by selecting the Selectmode in the Tool Properties view .

424

tool, then enabling the Select by Colour

Storyboard Pro 22 User Guide

About the Select Tool Modes
W hen you use the Select tool, its properties and options appear in the Tool Properties view .

Lasso and

Marquee Modes

W hen selecting artw ork, you can use the Lasso

mode to make a freehand selection or the Marqueemode to make a rectangular selection.

TIP
You can press and hold the Alt key to temporarily sw itch from the selected mode to the other.

Easy Drag
W hen enabled, you can drag the selection by clicking anyw here inside its bounding box. By default, you mustclick on the artw ork in the selection to be able to drag it.

Snapping
Allow s you to enable or disable snapping for this tool and all other animation and draw ing tools that support
snapping, as w ell as to select w hich types of snapping are enabled.
If you double-click or long-click on this button, it w ill open a pop-up menu in w hich you can toggle different
snapping modes. You can also click on this button to toggle it off, w hich w ill disable all snapping modes, andclick on it again and toggle it on to re-enable the snapping modes w hich w ere previously enabled.
This tool supports the follow ing snapping modes:lSnap to Contour: W hile moving the selection or one of its control points, it w ill snap against the nearby
points and contours of your artw ork, allow ing you to snap parts of your artw ork together.

lSnap to Alignment Guides: W hile moving the selection or one of its control points, it w ill snap against
nearby alignment guides—see About Alignment Guides on page 500.

lSnap and Align: W hile moving the selection, the rectangular bounding box of the selection w ill alignw ith the rectangular bounding boxes of other strokes and shapes in your artw ork. If you move one ofyour selection's control points, it w ill also align w ith the bounding boxes of other strokes and shapes in425

Chapter 7: Draw ing

your artw ork.

Select by Colour Mode
W hen enabled, clicking on a shape or pencil line w ill select everything in your draw ing that is painted w ith thesame colour.

Select All Drawings in Scene
Click on this to select all the draw ings in the current scene simultaneously. You can then manipulate them
together. The outlines of draw ings in other panels w ill appear in the Stage view .

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About the Cutter Tool
You can cut a draw ing area on a bitmap or vector layer to move, copy, cut or delete it.

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Chapter 7: Draw ing

Cutting Artwork
T-SBFND-008-007
The Cutter tool lets you cut out part of a draw ing so that you can transform it, copy it or delete it.
You can also use the Cutter tool to trim the ends of overshot lines. Line ends can be trimmed up to the point
w here they intersect w ith another line. This technique can be used to clean sketches much faster. Enable theSingle Line Cutting Gesture mode for precision or the Multiple Line Cutting Gesture mode for speed.

How to cut drawings
1. In the Tools toolbar, select the Cutter

tool or press Alt + T.

2. In the Stage or Camera view , draw a lasso around the artw ork you w ant to cut aw ay.

The artw ork inside the lasso you drew w ill be cut from the rest of the artw ork and w ill be selected.

TIPSl

You can add another part of your artw ork to the selection by holding Shift anddraw ing another lasso.

l

By default, the Cutter tool w ill only w ork on the current layer. You can cut artw ork
from all visible layers by holding the Ctrl (W indow s) or ⌘ (macOS) key.

3. Once you've cut out artw ork, you can manipulate it like w ith the Select tool. For example:l

To move the selected artw ork, click and drag it.

l

To delete the selected area, press Del.

l

To scale, rotate or skew the selection, use the controls around the selection's bounding box.

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Storyboard Pro 22 User Guide

NOTE
To transform your selection, see Transforming Artw ork w ith the Select Tool. on page 413.

How to trim a single line
1. In the Tools toolbar, select the Cutter

tool or press Alt + T.

2. In the Tool Properties view , under the Cutter Tool Options, select the Lasso.

The Line Cutter Gesture modes are enabled.
3. Select the Single Line Cutting Gesture Mode.

4. In the Stage or Camera view , sw eep the Cutter tool across the end of a line you w ish to trim.
The line end disappears.
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Chapter 7: Draw ing

After

NOTE
Even if your mouse gesture touches other lines, only the first line that the Cutter tool makes
contact w ith disappears.

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Storyboard Pro 22 User Guide

How to trim multiple lines
1. In the Tools toolbar, select the Cutter

tool or press Alt + T.

2. In the Tool Properties view , under the Cutter Tool Options, select the Lasso.

The Line Cutter Gesture modes are enabled.
3. In the Tool Properties view , select the Multiple Lines Cutting Gesture Mode.

4. In the Stage or Camera view , sw eep the Cutter tool across the end of a lines you w ish to trim.
The line ends disappear.
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About the Cutter Tool Modes
W hen you use the Cutter tool, its properties and options appear in the Tool Properties view . The four Cutter
modes include: Lasso or Marquee, tip style, mouse gesture, and antialiasing.

Lasso and

Marquee Modes

W hen selecting artw ork, you can use the Lasso

mode to make a freehand selection or the Marqueemode to make a rectangular selection.

TIP
You can press and hold the Alt key to temporarily sw itch from the selected mode to the other.

Easy Drag
W hen enabled, you can drag the selection by clicking anyw here inside its bounding box. By default, you mustclick on the artw ork in the selection to be able to drag it.

Tip StyleW hen cutting through pencil lines, this option decides w hat kind of pencil line tips to put at the extremities of
the remaining pencil line segments, w here they w ere cut.

By default, this is set to Bevel, w hich w ill leave the tip of the pencil line cut at the same angle as yourcutter stroke. If you prefer, you can make pencil lines that you split w ith the Cutter tool have Flat
tips instead.

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or RoundChapter 7: Draw ing

Use Mouse Gesture Cutter Mode
W hen this option is enabled along w ith the Lasso

selection type, quickly draw ing a line w ith the Cutter

tool over a line segment in your artw ork w ill instantly delete it. This can be useful if you w ant to use the Cutter
tool to quickly clean up your artw ork.

It allow s you to cut in tw o modes as follow s:lSingle Line Cutting Gesture: It deletes first line segment over w hich a straight gesture is draw n w ith
the cutter.

lMultiple Lines Cutting Gesture: It deletes all line segments over w hich a straight gesture is draw n
w ith the cutter.

NOTE
This option w ill only w ork w hen using the Cutter tool on separate brush or pencil strokes. Hence, it
is important not to flatten your artw ork if you intend to use this option to clean up your draw ings.
This option has no effect on bitmap layers as the artw ork in bitmap layers is alw ays flattened.

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Storyboard Pro 22 User Guide

Antialiasing Mode
W hen w orking on bitmap artw ork, enabling this w ill smooth the edges of the artw ork you cut out, so that they
do not appear pixelated.

NOTE
This option is only available w ith bitmap layers.

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Chapter 7: Draw ing

About the Contour Editor Tool
The Contour Editor lets you reshape vector shapes, brush strokes and lines in your draw ings.
Artw ork in Storyboard Pro is made of vector shapes. Vector shapes are defined by points, the lines joining thepoints together (contours) and the curve vectors, represented by Bezier handles, w hich make the curve of saidlines.

The Contour Editor tool allow s you to select a contour or point, and change the position of points, add andremove points from the shape, rotate, lengthen and shorten curve handles to influence the curve of contours
betw een those points, or drag contours betw een points to change their curve directly.
Since pencil lines are defined by a single line w ith a line w idth, you can use the Contour Editor to easily modify
the shape of pencil lines. In contrast, brush strokes are full vector shapes, so the Contour Editor can be used tomodify their shape.

The Contour Editor can be used to tw eak vector artw ork in all sorts of w ays. It can be used to perfect a pencil
line, correct shapes, or create complex shapes out of a basic ellipse or rectangle.

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Reshaping with the Contour Editor Tool
T-SBFND-008-006
The Contour Editor lets you reshape vector shapes, brush strokes and lines in your draw ings.
If you use the Contour Editor or Perspective tool on a textured brush stroke, it is w ill deform its texture to fit
the new shape of the brush stroke. Keep in mind that this w ill resample the texture, w hich is liable to make itlose quality.

How to reshape with the Contour Editor tool
1. In the Timeline or Thumbnails view , select the cell and layer into w hich you w ant to draw .
2. In the Tools toolbar, select a shape tool:.

3. In the Tool Properties view , click the Ellipse

button, click the Auto Fill

pencil size to 0.
4. In the Stage view , draw a circle.

5. In the Tools toolbar, select the Contour Editor

tool.

6. In the Stage view , click the line to reshape it.

7. Select one or several points by clicking on them or circling around.

437

button and set theChapter 7: Draw ing

8. Press Del to delete a selected point.
Press Ctrl (W indow s/Linux) or ⌘ (macOS)and click on the contour to add a new point to adjust thecontour.
9. To modify the shape, you can:lPull on the Bezier handle. Both point’s handles w ill move as one.

l

Hold dow n Alt and pull on one of the Bezier handles. The point’s handle w ill move independently
from the other one.

lMove the selected points to a new area.

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Storyboard Pro 22 User Guidel

Pull directly on the line betw een tw o points. No selection is necessary. Holding dow n Shift w illlimit the contour modification to the curve betw een the tw o first points.

l

If an anchor point has no visible Bezier handles, hold dow n the Alt key to display them.

lTo add control points, press Ctrl (W indow s/Linux) or ⌘ (macOS) and click the line.

l

To remove control points, select the control point and press Del.

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Chapter 7: Draw ing

Smoothing a Selection

The Smooth Selection operation is used to smooth out selected draw ing strokes and remove extra points.
Smoothing is applied to the entire stroke.
Depending on how you draw your pencil line (changing the Smoothness or Contour Optimization), there may
be few or many control points on the centre line. Just as you can modify a brush line, you can modify the
direction of a pencil line using the Contour Editor to move its control points.

To learn how to create a pencil line w ith more or few er control points, see Reshaping w ith the Contour Editor
Tool on page 437.

How to modify a pencil line using control points
1. Using thePencil tool, create a line that has control points along its centre line (adjust the

Smoothness or Contour Optimization to set the right number of control points).
2. From the Tools toolbar, select theContour Editor tool and select the pencil line.

The selected pencil line w ill display its centre line along and control points.
To add control points, press Ctrl and click to create control points.
3. Drag any of the control points along the centre line to change the shape.

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About the Contour Editor Tool Modes
W hen you select the Contour Editor tool, its properties and options appear in the Tool Properties view .

Lasso and

Marquee Modes

W hen selecting artw ork, you can use the Lasso

mode to make a freehand selection or the Marqueemode to make a rectangular selection.

TIP
You can press and hold the Alt key to temporarily sw itch from the selected mode to the other.

Allow s you to enable or disable snapping for this tool and all other animation and draw ing tools that support
snapping, as w ell as to select w hich types of snapping are enabled.
If you double-click or long-click on this button, it w ill open a pop-up menu in w hich you can toggle different
snapping modes. You can also click on this button to toggle it off, w hich w ill disable all snapping modes, andclick on it again and toggle it on to re-enable the snapping modes w hich w ere previously enabled.

Snapping
Allow s you to enable or disable snapping for this tool and all other animation and draw ing tools that support
snapping, as w ell as to select w hich types of snapping are enabled.
If you double-click or long-click on this button, it w ill open a pop-up menu in w hich you can toggle different
snapping modes. You can also click on this button to toggle it off, w hich w ill disable all snapping modes, andclick on it again and toggle it on to re-enable the snapping modes w hich w ere previously enabled.
This tool supports the follow ing snapping modes:lSnap to Contour: W hen enabled, moving the control point in a contour near another contour w ill snapthat control point against that contour. This w ill lock the point and the contour together, and moving thecontrol point w ill deform the contour.
This option can be especially useful if you need to makes the edges of tw o shapes snap together, like
so:

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Chapter 7: Draw ing

You can also use this option to make a control point snap against another control point, allow ing you tojoin lines together.

NOTE
W hen a control point is snapped against a contour or another control point in your draw ing,
the Contour Editor w ill manipulate them together. How ever, even if you make a point in one
draw ing stroke snap against another draw ing stroke, they w ill remain separate draw ing
strokes unless they are flattened together, and you w ill still be able to manipulate them
individually w ith the Select

l

tool.

Snap to Alignment Guides: W hile moving the selection or one of its control points, it w ill snap against
nearby alignment guides.

lSnap and Align: Snaps the selected anchor point to any existing line w hile displaying temporary rulers
as a guide that you can also snap your anchor point to.

Tip StyleIf you select and remove part of a pencil line, this option allow s you to choose w hich kind of line tip theremoved segment should leave behind:l

Tip Style: Round: Leaves rounded tips at the extremities of the deleted line segment.

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Storyboard Pro 22 User Guidel

Tip Style: Flat: Leaves flat tips at the extremities of the deleted line segment.

How to snap two shapes together
1. In the Tools toolbar, select the Contour Editor

tool.

2. In the Contour Editor Tool Properties view , click the Snap to Contour

button.

3. In the Stage view , click an anchor point you w ant to snap to the other shape, drag it on top of thecontour line area and release it.

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Chapter 7: Draw ing

About the Centerline Editor
T-SBFND-008-002A
The Centerline Editor allow s you to tw eak and reshape a brush stroke by manipulating its centre line rather
than its contour (you can manipulate its contour using the Contour Editor tool). This gives a flexibility similar tomanipulating a pencil line w ith the Contour Editor tool.

Keep in mind that brush strokes are vector shapes w ith a fill. As such, the Centerline Editor must do guess
w ork to figure out the centreline of your brush strokes, and apply deformations on its shape as you tw eak its
control points. The Centerline Editor w ill not be able to make a accurate centreline out of brush strokes thatmerge together, that look scrambled or that otherw ise do not have a clear direction.

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NOTE
If you use the Centerline Editor on a textured brush stroke, it w ill deform the texture to make it fit
the new shape of the stroke.

NOTE
If you use the Centerline Editor to deform a closed brush stroke w ith a fill inside it, the fill w ill not
be reshaped to fit the new shape of the brush stroke.

NOTE
To learn more about the Centerline Editor tool options, see the Reference Guide.

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Chapter 7: Draw ing

Reshaping Brush Strokes Using the Centerline Editor
You can use the Centerline Editor tool to reshape brush strokes from their centreline rather than their contour,
like you w ould reshape pencil lines using the Contour Editor.

How to reshape brush strokes
1. In the Tools toolbar, double-click on the Contour Editor
tool, or press Alt + W .

button and select the Centerline Editor

2. In the Stage view , click the contour or pencil line you w ant to edit near the area you w ish to change.
The Centerline Editor creates a centreline manipulator based on the outline's shape, w ith control
points.

3. In the Tool Properties view , use the Centerline Smoothness slider to adjust the amount of control
points on the centreline as needed:l

If you find that the generated centreline has too many control points to be easily
manipulated, reduce the Centerline Smoothness parameter.

l

If you need more control points to make precise manipulations, increase the Centerline
Smoothness parameter.

4. Click on one of the points to select it.
The point's Bezier handles appears, as w ell as Bezier handles for the surrounding points.

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5. Do one of the follow ing:l

To move a point or a selection of multiple points, click and drag it.

l

To change the curve on both sides of a point, drag one of its Bezier handles.

l

To change the curve on only one side of a point, press and hold the Alt key, then drag one ofits Bezier handles.

l

To deform the contour, drag a part of the contour betw een tw o points.

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Chapter 7: Draw ingl

To deform the curve betw een tw o points, hold the Shift key and drag the contour betw een
tw o points.

l

To remove a point's Bezier handles and make the lines it is connected to straight, press andhold the Alt key and click on the point.

lStraight lines have no Bezier handles at their points by default. To create Bezier handles forthese points and make their lines curved, pres and hold the Alt key, then click and hold thepoint and drag the mouse cursor aw ay from it. A new Bezier handle w ill follow your mouse
cursor until you release the mouse button.

l

To add a control point, press Ctrl (W indow s/Linux) or ⌘ (macOS) and click on the contour
w here you w ant the new point to be created.

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To delete the control point, select it and press Del.

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Chapter 7: Draw ing

Centerline Editor Tool Modes
W hen you select the Centerline Editor tool, its properties are displayed in the Tool Properties view .

Lasso and

Marquee Modes

W hen selecting artw ork, you can use the Lasso

mode to make a freehand selection or the Marqueemode to make a rectangular selection.

TIP
You can press and hold the Alt key to temporarily sw itch from the selected mode to the other.

Centreline Smoothness
Allow s you to adjust the amount of control points on the centreline of the selected stroke. A low er value w illcreate less points and a higher value w ill generate more points.

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About the Perspective Tool
W hen draw ing on vector layers, the Perspective tool is used to deform a draw ing selection and alter its
perspective.

NOTE
This tool cannot be used on bitmap layers.

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Deforming a Drawing Using the Perspective Tool
T-SBADV-005-012D
W hen draw ing on vector layers, the Perspective tool enables you to deform a draw ing selection and alter its
perspective.

How to deform a drawing
1. In the Tools toolbar, select the Perspective

tool.

2. In the Stage view , select the draw ing you w ant to deform.
3. Click and drag the different anchor points to deform the shape.

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About the Perspective Tool Modes
W hen draw ing on vector layers, selecting the Perspective tool displays its properties and options in the Tool
Properties view .

Lasso and

Marquee Modes

W hen selecting artw ork, you can use the Lasso

mode to make a freehand selection or the Marqueemode to make a rectangular selection.

TIP
You can press and hold the Alt key to temporarily sw itch from the selected mode to the other.

Snapping
Allow s you to enable or disable snapping for this tool and all other animation and draw ing tools that support
snapping, as w ell as to select w hich types of snapping are enabled.
If you double-click or long-click on this button, it w ill open a pop-up menu in w hich you can toggle different
snapping modes. You can also click on this button to toggle it off, w hich w ill disable all snapping modes, andclick on it again and toggle it on to re-enable the snapping modes w hich w ere previously enabled.
This tool supports the follow ing snapping modes:lSnap to Contour: W hile moving the selection or one of its control points, it w ill snap against the nearby
points and contours of your artw ork, allow ing you to snap parts of your artw ork together.

lSnap to Alignment Guides: W hile moving the selection or one of its control points, it w ill snap against
nearby alignment guides.

lSnap and Align: W hen enabled, w hile moving a selection, the rectangular bounding box of theselection w ill snap to the rectangular bounding box of any other draw ing stroke in the draw ing,
allow ing you to align draw ing strokes laterally.

Perspective andLattice Modes

W hen using the Perspective tool to deform artw ork, you can deform artw ork in tw o distinct w ays. The
Perspective mode deforms the draw ing by simulating a perspective effect, w hich w ill make it look like you're453

Chapter 7: Draw ing

rotating a sheet of paper in a 3D space. The Lattice mode simply deforms the artw ork to make it fits the shapeof the Perspective tool's control box.
The difference betw een both modes becomes easier to understand if you apply a transformation to a draw ing
of a grid to make it look like it's laid dow n on a surface:As you can see, in perspective mode, the visible distance betw een the horizontal bars is proportional to how
close to the point of view they w ould be in 3D perspective. In lattice mode, the vertical position of thehorizontal bars w as merely scaled dow n to fit the vertical size of the grid.

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About the Text Tool
T-SBADV-005-013
W ith the Text tool, you can type text in your project, using various fonts and text attributes. Text objects arepart of a draw ing, so you can manipulate them the same w ay. You can use the Text tools on both vector andbitmap layers.

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Chapter 7: Draw ing

Adding Text
T-SBADV-005-014
W henever needed, you can add text to panels.

How to add text to drawings
1. In the Tools toolbar, select the Text

tool, press Ctrl + Shift + T (W indow s) or ⌘ + Shift + T(macOS) or select Tools > Text.
2. In the Timeline or Thumbnails view , select the panel and layer that contains the draw ing on w hich
you w ant to add text.
3. In the Stage view , click the location at w hich you w ant to add text.

4. You can use the Text properties in the Tool Properties view to select the font, font size and formatof the text you w ill type—see Adding Text on page 456.
5. Type in the desired text.

6. Click outside the text box to exit the typing mode.
If you w ant to create another text object, click outside the currently active text box and then click on
the desired location in the Stage view for the new text. You can alw ays return to edit any text byselecting the Text

tool and clicking in the text.

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Storyboard Pro 22 User Guide

Formatting Text
T-SBADV-005-015
Use the Text Tool Properties view to select the font type and other formatting options you w ant to apply tothe text.

NOTE
If the text is already w ritten, use the Select tool or Text tool to select the text you w ant to format.

Font TypeUse this drop-dow n menu to select the desired font, from the list of fonts available in your system.
You can also click in the Font field and start typing in the name of the desired font to jump to it immediately.

Font Style
Use the Bold

and Italic

buttons to set the style for your text.

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Alignment
Use these buttons to align the paragraph.
Left

CentredRight

Justified

Font Size
Type the desired size for the text in this field. You can also use the up and dow n arrow buttons to set thedesired value.

Kerning
Use the kerning field to modify the spacing betw een letters and characters. You can select the Auto Kern
option to set the kerning automatically, based on the font’s predefined standard. A negative value decreases
spacing betw een each character creating a letter overlap and a positive value increases it.

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Storyboard Pro 22 User Guide

IndentEnter a value in the Indent field to increase or decrease the indentation on the first line of your text. A positive
value sets the first line of your paragraph farther to the right and a negative value sets it farther to the left.

Line Spacing
Enter a value in the Line Spacing field to decrease or increase the space betw een each line of text.

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Chapter 7: Draw ing

Resizing the Text Box
T-SBADV-005-016
You can resize the text box by selecting your text box w ith the Text

tool and moving the anchor point rightor left.

Using the Select tool w ill distort and scale your text itself rather than changing the w idth and height of yourtext box.

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Storyboard Pro 22 User Guide

Breaking Text
T-SBADV-005-017
Text contained in a text field is treated as a single draw ing object. You can easily separate the text so that eachcharacter becomes an individual draw ing object that you can select and modify independently.

How to break a text object
1. In the Tools toolbar, click the Selecttool or press Alt + S.

2. In the Stage View , select the text object you w ant to break.

3. Right-click the text and select Convert > Break ApartText Layers.

Each character is now surrounded by its ow n bounding box that you can modify, they remain text
objects that you can edit.
4. If you w ant to convert your independent letter to a complete vector object that you can deform,
using the Select tool, select the letters to convert.
5. Right-click the text and select Convert > Break ApartText Layers to break the selection into aregular draw ing object, w ith no more text attributes.

NOTE
After your text has been broken apart tw ice, into a regular draw ing object, you can use all thedraw ing tools such as the Eraser tool, on the draw ing. Be aw are that if you w ant to use the
Perspective tool on the text, you should create the text on a vector layer before breaking itapart tw ice; then you can use the Perspective tool on it.

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Chapter 7: Draw ing

About Tool Presets
T-SBADV-005-006
Tool presets let you save a variety of settings and are very efficient for accessing the tools you use most often.
That w ay, the tool is already set w ith the desired properties, such as colour, line thickness, w hether to enable
Draw Behind or Auto Flatten mode, and so on. You can create presets for these tools and many more: Brush,
Pencil, Eraser, Rectangle, Ellipse, and Line.
The difference betw een a tool preset and a brush preset is that w hen you save a tool preset, you have theoption of saving the colour and assigning a shortcut, w hich you cannot do w ith brush presets.
You can assign a keyboard shortcut to tool presets to quickly access them—see Shortcut Preferences in the
Preferences Guide.

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Storyboard Pro 22 User Guide

Creating Tool Presets
T-SBADV-005-007
To create a tool preset, you w ill need to select a tool, adjust the properties, and then create a tool preset for it.
Once you have created a tool preset, you can make adjustments to fine-tune it, as w ell as create a keyboard
shortcut for it. All tool presets are displayed in the Tool Presets toolbar.

How to create a tool preset
1. In the Tools toolbar, select a tool, for example the Brush tool.
2. In the Panel view , use the Tool Properties view and/or the Brush Properties w indow to customize
the tool.
3. To set a specific colour for your preset, in the Colour view , select the colour sw atch to link to the
tool.

NOTE
W hen using a tool preset in a scene that is not using the assigned colour sw atch,a colour recovery dialog box appears prompting you to add the colour to thescene.

4. In the Tool Presets toolbar, click the New Tool Preset

button.

5. In the New Preset dialog box, in the Name field, type a name for your new preset.

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Chapter 7: Draw ing

6. From the icon list, select an icon to quickly identify your preset or upload your ow n by clicking theFilebutton.

7. (Optional) From the Shortcut menu, set a keyboard shortcut to quickly access your preset. By
default, the shortcuts are unassigned. To assign a keyboard shortcut, select Edit > Preferences >Shortcuts > Tool Presets (W indow s) or Storyboard Pro 22 > Preferences > Shortcuts > Tool
Presets (macOS).
8. W hen you select an option, it w ill take effect w hen you use the tool preset. If an option isdeselected, then using a tool preset w ill not override your current settings.
lColour: Saves the current colour into the tool preset.

lLayer: Lets you select a draw ing layer to be used on the current panel w hen the tool
preset is clicked. W hen selecting the preset, if the assigned layer exists, it w ill beselected, if not, it w ill be created. W hen changing panels, depending on your global
navigation setting, it w ill look for the layer. If it does not exist, the first layer w ill be

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selected. Select the Layer option, assign a layer to the tool preset, and decide
w hether the layer is vector or bitmap.
lDraw Behind: W hen this option is selected, saves the specified Draw Behind option
to the tool preset. W hen deselected, the current Draw Behind status is unchanged
w hen the tool preset is clicked—see About the Brush Tool Modes on page 326.

lAuto Flatten: W hen this option is selected, saves the specified Auto-Flatten state to
the tool preset. W hen deselected, the current Auto-Flatten state is unchanged w hen
the tool preset is clicked—see About the Brush Tool Modes on page 326.

9. Click OK.

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Chapter 7: Draw ing

Updating Tool Presets
T-SBADV-005-008
As you w ork w ith a tool preset, you may need to fine-tune and update its parameters until it is exactly w hat
you w ant.

How to update a tool preset
1. In the Tool Properties view , update the tool settings.
2. In the Tool Presets toolbar, click the Manage Tool Presets

button.

3. In the Manage Tool Presets dialog box, select the tool preset from the list.
4. Update the additional parameters such as the icon, Colour, Layer and Draw Behind options.
5. Click Update.
6. Click OK.

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Storyboard Pro 22 User Guide

Deleting Tool Presets
T-SBADV-005-009
If you no longer need a tool preset, you can delete it.

How to delete a tool preset
1. In the Tool Presets toolbar, click the Manage Tool Presets

button.

2. From the list of tool presets on the left, select a preset to delete and click the Trash icon.

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Chapter 7: Draw ing

Importing and Exporting Tool Presets
T-SBADV-005-010
If there are tool presets created by other Storyboard Pro artists you w ant to use, you can import them to use inyour projects. You can also export your tool presets for other artists to use.

How to import a tool preset
1. In the Tool Presets toolbar, click the Manage Tool Presets

button.

The Manage Tool Presets dialog box opens.
2. Click Import.
3. In the Import Brush Presets w indow that opens, locate and select the preset(s) to import and clickOpen.

How to export a tool preset
1. In the Tool Presets toolbar, click the Manage Tool Presets

button.

The Manage Tool Presets dialog box opens.
2. Click Export.
3. In the Export Brush Presets w indow that opens, select the preset(s) to export and click Export.
4. Give the exported preset(s) a name and click Save.

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Storyboard Pro 22 User Guide

Locking the Tool Preset Layer Selection
T-SBADV-005-011
It is possible to assign a tool preset to a specific layer. W hen the preset is selected, it w ill verify if the layer
exists. If so, the layer w ill be selected and if not, it w ill be created.
W hen sw itching panels, by default Storyboard Prolooks for a layer w ith the same name as the one currently
selected. If it does not exist, the first layer w ill be selected. To prevent Storyboard Pro from selecting a random
layer, you can activate the Enable Brush Preset Layer Selection Lock option. This w ay, Storyboard Pro
prevents you from draw ing in the next panel unless you create the missing layer. Click on the preset again tocreate the missing layer.

How to enable the Enable Brush Preset Layer Selection Lock option
1. Open the Preferences dialog box:l

W indows: Select Edit > Preferences or press Ctrl + U.

lmacOS: Select Storyboard Pro 22 > Preferences or press⌘ + ,.

2. Select the General tab.
3. In the Layers section, select the Enable Brush Preset Layer Selection Lock option.

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Chapter 7: Draw ing

About Drawing Space Navigation
W hen you are draw ing in the Stage view , you can zoom, pan and rotate the view to make it easier to determine
w here to place objects, determine the scale of objects, and w hen zooming out, get an overall view of the panel
and its contents.

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Storyboard Pro 22 User Guide

Zooming the Stage View
Zooming in and out of the Stage view lets you see elements close up and far aw ay.

How to zoom the Stage viewl

From the Tools toolbar, select the Zoom

tool. Click the Stage view to zoom in. Press [Alt] tozoom out.
lZoom In: Select View > Zoom In or press 2. W hen the Zoom In mode is selected, hold [Alt] as you
click to zoom out.

lZoom Out: Select View > Zoom Out or press 1.

How to reset zoomlSelect View > Reset Zoom or press Shift + Z.

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Chapter 7: Draw ing

Panning the Stage View
Using the Hand tool, you can pan the Stage view .

How to pan the Stage view
1. Do one of the follow ing:‣

In the Tools toolbar, click the Hand‣

Hold dow n the Spacebar.

‣

Select Tools > Hand.

tool.

2. In the Stage view , drag the cursor.

How to reset panlSelect View > Reset Pan or press Shift + N.

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Storyboard Pro 22 User Guide

Rotating the Stage View
You can rotate the Stage view in the same w ay as you w ould w ith an actual animation disc. You can also use
the menu options to rotate the Stage view in 30 degree increments.

How to rotate the drawing space
1. Do one of the follow ing:l

From the Tools toolbar, select the Rotate View tool.

l

Hold dow n Ctrl + Alt (W indow s) or ⌘ + Alt (macOS).

2. Drag the cursor in the Stage view to rotate the view .

How to rotate the drawing view in 30 degree incrementslSelect View > Rotate View CW (clockw ise) or press V.

lSelect View > Rotate View CCW (counterclockw ise) or press C.

How to reset rotationl

Select View > Reset Rotation or press Shift + X.

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Chapter 7: Draw ing

About Drawing Space Efficiency
T-SBADV-005-001
Draw ing can be time consuming and complicated if you don't take advantage of some of the time-savingfeatures in Storyboard Pro. It starts w ith turning on the grid to help you determine the size and placement ofobjects as you draw . For your draw ing tool, you can choose from a lasso or marquee type cursor.
W ith onion skinning, you can see the previous and next draw ings, w hich is handy for referring to for the size,
angle and position of the draw ing in the current panel.
The light table lets you preview the previous and subsequent active layers in light colours. This is really usefulfor seeing other layers w hen designing or cleaning up your storyboard.
You can also quickly sw ap betw een tw o draw ing tools by using keyboard shortcuts.
Everything you draw in Storyboard Pro is vector-based. W hen you draw in the Draw ing or Camera view ,notice that your lines may appear jagged. This is caused by the fast real-time display called OpenGL. If you
prefer to see smooth lines as you draw , you can enable the antialiasing preference.

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Storyboard Pro 22 User Guide

Displaying the Grid
T-SBADV-005-002

Using a grid is useful w hen positioning or draw ing objects and characters in a scene. Several different kinds ofthese grids and their grid options can be displayed in the Stage or Camera view s.
A grid can also be useful for creating balanced compositions for all your shots. By default, the Proportion Gridis divided into 3 vertical and 3 horizontal sections to create the classic rule of thirds composition grid. It can beused independently in either the Stage or Camera view s and follow s the Camera frame. Its divisions can becustomized in the Camera tab of the Preferences dialog—see .

How to display the grid
1. Do one of the follow ing:lClick the Gridbutton at the bottom of the Stage or Camera view .

lSelect View > Grid > Show Grid.

lPress Ctrl + G (W indow s) or ⌘ + G (macOS).

2. To choose a grid option, click and hold dow n the Gridbutton to display its sub menu or selectView > Grid and choose one of the follow ing options:
Tool Name

Description

Grid Outline Only

Displays only the contour of the grid.

Underlay

Displays the grid behind the draw ing elements.

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Chapter 7: Draw ing

Tool Name

Description

Overlay

Displays the grid over the draw ing elements.

12 Field Grid

Displays a 12x12 field grid. Each cell in the grid has an aspect ratio of 4:3.
This makes overall aspect ratio of the grid 4:3.

16 Field Grid

Displays a 16x16 field grid. Each cell in the grid has an aspect ratio of 4:3.
This makes overall aspect ratio of the grid 4:3.

16x12 Field Grid

Displays a 16x12 field grid. Each cell in the grid has an aspect ratio of 4:3.
This makes overall aspect ratio of the grid 16:9.

SquareDisplays a standard square grid.

W orld Grid

Displays a reference grid that remains the same size w hen you scale objects.
This is useful w hen creating elements in your draw ing and you need areference point.

How to display the Proportion Grid
1. Do one of the follow ing:lClick the Gridbutton at the bottom of the Stage or Camera view .

lSelect View > Extras > Show Proportion Grid.

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Using the Light Table
T-SBFND-008-005
The light table is used to preview the previous and subsequent active layers. It is useful to see the other layers
w hen designing or cleaning up your storyboard.
W hen the light table is activated, all layers apart from the currently selected one are show n in w ashed-out
colours in the Stage and Camera view s and w hen using the layer tools.

How to turn on the light table
1. Select View > Light Table.
The draw ings for the other layers are displayed as w ashed-out colours in the Stage view .

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Chapter 7: Draw ing

About Onion Skin
T-SBFND-008-013
Using Onion Skin, you can display the previous or next panels as semi-transparent overlays in the current
panel, to use them as references for your artw ork.

You can display the artw ork from one or several panels before and after the current panel, allow ing you to
decide how much of the artw ork surrounding the current panel to use as reference.

TIP
By default, previous draw ings appear in red and next draw ings appear in green. You can alsochange the colours in w hich the previous and next draw ings display in the Colours tab of thePreferences dialog. You can also configure the Onion Skin to display the actual colours of thedraw ings, or just their outlines, in the Camera tab of the Preferences dialog.

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Enabling the Onion Skin
T-SBFND-008-014
After enabling the Onion Skin, you can set the number of previous and next panels to view . You can set theonion skin to display up to three panels.

How to enable Onion Skin
1. Do one of the follow ing:l

In the Onion Skin toolbar, click the Onion Skinl

Press Alt+O (W indow s) or ⌘ +Alt+O (macOS).

l

Select View > Onion Skin > Show Onion Skin.

button.

By default, the Onion Skin for the previous panel w ill display in the Stage and Camera viewin red, and the Onion Skin for the next panel w ill display in green.

TIP
By default, previous draw ings appear in red and next draw ings appear in green.
You can also change the colours in w hich the previous and next draw ings
display in the Colours tab of the Preferences dialog. You can also configure theOnion Skin to display the actual colours of the draw ings, or just their outlines, in
the Camera tab of the Preferences dialog.

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Chapter 7: Draw ing

Setting the Amount of Neighbouring Panels to Include in Onion Skin
W hen you enable Onion Skin, by default, only the previous and next panels w ill be included in the Onion Skin.
You can how ever include up to three previous panels and up to three next panels in the Onion Skin.
The amount of previous panels and next panels to include in the Onion Skin w ork independently. For example,
you can display 1 previous panel and 3 next panels in the Onion Skin simultaneously.

NOTE
You can change the maximum amount of panels to include in the Onion Skin in the Camera Tab of
the Preferences dialog.

How to set the number of previous panels to include in the Onion Skin
1. In the Onion Skin toolbar, click the Show Previous button and select one of the follow ing:l

No Previous PanelslPrevious PanellPrevious Tw o PanelslPrevious Three Panels

The previous panel(s) appear in the Stage and Camera view s, in a w ashed out red.

NOTE
You can also select View > Onion Skin to access these options.

How to set the number of next panels to include in the Onion Skin
1. In the Onion Skin toolbar, click the Show Next button and select one of the follow ing:l

No Next Panelsl

Next Panell

Next Tw o Panelsl

Next Three Panels

The previous panel(s) appear in the Stage and Camera view s, in a w ashed out green.

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NOTE
You can also select View > Onion Skin to access these options.

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Chapter 7: Draw ing

Enabling Onion Skin for the Current Layer Only
If your panels contain several layers, you may w ant to only see the Onion Skin for a specific layer at a time, andignore all other layers. In Storyboard Pro, you can set up the onion skin to only include artw ork for thecurrently selected layer.
Since layers are different for each panel, and Onion Skin displays the artw ork in surrounding panels,
Storyboard Pro identifies w hich layers match the currently selected layer in the current panel by name. Hence,
to be able to use this option, your layers must have consistent names across panels. For example, if you only
w ant to display the Onion Skin for a specific character, the layer on w hich that character is draw n should havethe same name across the panels in your storyboard, so it could be named after the character's name. Or, you
could decide that the main action is alw ays draw n on a layer named A in every panel.

NOTE
Background layers are not displayed in the onion skin, even if the currently selected layer is abackground layer.

How to enable Onion Skin for the current layer only and exclude other layers
1. In the layer panel of the Stage or Camera view or in the Layers view , select the layer or layers
w hich you w ant to include in the Onion Skin.
2. Do one of the follow ing:l

In the Onion Skin toolbar, click on the Toggle Selected Layers Only

button.

l

In the top menu, select View > Onion Skin > Show Only the Selected Layers.

The Onion Skin w ill now only include artw ork from previous and next panels that are in layers thathave the same name as the currently selected layer(s).

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TIP
If you have selected multiple layers, every layer in the selection w ill be included in theOnion Skin. W hen using a draw ing tool on a selection of multiple layers, you are
draw ing on the first layer that w as added to the selection, w hich w ill display in a lighter
shade of cyan in the layer list. Hence, you can use this option w ith a selection ofmultiple layers, as long as you select the layer you w ish to draw on first.

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Excluding Layers from the Onion Skin
Sometimes, you may not w ant to see certain layers of certain panels in the Onion Skin. In order to exclude
layers from the Onion Skin, you can set those layers as Background layers.
W hen you create a panel, it contains tw o layers: A BG layer and an A layer. The BG layer is already set to be abackground layer by default, w hich means it w ill not be included in the Onion Skin. At any time, you canchoose w hich layers in a panel are actually considered background layers or not. All layers that are set to be
background layers w ill be excluded from the Onion Skin.

NOTE
To set layers as background layers only affects w hether or not they appear in the Onion Skin.
Hence, setting layers that are not really background draw ings as background layers w ill have noadverse effect on your storyboard.

How to mark a layer as a background layer
1. In the Onion Skin toolbar, click on Toggle Onion Skin
The Toggle Background Layerto enable Onion Skin.

icon appears in the bottom-left corner of each layer in the layer

list. The BG layer that w as automatically created w ith the panel w ill already be a background layer.

2. Click on the Toggle Background Layer

icon of a layer you w ish to mark as a background layer.

Layers that are set to be backgrounds w ill NOT be included in the Onion Skin.

How to mark multiple layers as background layers
1. In the Onion Skin toolbar, click on Toggle Onion Skin
The Toggle Background Layerto enable Onion Skin.

icon appears in the bottom-left corner of each layer in the layer

list. The BG layer that w as automatically created w ith the panel w ill already be a background layer.

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Storyboard Pro 22 User Guide

2. Select several noncontinuous layers by pressing Ctrl (W indow s) or ⌘ (macOS) and clicking oneach layer you w ant to select. To select a continuous range of layers, click on a layer at the start of
the range, then Shift + click the last layer in the range.
3. In the top menu, select Layer > Toggle Background Layers.
Layers that are set to be backgrounds w ill NOT be included in the Onion Skin.

How to mark all layers except one as background layers
1. In the Onion Skin toolbar, click on Toggle Onion Skin
The Toggle Background Layerto enable Onion Skin.

icon appears in the bottom-left corner of each layer in the layer

list. The BG layer that w as automatically created w ith the panel w ill already be a background layer.

2. Alt +click on the Toggle Background Layer

icon on the single layer that you w ish to keep visible

in the Onion Skin.
All other layers are now marked as background layers. To revert all layers back, simply Alt + click
again on the only layer visible in the Onion Skin.

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Chapter 7: Draw ing

Flipping Through Onion Skin- Enabled Panels
T-SBFND-008-015
Using the Onion Skin toolbar, you can quickly flip through the draw ings that are currently included in theOnion Skin, allow ing you to get an idea of how they w ill look during playback.

How to flip through onion- skinned drawings
1. In the Onion Skin toolbar, do one of the follow ing:lDrag the Flip Slider tow ards the left to see the previous panels included in the Onion
Skin or tow ards the right to see the next panels included in the Onion Skin.

l

Click and hold the Flip Forw ard

button to flip through all the panels included in

the Onion Skin at an even pace.

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Selecting Specific Panels to Include in Onion Skin
Using the Expand Onion Skin dialog, you can manually select w hich panels in the range of previous panels andw hich panels in the range of next panels to include in the Onion Skin. This method is a bit more complicated,but much more flexible, as only the panels you specifically choose to include in the Onion Skin w ill be
included, and not every panel in-betw een.

How to add more panels or only include specific panels in the Onion Skin
1. In the Onion Skin toolbar, click the Expand Onion Skinbutton.

The Expand Onion Skin dialog appears.

2. In the Expand Onion Skin dialog, click on the corresponding button for each panel that you w ant toinclude in the Onion Skin. For example, if you w ant to include the first and third previous panels andthe second next panels, click on 1 and 3 in the left section and on 2 in the right section.
3. If you w ant to exclude a panel you already inclued, click on the button again to remove it from theOnion Skin.
4. W ithout closing the Expand Onion Skin dialog, move it out of the w ay of your draw ing space andresume draw ing.
5. Once you are done using the expanded Onion Skin, close the Expand Onion Skin dialog. The Onion
Skin w ill return to its normal settings.

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About Quick Swap Shortcut
T-SBADV-005-003
Overriding one tool w ith another lets you increase productivity by rapidly sw itching betw een tools used forshort tasks and your previous tool. Most draw ing tool shortcuts are accessed using the Alt key follow ed byanother key, such as the Eraser tool w hich is accessed by pressing Alt + E.
For example, if you are draw ing w ith the Brush tool and need to briefly sw itch to the Eraser before continuing,hold dow n the E key w hile you are erasing. W hen you are done, release the E key to return to the previous
tool; in this case, the Brush tool. You can do the same for most draw ing tools that have a shortcut composed of
Alt follow ed by another key.

For a list of keyboard shortcuts, refer to one of the follow ing:•

Right-click on the Stage or Camera view to access the contextual menu.

•

From the top menu, select Tools.

•

Preferences dialog box, Shortcuts tab: Ctrl + U (W indow s) or ⌘ + , (macOS)•

Draw ing Tools Shortcuts

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Antialiasing OpenGL Lines
T-SBADV-005-004
Everything you draw in Storyboard Pro is vector-based. W hen you draw in the Draw ing or Camera view ,notice that your lines may appear jagged. This is caused by the fast real-time display called OpenGL. If you
prefer to see smooth lines as you draw , you can enable the antialiasing preference.

Full scene antialiasing is generated by your computer’s graphics card. This antialiasing w ill not only antialias
your draw ings, but all your different view s in the interface. Full scene antialiasing is an option you can turn on
or off; by default, it is disabled.
There is no need to modify your graphic card settings.

NOTE
Full Scene Antialiasing parameters are only valid w hile you w ork in your scene. The scene w ill berendered to 100% of its resolution regardless of your preference settings or graphic card panel.

How to customize the full scene antialiasing parameters

NOTE
You must restart Storyboard Pro after you change the parameters.

1. Do one of the follow ing:lSelect Edit > Preferences (W indow s) or Storyboard Pro 22 > Preferences (macOS).

l

Press Ctrl + U (W indow s/Linux) or ⌘ + U (macOS).

The Preferences dialog box opens.

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Chapter 7: Draw ing

2. In the Advanced tab, select the Enable option in the Full Scene Antialiasing section.

3. Number or samples: Enter the number of samples you w ant to be used for the antialiasing process.
The number of samples is basically equivalent to the amount of times a pixel w ill be enlarged to
calculate the antialiasing. This technique is called supersampling. The higher the number ofsamples, the better the antialiasing quality w ill be, but the longer it w ill take to calculate.
4. Restart Storyboard Pro.

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Storyboard Pro 22 User Guide

Changing the Drawing Tool Cursor
T-SBADV-005-005
By default, the Brush tool cursor is displayed as a crosshair. You can change it to display the shape of thecurrent brush size.

How to change the Brush tool cursor
1. Open the Preferences dialog box:‣

Select Edit > Preferences (W indow s) or Storyboard Pro 22> Preferences (macOS).

‣

Press Ctrl + U (W indow s) or ⌘ + , (macOS).

2. Select the Tools tab.
3. In the Draw ing section, select the Brush Size Cursor option.

4. Click OK.
The cursor displays the current brush size.

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Chapter 7: Draw ing

About Pen Stabilization
By default, w hen draw ing w ith freehand draw ing tools such as the brush, pencil or eraser tools, Storyboard
Pro smoothens each draw ing stroke you create right after creating it. It does this by generating the vector
shape of your draw ing stroke, then simplifying its structure of points and curves, to remove w hat appears tobe jittering. How ever, this can cause your precisely executed strokes to lose in precision and quality.
W hen draw ing w ith minutia and precision, you can use Storyboard Pro's pen stabilizer instead. The pen
stabilizer allow s you to easily draw curved lines w ith precision w ithout having to apply smoothing to themafter you have draw n them.
Storyboard Pro's pen stabilizer w orks by letting you draw a stroke of a certain length w ithout generating
artw ork right aw ay. Once your stroke reaches this length, Storyboard Pro starts generating an actual draw ing
stroke that trails behind your mouse cursor or tablet pen. It determines the direction the draw ing stroke takes
using one of the tw o follow ing methods, depending on w hich one you select:lAverage: Storyboard Pro calculates the average direction of all of your mouse or pen gestures betw een
the end of the actual draw ing stroke and the current position of your mouse cursor or pen tip, andextends the stroke in this average direction, effectively evening out jitter and rounding sharp turns.

lPulled String: W hen you start draw ing a stroke, Storyboard Pro positions the draw ing tool w here yourstroke starts. As you move the mouse or tablet pen, the draw ing tool remains in that position, but a"string" appears, linking your draw ing tool to your mouse cursor or pen tip.

This string has a certain maximum length. Once that length is reached, the string pulls the draw ing toolin the direction of your mouse cursor or tablet pen.

NOTE
The distance betw een your mouse cursor or tablet pen and the stroke can be adjusted. For
the purpose of demonstration, these images w ere done using the largest supported
distance.

Both methods allow you to cancel out the jittering and the small mistakes in your draw ing strokes as you
make them, rather than afterw ards. But the tw o methods feel different:492

Storyboard Pro 22 User Guidel

The Average method takes into account all your draw ing gestures. Therefore, if you jitter a lot w hiledraw ing, your strokes may jitter a little. It is also tricky to create sharp corners w ith this method.
How ever, this method tends to create very consistently smooth draw ing curves. Also, since it actuallyfollow s the gesture of your mouse or tablet pen, you might find that this method feels more naturalthan the Pulled String method.

l

The Pulled String method gives you more precise control, and can be used to make sharp corners w ith
the right technique, but may be harder to learn and to master. Your draw ing tool does not follow yourdraw ing strokes, it just gets pulled in the direction of your mouse cursor or tablet pen, w hich means thew ay your draw ing gestures translate into draw ing strokes is different than w hat you're used to.

You may need to do some trial and error to determine w hich method fits your draw ing style the best. You canalso customize the distance by w hich your draw ing stroke trails behind your mouse cursor or tablet pen. A
shorter distance w ill feel more natural, but a longer distance w ill stabilize your draw ing strokes more.
The Pen Stabilizer w orks w ith thetheBrush,

Pencil andEraser tool.

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Stamp tools. Optionally, it can also w ork w ithChapter 7: Draw ing

Using Drawing Tool Stabilization
You can enable and configure pen stabilization using the Pen Settings toolbar. You may have to do some trial
and error to find the settings that w ork for you and to get used to draw ing w ith the stabilizer.

NOTE
For more information on the Pen Settings toolbar,refer to the Reference Guide.

How to configure drawing tool stabilization
1. Add the Pen Settings toolbar to your w orkspace by doing one of the follow ing:l

In the top menu, select W indows > Toolbars > Pen Settings.

lRight-click on any existing toolbar and, in the context menu, select Pen Settings.

2. In the drop-dow n to the left of the toolbar, select one of the follow ing Pen Stabilizer modes:lAverage: Storyboard Pro calculates the average direction of all of your mouse or pen
gestures betw een the end of the actual draw ing stroke and the current position of yourmouse cursor or pen tip, and extends the stroke in this average direction, effectively eveningout jitter and rounding sharp turns.

lPulled String: W hen you start draw ing a stroke, Storyboard Pro positions the draw ing tool
w here your stroke starts. As you move the mouse or tablet pen, the draw ing tool remains inthat position, but a "string" appears, linking your draw ing tool to your mouse cursor or pen
tip.

This string has a certain maximum length. Once that length is reached, the string pulls thedraw ing tool in the direction of your mouse cursor or tablet pen.

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Storyboard Pro 22 User Guide

3. In the field just right of the drop-dow n, select the stabilizer distance you w ant to use. You can entera number betw een 0 and 100. You can also click and drag on theleft-right button right of thetext field to adjust its value.

NOTES
l

This sets the distance by w hich your draw ing tool trails behind your mouse cursor ortablet pen. The higher the distance, the more stabilized your draw ing motions w illbe, but the harder it w ill be to draw sharp corners and precise shapes.

l

For casual draw ing, it is recommended to try values ranging betw een 5 and 20 at
first. Higher values are more useful for draw ing w ith a lot of minutia.

4. Click on thelStabilizer Settings button and:If you selected the Average method and you w ant your draw ing strokes to catch up w ith
your tablet pen w hen you hold the pen tip against your tablet w ithout moving it, make sure
the Catch Up option is checked. Otherw ise, uncheck it.

NOTEStabilization makes your draw ing stroke trail behind as you move your mouse
cursor or tablet pen tip. This option makes your stroke catch up to your tablet
pen w hen you hold it against the tablet w ithout moving. This option only w orks
w hen draw ing w ith a tablet pen.

l

If you selected the Pulled String method and you w ant the virtual string betw een yourmouse cursor or pen tip and your draw ing tool to display, make sure the Show String option
is checked. Otherw ise, uncheck it.

l

If you w ant to use the pen stabilizer w ith the Eraser tool, make sure the Eraser option ischecked. Otherw ise, uncheck it.

5. Try to draw in the Stage or Camera view to test how your settings w ork out, and make adjustments
as needed until you have the configuration that w orks best for you.
6. W hen you w ant to disable pen stabilization, open the stabilization drop-dow n in the Pen Settings
toolbar and select Stabilizer Off.

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Chapter 7: Draw ing

About Pen Pressure Curve Customization
W hen you use a pressure-sensitive tablet w ith the Brush, Eraser, Pencil and Stamp tools, Storyboard Pro
takes the amount of pressure you put on your tablet pen in account as you draw . It uses this information todetermine the thickness of your draw ing stroke. For example, w hile using the Brush tool, the harder you press
on you tablet pen, the bigger your brush strokes w ill be, and vice versa.
To determine the thickness of your draw ing strokes, it uses your draw ing tool's Minimum Size and Maximum
Size parameters, w hich can be set in the Tool Properties view . The thickness of your draw ing stroke is alw ays
going to vary betw een those tw o parameters, based on how much pressure you put on your tablet pen.
By default, the size of your draw ing strokes is directly proportional to the amount of pressure you put on yourpen. It is calculated using this simple formula:This means that if you apply 25% of the pressure your tablet pen can detect, the thickness of your draw ing
strokes w ill be 25% of the w ay betw een your tool's minimum size and its maximum size. Likew ise, if you apply
75% of the pressure your tablet pen can detect, the thickness of your draw ing stroke w ill be 75% of the w ay
betw een your tool's minimum size and its maximum size.
Storyboard Pro allow s you to customize the w ay it processes the pressure you put on your tablet pen into thethickness of your draw ing strokes. You can do this by tw eaking the pressure curve in the Pen Pressure Feeldialog.

Depending on how you hold and use your tablet pen, this may allow you to have better control over the
thickness of your draw ing strokes. For example, if you tend to put a lot of pressure on your pen, you may w ant
Storyboard Pro to let you draw thinner lines unless you apply even more pressure than you usually do.
Likew ise, if you tend to put very little pressure on your pen, you may w ant Storyboard Pro to generate thicker
lines unless you apply even less pressure than you usually do.

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Storyboard Pro 22 User Guide

Customizing the Pen Pressure Curve
You can make adjustments to the curve used by Storyboard Pro to process the pressure from your tablet pen
via the Pen Pressure Feel dialog, w hich can be accessed from the Pen Settings toolbar.

NOTE
For more information on the Pen Pressure Feel dialog,refer to the Reference Guide.

How to customize the curve by which tablet pen pressure is applied to the size of yourdrawing tool
1. Add the Pen Settings toolbar to your w orkspace by doing one of the follow ing:l

In the top menu, select W indows > Toolbars > Pen Settings.

lRight-click on any existing toolbar and, in the context menu, select Pen Settings.

2. In the Pen Settings toolbar, click on the

Pen Pressure Feel button.

The Pen Pressure Feel dialog appears.

3. In the Tools toolbar, select either theBrush or the

Pencil tool.

NOTE
The pressure curve affects all tools that supports pressure-sensitivity, such as theBrush tool, thePencil tool, theshould use theBrush orEraser tool and theStamp tool. How ever, you

Pencil tool to test out your pressure settings.

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Chapter 7: Draw ing

4. Make sure that the minimum size of your draw ing tool is low enough and that its maximum size ishigh enough that you can clearly see how the pen pressure affects the thickness of your lines.

TIP
To do this, in the Tool Properties view , click on theShow Extended Properties button

to open the Brush or Pencil Properties dialog. Then, adjust the value of the Minimum
Size and the Maximum Size sliders.

5. If you w ant to be able to lightly brush the tip of your tablet pen against your tablet w ithout actually
draw ing, increase the value in the Min Pressure field.
6. If you don't w ant to have to press your tablet pen all the w ay dow n to draw in your draw ing tool's
maximum size, decrease the value in the Max Pressure field.
7. To try a curve preset select one in the Curve Preset field. This w ill instantly change the shape ofyour pressure curve.
8. To adjust the shape of the curve manually:l

Click and drag on theleftmost Bezier handle to change the shape of the curve from theleftmost point.
lClick and drag on therightmost Bezier handle to change the shape of the curve from therightmost point.
The follow ing is a list of examples of how you can adjust the curve, depending on the w ay you use
your tablet pen:l

If you make an ease-in curve like the one below , the size of your draw ing strokes w ill tend to
be closer to the minimum size of your draw ing tool, unless you apply a lot of pressure on
your tablet pen.

l

If you make an ease-out curve like the one below , the size of your draw ing strokes w ill tend
to be closer to the maximum size of your draw ing tool, unless you apply very little pressure498

Storyboard Pro 22 User Guide

on your tablet pen.

l

If you make an ease-in-ease-out curve like the one below , the size of your draw ing strokes
w ill tend to be closer to the minimum size of your draw ing tool w hen applying lightpressure, and to be closer to the maximum size of your draw ing tool w hen applying morepressure, but it w ill rarely be the median betw een the minimum and the maximum size.

l

If you make an ease-out-ease-in curve like the one below , the size of your draw ing strokes
w ill tend to be closer to median betw een the minimum and maximum size of your draw ing
tool, unless you apply very little or a lot of pressure on your tablet pen.

9. Test out how your new settings feel by draw ing strokes in the Stage or Camera view , and makeadjustments as needed until you have the configuration that w orks best for you.

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Chapter 7: Draw ing

About Alignment Guides
Alignment guides are horizontal and vertical rulers that you can add to a panel. You can position them
anyw here in your stage, and use them to help you align layers and artw ork as w ell as to draw along their axis.
Alignment guides can be used as visual aids, but you can also make your animation and draw ing tools snap tothem.
The follow ing tools can snap to alignment guides:lLayer Transforml

SelectlContour EditorlPerspective

l

Brush

l

Pencil

l

Stamp

l

Eraserl

RectanglelEllipselLine

W hen you manipulate elements w ith theLayer Transform tool and thenearby alignment guides. As for draw ing tools such as theBrush or the

Select tool, they w ill snap toPencil tool, they w ill snap toalignment guides if you draw close enough to them, allow ing you to draw straight lines along the guides.

NOTE
Alignment guides are added to a panel. Each panel in your project can have its ow n set ofalignment guides. It is not possible to copy alignment guides from one panel to another.

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Storyboard Pro 22 User Guide

Adding Alignment Guides
You can add horizontal or vertical alignment guides to your panel.

NOTE
W hen you add a guide, it is instantly positioned in the centre of your scene. You can move it w ith
theLayer Transform tool or the

Select tool.

How to access the Alignment Guides toolbar
1. Do one of the follow ing:l

In the top menu, select W indows > Toolbars > Alignment Guides.

lRight-click on any toolbar in your w orkspace and select Alignment Guides.

How to add an alignment guide
1. Do one of the follow ing:l

In the Alignment Guides toolbar, click

New Horizontal Alignment Guide or

New

Vertical Alignment Guide.
l

In the top menu, select View > Alignment Guides > New Horizontal Alignment Guide or
New Vertical Alignment Guide.

The guide is added to the centre of the stage.

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Chapter 7: Draw ing

Moving Alignment Guides
You can move alignment guides w ith theLayer Transform tool or the

Select tool.

NOTE
Guides cannot be moved if they are locked—see Locking and Unlocking Alignment Guides.

How to move an alignment guide
1. In the Tools toolbar, select theLayer Transform tool or the

Select tool.

2. Position your mouse cursor over the guide. The cursor w ill change to
3. Click and drag on the guide.

502.

Storyboard Pro 22 User Guide

Snapping to Alignment Guides
Alignment guides are not just visual aides. You can make theLayer Transform tool as w ell as various

draw ing tools snap against them.
The follow ing are tools that can snap against alignment guides:lLayer Transforml

SelectlContour EditorlPerspective

l

Brush

l

Pencil

l

Stamp

l

Eraserl

RectanglelEllipselLine

W hen you're using a tool that supports snapping, you can enable snapping by clicking on the

Snapping

button in the Tool Properties view . Some tools support several types of snapping other than snapping toalignment guides.

NOTE
W hen you enable or disable snapping to alignment guides, it is enabled or disabled for all toolsthat support it.

How to enable snapping to alignment guides
1. In the Tools toolbar, select the animation or the draw ing tool you w ant to use.
2. In the Tool Properties view , double-click

Snapping and, in the drop-dow n menu, select Snap to

Alignment Guides.
Snapping to alignment guides is now enabled for all tools that support it.

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Chapter 7: Draw ing

Locking and Unlocking Alignment Guides
By default, it is possible to move alignment guides w ith theLayer Transform tool and the

Select tool.

Once your guides are properly positioned, you can lock them in position so as to avoid moving them byaccident w hen manipulating elements in your panel.

How to lock or unlock alignment guides
1. Do one of the follow ing:l

In the Alignment Guides toolbar, click on the

Lock Alignment Guides button to toggle iton or off.
l

In the top menu, select View > Alignment Guides > Lock Alignment Guides to toggle theoption on or off.

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Storyboard Pro 22 User Guide

Hiding and Displaying Alignment Guides
It is possible to temporarily hide alignment guides if you don’t need them.

NOTES
l

W hen alignment guides are hidden, animation and draw ing tools do not snap to them.

lAdding an alignment guide automatically makes alignment guides visible.

How to hide or display alignment guides
1. Do one of the follow ing:l

In the Alignment Guides toolbar, click on theShow Alignment Guide button to toggle iton or off.
l

In the top menu, select View > Alignment Guides > Show Alignment Guides to toggle theoption on or off.

l

In the toolbar below the Camera View , click on theShow Alignment Guide button totoggle it on or off.

NOTE
This button is available in the toolbar below the Camera View , but not in the
toolbar below the Stage View .

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Chapter 7: Draw ing

Clearing Alignment Guides
You can instantly remove all alignment guides from the current panel. How ever, it is not possible to delete asingle alignment guide and keep all others.

NOTES
l

It is not possible to delete a single alignment guide and keep all others.

lClearing alignment guides only clears them in the current panel. Alignment guides in otherpanels are not affected.

How to clear all alignment guides
1. Do one of the follow ing:l

In the Alignment Guides toolbar, click

Clear Alignment Guides.

l

In the top menu, select View > Alignment Guides > Clear Alignment Guides.

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Storyboard Pro 22 User Guide

About Drawing Guides
T-SBADV-006-001
Draw ing guides are draw ing aids that you can add to your panel to help you draw backgrounds and objects
w ith straight lines, square angles and graphic projection effects such as isometric projection, straightperspective or curvilinear perspective. In traditional art, this is often done w ith tools such as rulers, T-squares,
set squares and vanishing points. Guides allow you to simulate the use of such tools in combination w ith thedraw ing tools in Storyboard Pro.
Storyboard Pro supports different types of draw ing guides, each designed for a different kind of draw ing task.
Most of Storyboard Pro's draw ing guides w ork by adding a horizon line and vanishing points to your draw ing
space. W hile using a draw ing guide, dotted guide lines appear through your mouse cursor. These guide lines
are either parallel or perpendicular to the horizon line, or are going from one of the guide's vanishing points toyour mouse cursor. W hen you start draw ing a stroke, your draw ing tool instantly becomes locked to one of theguide's axes, as if you w ere draw ing against a ruler. Optionally, you can use draw ing guides as mere visualreferences, w ithout locking your draw ing tool against their axes.
Storyboard Pro supports the follow ing types of draw ing guides:l

The Ruler allow s you to position and rotate a simple axis, then draw a line along that axis, like a regularruler.

l

The Square Grid helps you draw lines that are either parallel or perpendicular to a horizon line.

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Chapter 7: Draw ingl

The Isometric Perspective guide helps you draw lines that are parallel to one of three axes: The x-axis,
the y-axis and the z-axis. The angle of each axis can be customized as needed.
This type of pseudo-perspective, also referred to as parallel projection, is often used in 2D games,
computer graphics and schematics to depict 3D objects and environments w ithout using any actual
perspective, foreshortening or 3D rendering. In 2D animation, it is often used to draw long panningbackgrounds from a low or high angle.

l

The 1- Point Perspective guide helps you draw lines coming from a single vanishing point in the middleof the horizon. It also helps you draw lines that are either parallel or perpendicular to the horizon line.
This is useful for draw ing cuboid structures that are facing the camera.

l

The 2- Point Perspective guide helps you draw lines coming from one of tw o vanishing points, w hichare placed on the horizon line outside the camera field. It also helps you draw lines that areperpendicular to the horizon line.
This is useful for draw ing cuboid structures from a specific horizontal angle.

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Storyboard Pro 22 User Guidel

The 3- Point Perspective (Bird's Eye View) guide helps you draw lines coming from one of threevanishing points. Like w ith the 2-Point Perspective guide, tw o vanishing points are placed on thehorizon line, w hich are used to draw horizontal lines on either the x-axis or the z-axis. The othervanishing point is placed below the horizon line to help draw lines on the y-axis.
This is useful for draw ing cuboid structures from an elevated point of view .

l

The 3- Point Perspective (W orm's Eye View) guide helps you draw lines coming from one of threevanishing points. Like w ith the 2-Point Perspective guide, tw o vanishing points are placed on thehorizon line, w hich are used to draw horizontal lines on either the x-axis or the z-axis. The othervanishing point is placed above the horizon line to help draw lines on the y-axis.
This is useful for draw ing cuboid structures from a low point of view .

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Chapter 7: Draw ingl

The 3- Point Perspective (Horizontal Pan) guide helps you draw horizontally panoramic backgrounds,
w ith curvilinear horizontal lines. A vanishing point is placed in the middle of the horizon line, to help
draw lines on the z-axis, and tw o vanishing points are placed on the horizon line outside of the camera
field, to define the curve of the horizontal lines. Vertical lines are made perpendicular to the horizon line.
This is useful for draw ing backgrounds meant to be panned over horizontally. Panning the camera
horizontally over a background draw n w ith a 3-Point Perspective (Horizontal Pan) guide w ill simulate arotation of the camera on the y-axis.

l

The 3- Point Perspective (Vertical Pan) guide helps you draw vertically panoramic backgrounds, w ith
curvilinear vertical lines. A vanishing point is placed in the middle of the horizon line, to help draw lines
on the z-axis, and tw o vanishing points are placed above and below the horizon line, outside of thecamera field, to define the curve of the vertical lines. Horizontal lines are made parallel to the horizon
line.
This is useful for draw ing background meant to be panned over vertically. Panning the camera verticallyover a background draw n w ith a 3-Point Perspective (Vertical Pan) guide w ill simulate a verticalrotation of the camera on the x-axis.

510

Storyboard Pro 22 User Guidel

The 4- Point Continuous Perspective guide is very similar to the 3 Point Perspective (Horizontal Pan)
guide, except that it is designed to help draw full 360° panoramic backgrounds.
This guide uses 5 vanishing points. W hen draw ing a horizontal line, it is curved by arching over one ofthe vanishing points and reaching dow n to the tw o surrounding vanishing points. This creates aperspective effect w here each vanishing point represents one of the cardinal points, except that theleftmost and the rightmost points represent the same cardinal point, effectively creating a looping
background. Backgrounds made w ith the 4-Point Continuous Perspective guide can be looped
horizontally to simulate a full rotation of the camera on the y-axis.

l

The 4- Point Perspective (Vertical Pan) is a lot like the 2-Point Perspective guide, except that its
vertical lines are curvilinear, so it can be used to make vertically panning backgrounds. Tw o vanishingpoints are on the horizon line, outside of the camera field, to help draw lines on the x-axis and the zaxis, and tw o vanishing points are placed above and below the camera field to define the curve of thevertical lines.

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Chapter 7: Draw ing

This is useful for draw ing backgrounds meant to be panned over vertically, in w hich cuboid objects areseen from an angle.

l

The 5- Point Perspective (Fish Eye) guide helps you draw backgrounds that are curvilinear on both thex-axis and the y-axis. It has one central vanishing point on the horizon line, from w hich lines on the zaxis are draw n, tw o vanishing points at the extremities of its horizon line, to define the curve of thehorizontal lines, and tw o vanishing points above and below the horizon line, to define the curve of thevertical lines.
This guide can be used to draw backgrounds w ith a fisheye-style w ide angle lens effect. It can also be
used to draw backgrounds that are meant to be panned in various directions.

Guides are made to w ork w ith the follow ing tools. To avoid cluttering your draw ing space, they are only
visible w hen one of these tools is selected:

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Storyboard Pro 22 User Guide

l

Brush

l

Pencill

Line

To use a guide, you must add the Guides view to your w orkspace. Then, you can add the guide you w ish to use
to your panel's guides list. A new ly added guide w ill have its horizon line and vanishing points in preset
positions. You can rotate and reposition the horizon line as w ell as reposition the vanishing points to fit yourscene's needs. W hen using curvilinear perspective guides, you can also adjust the Beziers of the curves tomake them narrow er or w ider.
The Guides view allow s you to have as many guides as you w ant, and each one w ill preserve the adjustments
you make to it. In the Guides view , you can also select w hich guide you w ish to use, rename, delete andreorder guides as needed, as w ell as cut, copy, paste, export and import guides betw een different panels,
scenes or projects.

NOTES
l

Each panel has its ow n guide list, in w hich the guides you create and their parameters are
saved. Hence, you can create guides for a specific panel, w ork on another panel, then comeback to that panel later and reuse the same guides as you left them.

lW hen you create a new panel, the guides from the previous panel are copied over to the newpanel's guide list. How ever, w hen you create a new scene, its guide list is alw ays empty.

lChanges made to a guide or to the guide list can be undone w ith the Undo command.

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Chapter 7: Draw ing

Adding Drawing Guides
T-SBADV-006-002
The first step in using draw ing guides is to add a guide to the current panel's guides list.

How to add a drawing guide to the current panel
1. In the Tools toolbar, select either theBrush,

Pencil orLine tool.

NOTE
Draw ing guides are only visible in the Stage or Camera view w hen one of these tools is
selected.

2. Add the Guide view to your w orkspace by doing one of the follow ing:l

In the top-right corner of any view in your w orkspace, click on the

Add View button andselect Guides.
l

In the top menu, select W indows > Guides.

3. In the Guides view , click on the

New Guide button and choose one of the follow ing types ofguides:
l

Ruler

l

Square Gridl

Isometric Perspectivel

1-Point Perspectivel2-Point Perspective

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Storyboard Pro 22 User Guidel

3-Point Perspective (Bird’s-Eye View )l3-Point Perspective (W orm’s-Eye View )l3-Point Perspective (Horizontal Pan)l3-Point Perspective (Vertical Pan)l4-Point Continuous Perspectivel

4-Point Perspective (Vertical Pan)l5-Point Perspective (Fisheye)

NOTE
For information on each kind of guide in the list, see About Draw ing Guides on page507

The new guide appears in the guides list.

NOTES
l

Adding a guide automatically toggles thetoggles the

Enable Guides option on, and automatically

Lock Guides option off, so that you can immediately view and adjust yournew guide.
lYour new guide w ill come in a preset position w ith preset parameters. To makeadjustments to your guide, see Editing Draw ing Guides on page 520.

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Chapter 7: Draw ing

Selecting the Active Drawing Guide
A panel can have several guides in its guides list, but you can only see, edit and use one guide at a time. You
can decide w hich guide you're w orking w ith by selecting it from the guides list. The selected guide w ill display
in your draw ing space.
W hen a guide is active, its horizon line, vanishing points and other visual elements w ill display in your draw ing
space. Also, dotted lines w ill follow your mouse cursor w hen you move it inside your draw ing space. Each ofthese lines represents one of the axes of your draw ing guide.

NOTE
Although you can select the active guide at any time, a guide w ill only be visible, editable andusable if either theBrush,

Pencil orLine tool is selected.

How to select the active guide from the guides list
1. In the Guides view , click on the desired guide in the guides list

The selected guide w ill become active in the Stage and Camera view s.

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Storyboard Pro 22 User Guide

NOTE
If guides are disabled, clicking on a guide in the guides list w ill enable them.

How to quickly switch between guides using keyboard shortcuts
1. Click on the tab for the Stage or Camera view to set the focus on that view .
2. Press the Up Arrow or Dow n Arrow key to select the previous or next guide in the list.

NOTE
Using the Up Arrow or Dow n Arrow to select a guide w ill only w ork if guides are alreadyenabled.

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Chapter 7: Draw ing

Renaming Drawing Guides
W hen adding a guide, it is automatically named after its guide type. Since you can have several guides of thesame type in the same guides list, you might need to rename your guides to be able to easily differentiate
them.

NOTE
It is not required to give a unique name to each guide in the guides list.

How to rename a guide using the Guide Menu
1. In the Guides view , select a guide from the list.

2. Click on the

Menu button and select Rename Guide.

The Rename Guide dialog box appears.

3. In the Rename Guide: field, type in a new name for the selected guide.
4. Click on OK.

How to rename a guide using the Guide List
1. In the Guides view , double-click on a guide displayed in the list.
The guide's name turns into a text input field.

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Storyboard Pro 22 User Guide

2. In the text field, type in the new name for the guide.
3. Press Enter/Return.

519

Chapter 7: Draw ing

Editing Drawing Guides
T-SBADV-006-005
After a guide is added, it is configured w ith a preset position and angle for its horizon line, a preset position for
its vanishing points, a preset size and, if applicable, preset Bezier curves. In many cases, you have to makeadjustments to your guide so that you can use it to draw backgrounds and objects from the right point of view .
Different guides can be customized in different w ays. This sections provides steps on how to customize eachtype of guide.

NOTES
l

You can view a guide and make changes to it directly in the Stage or Camera view w hen the
Brush,

Pencil orLine tool is selected.

l

W hen you make a change to a guide, you can undo that change w ith the Undo command.

l

Changes made to guides are saved to your project.

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Storyboard Pro 22 User Guide

Adjusting a Ruler Drawing Guide
The Ruler guide is simply a ruler. It has a single axis that you can position and rotate. You can draw along thisaxis as if you w ere draw ing against a ruler.

NOTE
To add a Ruler guide to your panel, see Adding Draw ing Guides.

How to adjust a Ruler guide
1. In the Tools toolbar, select either theBrush,

Pencil orLine tool.

NOTE
Draw ing guides are only visible in the Stage or Camera view w hen one of these tools is
selected.

2. In the Guides view , make sure that the
3. In the guides list, select the

Enable Guides option button is toggled on.

Ruler guide that you w ish to make adjustments to.

The guide appears in the Stage or Camera view .

4. Do one of the follow ing:l

To reposition the guide w ithout rotating it, click and drag on its offset handle.

TIP
You can press and hold the Shift key to only move the guide horizontally or
vertically relative to the camera angle.

521

Chapter 7: Draw ingl

To rotate the guide, click and drag on one of its rotation handles . It w ill rotate around the
opposite rotation handle.

TIPSl

You can press and hold the Shift key to make the angle of the ruler snap to
the nearest multiple of 15°.

l

You can press and hold the Alt key to make the guide rotate around its
centre.

l

W hen rotating a guide, its angle displays in the top-left corner of the Stageor Camera view .

5. Once you are done making adjustments to the guide, you can click on the

Lock Guides button in

the Guides view so as to avoid accidentally modifying your guide w hile draw ing.

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Storyboard Pro 22 User Guide

Adjusting a Square Grid Drawing Guide
The Square Grid guide helps you draw lines that are either parallel or perpendicular to the horizon line. You
can customize it by repositioning and rotating its horizon line.

NOTE
To add a Square Grid guide to your panel, see Adding Draw ing Guides.

How to adjust a Square Grid guide
1. In the Tools toolbar, select either theBrush,

Pencil orLine tool.

NOTE
Draw ing guides are only visible in the Stage or Camera view w hen one of these tools is
selected.

2. In the Guides view , make sure that the
3. In the guides list, select the

Enable Guides option button is toggled on.

Square Grid guide that you w ish to make adjustments to.

The selected guide appears in the Stage or Camera view .

TIP
To see the parallel and perpendicular reference lines, click on theShow ReferenceLines option button in the Guides view .

4. Do one of the follow ing:l

To reposition the guide w ithout rotating it, click and drag on its offset handle .

l

To rotate the guide, click and drag on its horizon line.

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Chapter 7: Draw ing

TIPSl

W hen the mouse is positioned over the horizon line, the mouse cursor w illchange tolto indicate that you are about to rotate the guide.

W hen rotating a guide, its angle displays in the top-left corner of the Stageor Camera view .

5. Once you are done making adjustments to the guide, you can click on the

Lock Guides button in

the Guides view so as to avoid accidentally modifying your guide w hile draw ing.

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Storyboard Pro 22 User Guide

Adjusting an Isometric Perspective Drawing Guide
The Isometric Perspective guide helps you draw lines that are parallel to one of three axes: the x-axis, the yaxis and the z-axis. By default, the z-axis is at 26.565° from the horizon, the x-axis is at 153.435° from thehorizon, and the y-axis is at 90° from the horizon.

These specific angles are commonly used in video games and computer generated graphics, as lines in theseangles do not require antialiasing to be properly rendered in pixels. The angle of all three of these axes can be
adjusted independently as needed. For example:l

You can achieve "true" isometric perspective, w here the angle betw een each axis is equal, by setting theangle of the x-axis to -150° and the angle of the z-axis to -30°.

l

You can achieve cabinet-type oblique projection by setting the angle of the x-axis to -180°.

525

Chapter 7: Draw ingl

You can achieve military-type oblique projection by setting the angle of the x-axis to -135° and theangle of the z-axis to -45°.

NOTE
To add a Isometric Perspective guide to your panel, see Adding Draw ing Guides.

How to adjust an Isometric Perspective guide
1. In the Tools toolbar, select either theBrush,

Pencil orLine tool.

NOTE
Draw ing guides are only visible in the Stage or Camera view w hen one of these tools is
selected.

2. In the Guides view , make sure that the
3. In the guides list, select the

Enable Guides option button is toggled on.

Isometric Perspective guide that you w ish to make adjustments to.

The selected guide appears in the Stage or Camera view .

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Storyboard Pro 22 User Guide

TIP
To display the reference lines for the guide, click on theShow Reference Lines

option button on in the Guides view .

4. Do one of the follow ing:l

To reposition the guide, click and drag on the offset handle.

l

To adjust the angle of one of the axes, click and drag on the rotation handle

for that axis.

TIPSl

The angle of the axis you are adjusting w ill appear in the top-left corner of
the Stage or Camera view as you adjust it.

l

You can hold the Shift key w hile rotating one of the axes to make it snap to
the nearest angle that is a multiple of 5°. The x-axis and z-axis w ill also snap
to 26.565° and 153.435°, w hich are their default angles.

l

To adjust the angle of both horizontal axes, press and hold the Alt key, then click and dragon the rotation handle of either the x-axis or the z-axis.

TIP
This w ill set the angle of both the x-axis and the z-axis to the same value,
making your guide symmetrical.

l

To rotate the entire guide, press and hold the Alt key, then click and drag on the rotation
handle of the y-axis.

527

Chapter 7: Draw ing

Adjusting a 1- Point Perspective Drawing Guide
The 1-Point Perspective guide can help you draw backgrounds and objects w ith front-facing perspective. It
provides a horizon line and a single vanishing point. The height and angle of the horizon line as w ell as the
position of the vanishing point on the horizon line can be adjusted as needed.

NOTE
To add a 1-Point Perspective guide to your panel, see Adding Draw ing Guides.

How to adjust a 1- Point Perspective guide
1. In the Tools toolbar, select either theBrush,

Pencil orLine tool.

NOTE
Draw ing guides are only visible in the Stage or Camera view w hen one of these tools is
selected.

2. In the Guides view , make sure that the
3. In the guides list, select the

Enable Guides option button is toggled on.

1- Point Perspective guide that you w ish to make adjustments to.

The selected guide appears in the Stage or Camera view .

4. Do one of the follow ing:l

To reposition the guide w ithout rotating it, click and drag on its vanishing point .

l

To rotate the guide, click and drag on its horizon line.

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Storyboard Pro 22 User Guide

TIPSl

W hen the mouse is positioned over the horizon line, the mouse cursor w illchange tolto indicate that you are about to rotate the guide.

W hen rotating a guide, its angle displays in the top-left corner of the Stageor Camera view .

5. Once you are done making adjustments to the guide, you can click on the

Lock Guides button in

the Guides view so as to avoid accidentally modifying your guide w hile draw ing.

529

Chapter 7: Draw ing

Adjusting a 2- Points Perspective Drawing Guide
The 2-Points Perspective guide can help you draw backgrounds and objects seen from the ground, but at anangle. It provides a horizon line and tw o vanishing points, w hich are located outside of the camera field bydefault. The height and angle of the horizon line as w ell as the position of both vanishing points can be
adjusted as needed.

NOTE
To add a 2-Points Perspective guide to your panel, see Adding Draw ing Guides.

How to adjust a 2- Points Perspective guide
1. In the Tools toolbar, select either theBrush,

Pencil orLine tool.

NOTE
Draw ing guides are only visible in the Stage or Camera view w hen one of these tools is
selected.

2. In the Guides view , make sure that the
3. In the guides list, select the

Enable Guides option button is toggled on.

2- Points Perspective guide that you w ish to make adjustments to.

The selected guide appears in the Stage or Camera view .

NOTE
The vanishing points for this guide are far outside of the camera field by default. You
may need to zoom out in order to be able to see them.

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Storyboard Pro 22 User Guide

4. Do one of the follow ing:l

To move the horizon line along w ith the tw o vanishing points that are on it, click and drag on
the horizon line.

l

To rotate the horizon line, click and drag on one of the tw o vanishing points

and move it up

or dow n. This w ill rotate the horizon line around the opposite vanishing point.

TIPSl

You can press and hold the Shift key to make the angle of the horizon line
snap to the nearest multiple of 15°.

l

You can press and hold the Alt key to make the guide rotate around thecentre of its horizon line.

l

W hen rotating a guide, its angle displays in the top-left corner of the Stageor Camera view .

lTo reposition one of the vanishing points on the horizon line, click and drag on that vanishingpoint

and move it left or right.

TIP
You can press and hold the Alt key to make both points move simultaneously, sothat they are both at the same distance from the centre of the horizon line.

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Chapter 7: Draw ing

Adjusting a 3- Points Perspective (Bird's- Eye View) Drawing Guide
The 3-Points Perspective (Bird's-Eye View ) guide can help you draw backgrounds and objects w ith
perspective from an elevated point of view . It provides a horizon line, w hich is located just underneath thecamera field, and on w hich there are tw o vanishing points: one for draw ing lines on the x-axis and one fordraw ing lines on the z-axis. Another vanishing point, used to draw lines on the y-axis, is located far above thecamera field.
The height and angle of the horizon line, the position of its tw o vanishing points as w ell as the position of theupper vanishing point can be adjusted as needed.

NOTE
To add a 3-Points Perspective (Bird's-Eye View ) guide to your panel, see Adding Draw ing Guides.

How to adjust a 3- Points Perspective (Bird's- Eye View) guide
1. In the Tools toolbar, select either theBrush,

Pencil orLine tool.

NOTE
Draw ing guides are only visible in the Stage or Camera view w hen one of these tools is
selected.

2. In the Guides view , make sure that the
3. In the guides list, select the

Enable Guides option button is toggled on.

3- Points Perspective (Bird's- Eye View) guide that you w ish to

make adjustments to.
The selected guide appears in the Stage or Camera view .

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Storyboard Pro 22 User Guide

NOTE
The horizon line and vanishing points for this guide are far outside of the camera fieldby default. You may need to zoom out in order to be able to see them.

4. Do one of the follow ing:l

To move the horizon line along w ith the tw o vanishing points that are on it, click and drag on
the horizon line.

l

To rotate the horizon line, click and drag on one of the tw o vanishing points

on the horizon

line and move it up or dow n. This w ill rotate the horizon line around the opposite vanishingpoint.

TIPSl

You can press and hold the Shift key to make the angle of the horizon line
snap to the nearest multiple of 15°.

l

You can press and hold the Alt key to make the guide rotate around thecentre of its horizon line.

l

W hen rotating a guide, its angle displays in the top-left corner of the Stageor Camera view .

lTo reposition one of the vanishing points on the horizon line, click and drag on that vanishingpoint

and move it left or right.

TIP
You can press and hold the Alt key to make both points move simultaneously, sothat they are both at the same distance from the centre of the horizon line.

l

To reposition the bottom vanishing point, click and drag on that vanishing point .

TIPSl

You can press and hold the Alt key to position the point on the axis that isperpendicular to the horizon line and in the middle of its tw o vanishingpoints.

l

You can press and hold the Shift key to make the point only movehorizontally or vertically relative to the camera angle.

533

Chapter 7: Draw ing

Adjusting a 3- Points Perspective (W orm's Eye View) Drawing Guide
The 3-Points Perspective (W orm's-Eye View ) guide can help you draw backgrounds and objects w ith
perspective from an low point of view . It provides a horizon line, w hich is located just below the camera field,
and on w hich there are tw o vanishing points: one for draw ing lines on the x-axis and one for draw ing lines on
the z-axis. Another vanishing point, used to draw lines on the y-axis, is located far above the camera field.
The height and angle of the horizon line, the position of its tw o vanishing points as w ell as the position of thelow er vanishing point can be adjusted as needed.

NOTE
To add a 3-Points Perspective (W orm's-Eye View ) guide to your panel, see Adding Draw ing
Guides.

How to adjust a 3- Points Perspective (W orm's- Eye View) guide
1. In the Tools toolbar, select either theBrush,

Pencil orLine tool.

NOTE
Draw ing guides are only visible in the Stage or Camera view w hen one of these tools is
selected.

2. In the Guides view , make sure that the
3. In the guides list, select the

Enable Guides option button is toggled on.

3- Points Perspective (W orm's- Eye View) guide that you w ish to

make adjustments to.
The selected guide appears in the Stage or Camera view .

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Storyboard Pro 22 User Guide

NOTE
The horizon line and vanishing points for this guide are far outside of the camera fieldby default. You may need to zoom out in order to be able to see them.

4. Do one of the follow ing:l

To move the horizon line along w ith the tw o vanishing points that are on it, click and drag on
the horizon line.

l

To rotate the horizon line, click and drag on one of the tw o vanishing points

on the horizon

line and move it up or dow n. This w ill rotate the horizon line around the opposite vanishingpoint.

TIPSl

You can press and hold the Shift key to make the angle of the horizon line
snap to the nearest multiple of 15°.

l

You can press and hold the Alt key to make the guide rotate around thecentre of its horizon line.

l

W hen rotating a guide, its angle displays in the top-left corner of the Stageor Camera view .

lTo reposition one of the vanishing points on the horizon line, click and drag on that vanishingpoint

and move it left or right.

TIP
You can press and hold the Alt key to make both points move simultaneously, sothat they are both at the same distance from the centre of the horizon line.

l

To reposition the top vanishing point, click and drag on that vanishing point .

TIPSl

You can press and hold the Alt key to position the point on the axis that isperpendicular to the horizon line and in the middle of its tw o vanishingpoints.

l

You can press and hold the Shift key to make the point only movehorizontally or vertically relative to the camera angle.

535

Chapter 7: Draw ing

Adjusting a 3- Points Perspective (Horizontal Pan) Drawing Guide
The 3-Points Perspective (Horizontal Guide) helps you draw backgrounds and objects w ith front-facing
perspective and curvilinear horizontal lines. It provides a horizon line, a central vanishing point, used to drawlines on the z-axis, and tw o vanishing points at the extremities of the horizon line, used to draw curvilinear
horizontal lines.
The position and size of the guide, the height and angle of the horizon line, the distance of the outer vanishingpoints from the central vanishing point as w ell as the shape of the curves can be adjusted as needed.

NOTE
To add a 3-Points Perspective (Horizontal Pan) guide to your panel, see Adding Draw ing Guides.

How to adjust a 3- Points Perspective (Horizontal Pan) guide
1. In the Tools toolbar, select either theBrush,

Pencil orLine tool.

NOTE
Draw ing guides are only visible in the Stage or Camera view w hen one of these tools is
selected.

2. In the Guides view , make sure that the
3. In the guides list, select the

Enable Guides option button is toggled on.

3- Point Perspective (Horizontal Pan) guide that you w ish to makeadjustments to.
4. In the Guides view , make sure theShow Reference Lines option button is toggled on. This w ill

allow you to see how the adjustments you make to your guide affect its curves.

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Storyboard Pro 22 User Guide

5. Do one of the follow ing:l

To reposition the guide, click and drag on its central vanishing point .

l

To rotate the guide, click and drag on its horizon line.

TIPSl

W hen the mouse is positioned over the horizon line, the mouse cursor w illchange tolto indicate that you are about to rotate the guide.

W hen rotating a guide, its angle displays in the top-left corner of the Stageor Camera view .

lTo adjust the distance betw een the left and right vanishing points, click and drag on either
one of these points .

NOTES
l

The vanishing point at the other end w ill also move so as to keep both points
at the same distance from the central vanishing point.

lThis w ill stretch or squash the guide horizontally and make its curves w ideror narrow er.

l

To scale up the guide, press and hold Shift, then click and drag on either the left or rightvanishing points .

NOTE
If you previously adjusted the position of outer vanishing points relative to thecentral vanishing point, doing this w ill reset their position.

l

To skew the curves of the guide, click and drag on one of the green dotsin the top-rightcorner of the guide.

NOTE
These dots act as the Bezier handles of the outermost top-right curve, and affect
all the curves of the guide.

6. Once you are done making adjustments to the guide, you can click on the

Lock Guides button in

the Guides view so as to avoid accidentally modifying your guide w hile draw ing.

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Chapter 7: Draw ing

Adjusting the 3- Points Perspective (Vertical Pan) Drawing Guide
The 3-Points Perspective (Vertical Pan) Guide helps you draw backgrounds and objects w ith front facing
perspective and curvilinear vertical lines. It provides a horizon line, a central vanishing point, used to draw lines
on the z-axis, and tw o vanishing points above and below the horizon line, used to draw curvilinear verticallines.
The position and size of the guide, the height and angle of the horizon line, the distance of the outer vanishingpoints from the horizon line as w ell as the shape the curves can be adjusted as needed.

NOTE
To add a 3-Points Perspective (Vertical Pan) guide to your panel, see Adding Draw ing Guides.

How to adjust a 3- Points Perspective (Vertical Pan) guide
1. In the Tools toolbar, select either theBrush,

Pencil orLine tool.

NOTE
Draw ing guides are only visible in the Stage or Camera view w hen one of these tools is
selected.

2. In the Guides view , make sure that the
3. In the guides list, select the

Enable Guides option button is toggled on.

3- Point Perspective (Vertical Pan) guide that you w ish to makeadjustments to.
4. In the Guides view , make sure theShow Reference Lines option button is toggled on. This w ill

allow you to see how the adjustments you make to your guide affect its curves.

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Storyboard Pro 22 User Guide

5. Do one of the follow ing:l

To reposition the guide, click and drag on its central vanishing point .

l

To rotate the guide, click and drag on its horizon line.

TIPSl

W hen the mouse is positioned over the horizon line, the mouse cursor w illchange tolto indicate that you are about to rotate the guide.

W hen rotating a guide, its angle displays in the top-left corner of the Stageor Camera view .

lTo adjust the distance betw een the top and bottom vanishing points, click and drag on either
one of these points .

NOTES
l

The vanishing point at the other end w ill also move so as to keep both points
at the same distance from the central vanishing point.

lThis w ill stretch or squash the guide vertically and make its curves w ider or
narrow er.

l

To scale up the guide, press and hold Shift, then click and drag on either the top or bottom
vanishing points .

NOTE
If you previously adjusted the position of outer vanishing points relative to thecentral vanishing point, doing this w ill reset their position.

l

To skew the curves of the guide, click and drag on one of the red dotsin the bottom-rightcorner of the guide.

NOTE
These dots act as the Bezier handles of the outermost bottom-right curve, andaffect all the curves of the guide.

6. Once you are done making adjustments to the guide, you can click on the

Lock Guides button in

the Guides view so as to avoid accidentally modifying your guide w hile draw ing.

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Chapter 7: Draw ing

Adjusting a 4- Points Continuous Perspective Drawing Guide
The 4-Points Continuous Perspective helps you draw backgrounds w ith perspective and curvilinear horizontal
lines that span over up to four cardinal points, so as to make backgrounds that can be panned in a loop to
simulate a 360° camera rotation. It provides a horizon line w ith five vanishing points spread evenly along it.
Each vanishing point represents one cardinal point, except for the tw o vanishing points at the extremities,
w hich represent the same cardinal point, adding up to four cardinal points.
The size and position of the guide, the height and angle of the horizon line, the distance betw een the vanishingpoints as w ell as the shape of the curves can be adjusted as needed.

NOTE
To add a 4-Points Continuous Perspective guide to your panel, see Adding Draw ing Guides.

How to adjust a 4- Points Continuous Perspective guide
1. In the Tools toolbar, select either theBrush,

Pencil orLine tool.

NOTE
Draw ing guides are only visible in the Stage or Camera view w hen one of these tools is
selected.

2. In the Guides view , make sure that the
3. In the guides list, select the

Enable Guides option button is toggled on.

4- Point Continuous Perspective guide that you w ish to makeadjustments to.
4. In the Guides view , make sure theShow Reference Lines option button is toggled on. This w ill

allow you to see how the adjustments you make to your guide affect its curves.

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Storyboard Pro 22 User Guide

5. Do one of the follow ing:l

To reposition the guide, click and drag on its central vanishing point .

l

To rotate the guide, click and drag on its horizon line.

TIPSl

W hen the mouse is positioned over the horizon line, the mouse cursor w illchange tolto indicate that you are about to rotate the guide.

W hen rotating a guide, its angle displays in the top-left corner of the Stageor Camera view .

lTo adjust the distance betw een the vanishing points, click and drag on one of the tw o points
located left and right of the central vanishing point.

NOTES
l

All of the vanishing points on the horizon line w ill move so that they are at
the same distance from each other.

lThis w ill stretch or squash the guide horizontally and make its curves w ideror narrow er.

l

To scale up the guide, press and hold Shift, then click and drag on one of the tw o points
located left and right of the central vanishing point.

NOTE
If you previously adjusted the position of outer vanishing points relative to thecentral vanishing point, doing this w ill reset their position.

l

To skew the curves of the guide, click and drag on one of the green dotsin the top-rightcorner of the central part of the guide.

NOTE
These dots act as the Bezier handles of the outermost top-right curve, and affect
all the curves of the guide.

6. Once you are done making adjustments to the guide, you can click on the

Lock Guides button in

the Guides view so as to avoid accidentally modifying your guide w hile draw ing.

541

Chapter 7: Draw ing

Adjusting a 4- Points Perspective (Vertical Pan) Drawing Guide
The 4-Points Perspective (Vertical Pan) guide helps you draw backgrounds and objects w ith perspective froman angle w ith curvilinear vertical lines. It provides a horizon line on w hich there are tw o vanishing points, one
for draw ing lines on the x-axis and the other for draw ing lines on the z-axis. There are tw o more vanishingpoints above and below the horizon line, used to draw curvilinear vertical lines.
The position and size of the guide, the height and angle of the horizon line, the position of the tw o vanishingpoints on the horizon line, the distance of the top and bottom vanishing points from the horizon line as w ell as
the shape of the curves can be adjusted as needed.

NOTE
To add a 4-Points Perspective (Vertical Pan) guide to your panel, see Adding Draw ing Guides.

How to adjust a 4- Points Perspective (Vertical Pan) guide
1. In the Tools toolbar, select either theBrush,

Pencil orLine tool.

NOTE
Draw ing guides are only visible in the Stage or Camera view w hen one of these tools is
selected.

2. In the Guides view , make sure that the
3. In the guides list, select the

Enable Guides option button is toggled on.

4- Point Perspective (Vertical Pan) guide that you w ish to makeadjustments to.
4. In the Guides view , make sure theShow Reference Lines option button is toggled on. This w ill

allow you to see how the adjustments you make to your guide affect its curves.

542

Storyboard Pro 22 User Guide

NOTE
The vanishing points for this guide are far outside of the camera field by default. You
may need to zoom out in order to be able to see them.

5. Do one of the follow ing:l

To reposition the guide, click and drag on its central vanishing point .

l

To rotate the guide, click and drag on its horizon line.

TIPSl

W hen the mouse is positioned over the horizon line, the mouse cursor w illchange tolto indicate that you are about to rotate the guide.

W hen rotating a guide, its angle displays in the top-left corner of the Stageor Camera view .

lTo adjust the distance betw een either one of the left and right vanishing points and thecentral vanishing point, click and drag on one of these points .

TIP
You can press and hold the Alt key w hile dragging one of the outer vanishingpointsto make both vanishing points move and keep both points at the same

distance from the central vanishing point.

lTo adjust the distance betw een the top and bottom vanishing points, click and drag on either
one of these points .

NOTES
l

The vanishing point at the other end w ill also move so as to keep both points
at the same distance from the central vanishing point.

llThis w ill stretch or squash the guide and make its curves w ider or narrow er.

To scale up the guide, press and hold Shift, then click and drag on one of the four outervanishing points .

543

Chapter 7: Draw ing

NOTE
If you previously adjusted the position of outer vanishing points relative to thecentral vanishing point, doing this w ill reset their position.

l

To skew the curves of the guide, click and drag on one of the red dotsin the bottom-rightcorner of the guide.

NOTE
These dots act as the Bezier handles of the outermost bottom-right curve, andaffect all the curves of the guide.

6. Once you are done making adjustments to the guide, you can click on the

Lock Guides button in

the Guides view so as to avoid accidentally modifying your guide w hile draw ing.

544

Storyboard Pro 22 User Guide

Adjusting a 5- Points Perspective (Fisheye) Drawing Guide
The 5-Points Perspective (Fisheye) guide helps you draw backgrounds and objects w ith both horizontal andvertical curvilinear perspective. It provides a horizon line, a central vanishing point, used to draw lines on the zaxis, tw o vanishing points at the horizontal extremities, used to draw curvilinear horizontal lines, and tw ovanishing points at the vertical extremities, used to draw vertical lines.
The position, angle and size of the guide can be adjusted as needed.

NOTE
To add a 5-Points Perspective (Fisheye) guide to your panel, see Adding Draw ing Guides.

How to adjust a 5- Points Perspective (Fisheye) guide
1. In the Tools toolbar, select either theBrush,

Pencil orLine tool.

NOTE
Draw ing guides are only visible in the Stage or Camera view w hen one of these tools is
selected.

2. In the Guides view , make sure that the
3. In the guides list, select the

Enable Guides option button is toggled on.

5- Point Perspective (Fisheye) guide that you w ish to makeadjustments to.
4. In the Guides view , make sure theShow Reference Lines option button is toggled on. This w ill

allow you to see how the adjustments you make to your guide affect its curves.

5. Do one of the follow ing:l

To reposition the guide, click and drag on its central vanishing point .

l

To rotate the guide, click and drag on its horizon line.

545

Chapter 7: Draw ing

TIPSl

W hen the mouse is positioned over the horizon line, the mouse cursor w illchange tolto indicate that you are about to rotate the guide.

W hen rotating a guide, its angle displays in the top-left corner of the Stageor Camera view .

lTo scale up the guide, click and drag on one of the four outer vanishing points .

6. Once you are done making adjustments to the guide, you can click on the

Lock Guides button in

the Guides view so as to avoid accidentally modifying your guide w hile draw ing.

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Storyboard Pro 22 User Guide

Locking Guides to Prevent Editing Them
T-SBADV-006-008
W hen using a draw ing tool w ith a guide, you are also able to edit the guide's horizon line, vanishing points andother parameters by manipulating them in the Stage or Camera view . Hence, it is possible to make changes toyour guide by accident w hen draw ing too close to one of its visual elements. Once you are done making
adjustments to a guide, it is recommended to lock guides to be able to draw freely w ithout having to w orry
about making accidental changes to your guides.

How to prevent editing of Drawing Guides while drawing
1. Do one of the follow ing:l

In the Guides view , click on thelPress Shift + L.

Lock Guide button

NOTES
l

The Lock Guide option prevents editing all guides, not just the selected one.

l

W hen adding a new guide, the Lock Guide option is automatically toggled off to allow the
new guide to be edited immediately.

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Chapter 7: Draw ing

Drawing with Drawing Guides
T-SBADV-006-006
W hen guides are enabled and a guide is selected, you can use this guide to assist you in draw ing w ith
precision or perspective. The guide w ill display dotted lines going through your mouse cursor as you move it
inside the draw ing space. Each of these lines represents one of the axes of the selected guide.

W hen you start draw ing a stroke, your draw ing tool w ill automatically lock against the axis that most closely
matches the angle of your stroke, forcing you to draw a straight line along that axis, as if you w ere using aruler or a set square.

NOTES
l

Guides can only be used w ith thelIf theBrush,

Pencil orLine tool.

Align w ith Guide option in the Guides view is toggled off, your mouse cursor w ill not

lock against the axes in your guide.

How to draw using guides
1. In the Tools toolbar, select either theBrush,

Pencil orLine tool.

NOTE
Draw ing guides are only visible in the Stage or Camera view w hen one of these tools is
selected.

2. In the Guides view , select the guide you w ish to use.
3. To avoid editing your guide by accident w hile draw ing, make sure theLock Guides option is

toggled on—see Locking Guides to Prevent Editing Them on page 547.
4. If you w ant your draw ing strokes to be locked against the axes of your guide, make sure the
Align w ith Guide option of the Guides view if toggled on. Otherw ise, toggle it off to be able to draw

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Storyboard Pro 22 User Guide

freely and only use the guides as references—see Draw ing Freehand Perspective w ith Draw ing
Guides on page 551.
5. Move the mouse cursor around the draw ing space. Observe that guide lines are going through yourmouse cursor, one for each of the axes of the draw ing guide.

6. Start draw ing a stroke roughly at the same angle as one of the axes.
If theAlign w ith Guide option is enabled, the draw ing stroke aligns to the axis that is the closest

to its angle, as if you w ere draw ing against a ruler.

TIPSl

You can also manually select w hich axis to lock onto—see Locking Draw ing Strokes to aSpecific Axis.

l

W hether you're draw ing or not, you can lock the position and angle of the guide lines bypressing and holding the Alt key. The guide lines w ill stop follow ing the mouse cursor,
allow ing you to keep them at a specific angle and position. This can be used to draw overthe same line several times over so as to adjust its length and thickness.

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Chapter 7: Draw ing

Locking Drawing Strokes to a Specific Axis
T-SBADV-006-010
W hen using a draw ing guide w ith the

Align w ith Guide option enabled, your draw ing tool w ill

automatically lock against one of the axes of your guide. W hich axis it locks onto is the one that is the closest
to the angle of your stroke as you start draw ing.
If you w ant, you can manually select w hich axis to lock your draw ing tool against, so as to avoid accidentally
locking against the w rong axis.

How to lock your drawing tool to a specific axis
1. Set the focus to the Stage or Camera view , for example, by clicking on the view 's tab.
2. Press the Left Arrow or Right Arrow key repeatedly to cycle through your guide's axes. The
selected axis w ill be displayed in bold across your mouse cursor.

All your draw ing strokes w ill lock onto the selected axis.

How to re- enable using all axes
1. Press the Left Arrow or Right Arrow key repeatedly to cycle through your guide's axes, until noneof them are displayed in bold across your mouse cursor.

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Storyboard Pro 22 User Guide

Drawing Freehand Perspective with Drawing Guides
By default, w hen draw ing w ith a draw ing guide active, your mouse cursor w ill lock against one of your guide's
axes, forcing it to draw along the axis as if you w ere draw ing against a ruler.
If you w ant, you can disable this behaviour by turning off the

Align w ith Guide option, and only use yourdraw ing guide as a visual reference. This can be useful if you w ant to draw w ith less rigid draw ing style.
W hen the Align w ith Guide option is disabled:lYour draw ing tool w ill allow you to draw in any direction.

l

The guide w ill still be visible, but w ill only serve as a visual aid.

l

W hile draw ing, the dotted line representing the axis you are draw ing along w ill lock into place insteadof follow ing your mouse cursor, so that you can follow it as you draw .

How to draw freehand perspective
1. Do one of the follow ing:l

In the Guides view , click on the Align w ith Guidel

Press Shift + A.

2. Start draw ing.

551

button to toggle it off

Chapter 7: Draw ing

Viewing Drawing Guide Reference Lines
T-SBADV-006-007
By default, a guide w ill only display its horizon line and its vanishing points, as w ell as dotted lines going
through your mouse cursor to represent its axes.
To help you lay out objects in your draw ing, you can also enable reference lines. Reference lines are semitransparent lines displaying all over your draw ing space, representing your guide's axes at different angles or
distances.
W hen using reference lines, you can decide the amount of lines that display in your draw ing space. If you havetoo many reference lines, they w ill be very close to each other and your draw ing space might feel cluttered,but if you have too few , you might not alw ays have a reference line close enough to the stroke you w ish to
draw to help serve as a reference.

How to view Drawing Guide Reference lines
1. Do one of the follow ing:l

In the Guides view , click on thelPress Shift + G.

Show Reference Lines button to toggle it on.

The reference lines appear as a semi-transparent overlay all over your draw ing space.

2. In the Guides view , click and drag on the Number of Lines slider to adjust the amount of referencelines displayed in your draw ing space.

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Storyboard Pro 22 User Guide

Minimizing Guide Cursor Axes Display
By default, the guide axes that are draw n across your mouse cursor extend throughout your entire draw ing
space. You may w ant those axes to only extend to a short distance around your cursor, so that they can stillserve as guides w ithout obstructing your draw ing space or draw ing your eye aw ay from your mouse cursor.
You can do this by disabling theFull Cursor Display option, w hich is enabled by default.

W hen the Full Cursor Display option is disabled:l

The axis lines displaying across your mouse cursor only span on a short distance from your mouse
cursor.

l

W hen draw ing a stroke, all axis lines disappear until you finish draw ing the stroke. By default, only theaxis you are draw ing on disappears.

l

The actual axes used to lock your draw ing tool still extend across the entire draw ing space. This isstrictly a visual option.

How to minimize the Drawing Guide's cursor axes display
1. In the Guides view , toggle the Full Cursor Display

button off.

The guide axes now only span over a short distance from your mouse cursor.

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Chapter 7: Draw ing

Erasing Using Drawing Guides
By default, draw ing guides have no effect w hen using the Eraser tool. If you w ant, you can enable using theEraser tool w ith guides.

How to erase using a Drawing Guide
1. In the Guides view , click on the
The

Enable Guide w ith Eraser button to toggle it on.

Eraser tool w ill now w ork w ith the currently selected guide, just like thePencil andBrush,

Line tools.

2. Start erasing.

NOTE
W hen this option is enabled, it is also possible to make adjustments to your guide w hile theEraser too is selected.

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Storyboard Pro 22 User Guide

Enabling and Disabling Drawing Guides
T-SBADV-006-009
Once you are done w orking w ith guides, you can disable them. W hen draw ing guides are disabled, they are
not displayed in your draw ing space and do not affect the behaviour of your draw ing tools.

How to enable and disable drawing guides
1. To enable or disable Draw ing Guides, do one of the follow ing:l

In the Guides view , click on the Enable Guidel

Press G.

button.

NOTESlGuides are automatically enabled w hen you add a new guide or w hen you select a guide in
the guides list.

l

The guide that w as selected in your panel w hen you disabled guides w ill be selected again
w hen you re-enable guides.

lDraw ing guides only w ork w ith theBrush,

Pencil andLine tools tools. If any

other tool is selected, draw ing guides w ill behave as if they are disabled.

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Chapter 7: Draw ing

Reordering Drawing Guide Lists
The draw ing guides in your guides list can be reordered.

How to reorder a Drawing Guide list
1. In the Guides view , select one or multiple guides from the list.

TIPSl

You can select multiple guides by holding the Ctrl (W indow s) or ⌘ (macOS) key
and clicking on each guide you w ant to select.

l

You can select a series of guide by holding the Shift key, clicking on the first guide
you w ant to select, then clicking on the last guide you w ant to select. Every guidein-betw een w ill also be selected.

2. Drag and drop the selected guides to their desired position in the list.

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Storyboard Pro 22 User Guide

Cutting and Pasting Drawing Guides
You can cut a draw ing guide from your guides list and paste it into the guides list of another panel or project.

How to cut and paste drawing guides
1. In the Guides view , select one or multiple guides from the list.

TIPSl

You can select multiple guides by holding the Ctrl (W indow s) or ⌘ (macOS) key
and clicking on each guide you w ant to select.

l

You can select a series of guide by holding the Shift key, clicking on the first guide
you w ant to select, then clicking on the last guide you w ant to select. Every guidein-betw een w ill also be selected.

2. Do one of the follow ing:l

In the Guides view , click on the

Menu button and select Cut.

l

Press Ctrl + X (W indow s) or ⌘ + X (macOS).

The selected guides are deleted from the list and stored in the clipboard.
3. In the top menu, select File > Open and open a different Storyboard Pro scene.
4. In the Timeline or Thumbnail view , select the destination panel in the same project or in anotherproject.
5. In the Guides view , click on the guides list to set the focus on it. If the guides list already contains
guides, select the guide that w ill act as an insertion point.
6. Do one of the folliow ing:l

In the Guides view , click on the

Menu button and select Paste.

lPress Ctrl + V (W indow s) or ⌘ + V (macOS).

Draw ing Guides that w ere cut from the previous guides list are pasted in the current guides list.

NOTE
If you w ant to use the Cut, Copy and Paste keyboard shortcuts on guides, make sure the focus
is on the Guides view .

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Chapter 7: Draw ing

Copying & Pasting Drawing Guides
T-SBADV-006-004
You can copy draw ing guides from your guides list and paste them into the guides list of another panel orproject.

How to copy and paste drawing guides
1. In the Guides view , select one or multiple guides from the list.

TIPSl

You can select multiple guides by holding the Ctrl (W indow s) or ⌘ (macOS) key
and clicking on each guide you w ant to select.

l

You can select a series of guide by holding the Shift key, clicking on the first guide
you w ant to select, then clicking on the last guide you w ant to select. Every guidein-betw een w ill also be selected.

2. Do one of the follow ing:l

In the Guides view , click on the

Menu button and select Copy.

l

Press Ctrl + C (W indow s) or ⌘ + C (macOS).

3. In the Timeline or Thumbnail view , select the destination panel in the same project or in anotherproject.
4. In the Guides view , click on the guides list to set the focus on it. If the guides list already contains
guide, select a guide that w ill act as an insertion point.
5. Do one of the folliow ing:l

In the Guides view , click on the

Menu button and select Paste.

lPress Ctrl + V (W indow s) or ⌘ + V (macOS).

Draw ing Guides that w ere copied from the previous guides list are pasted in the current guides list.

NOTE
If you w ant to use the Cut, Copy and Paste keyboard shortcuts on guides, make sure the focus
is on the Guides view .

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Storyboard Pro 22 User Guide

Exporting and Importing Drawing Guides
You can export draw ing guides from the current panel into a file, then and import them into another panel.

How to export drawing guides to a file
1. In the Guides view , select one or multiple guides from the list.

TIPSl

You can select multiple guides by holding the Ctrl (W indow s) or ⌘ (macOS) key
and clicking on each guide you w ant to select.

l

You can select a series of guide by holding the Shift key, clicking on the first guide
you w ant to select, then clicking on the last guide you w ant to select. Every guidein-betw een w ill also be selected.

2. In the Guides view , click on the

Menu button and select Export Selected Guides.

3. In the Export Guides dialog box that appears, choose a destination folder, type in the name of thefile you w ant to export, then click on Save.
The selected guides are exported to the destination file. A confirmation dialog box displays theamount of guides that w ere exported.

How to import drawing guides
1. In the Timeline or Thumbnail view , select the destination panel.
2. In the Guides view , click on the

Menu button and select Import Guides.

3. In the Import Guides dialog box that appears, brow se to the folder in w hich you exported yourguides, select the file in w hich you exported your guides and click on Open.
The guides that w ere stored in the file are inserted at the bottom of the guides list. A confirmation
dialog box displays the amount of guides that w ere imported.

NOTE
W hen importing a list of guides, duplicate guides are filtered out to avoid cluttering the list.
The confirmation dialog box w ill specify if duplicates w ere detected and filtered out.

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Chapter 7: Draw ing

Deleting Drawing Guides
T-SBADV-006-003
You can delete draw ing guides from the guides list.

How to delete a Drawing Guide
1. In the Guides view , select one or multiple guides from the list.

TIPSl

You can select multiple guides by holding the Ctrl (W indow s) or ⌘ (macOS) key
and clicking on each guide you w ant to select.

l

You can select a series of guide by holding the Shift key, clicking on the first guide
you w ant to select, then clicking on the last guide you w ant to select. Every guidein-betw een w ill also be selected.

2. Do one of the follow ing:l

In the Guides view , click on the

Delete Guide buttonlPress Del (W indow s) or ⌫ (macOS).

The selected guided are deleted from the list.

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Storyboard Pro 22 User Guide

Automatically Filling Drawings with a Matte
T-SBFND-008-019
W hen sketching scenes in Storyboard Pro, you might find that the background sketch lines interfere w ith thesketch lines of the characters. To make the panels more legible, you can apply a solid colour behind thecharacter sketches.
The Generate Auto-Matte dialog box allow s you to quickly create a colour matte for any sketch isolated on agiven layer. The solid matte w ill obscure from view any background elements directly behind, giving thecharacter more prominence, legibility and a sense of behaving like a solid-real w orld object. The shape of thematte generated is based on the outlines of your artw ork, and w ill fill your draw ing even if there are gaps inthe sketch and even if the draw ing extends beyond the camera frame.
You can generate a matte on one or several layers in a single panel at a time.

How to fill drawing layers with a matte
1. In the layer panel or the Layers view , select the layers for w hich you w ant to generate a matte bydoing one of the follow ing:l

To select a single layer, simply click on it.

l

To select several non-contiguous layers, press and hold Ctrl (W indow s) or ⌘ (macOS) andclick on each layer you w ant to select.

l

To select several contiguous layers, press and hold Shift and click on the first layer you w ant
to select, then on the last layer you w ant to select.

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Chapter 7: Draw ing

2. If you w ant your matte to be filled w ith one of the colours in your colour palette, select the desired
colour in the Colour view. Otherw ise, you can also pick a colour for the matte later.
3. Do one of the follow ing:l

In the top menu, select Layer > Generate Auto- Matte.

lRight-click on the selected layer(s) and select Generate Auto- Matte.

The Generate Auto-Matte dialog appears.

4. If you w ant a precise matte or a matte for a small draw ing, reduce the Radius setting. If you w ant togenerate a very rough or approximate matte, increase the Radius setting.
5. If you w ant the matte to be filled w ith the currently selected colour, leave the Matte Colour setting
to Current. Otherw ise, set it to Custom, then click on the colour sw atch to the right to open a colour
picker dialog and select a colour for your matte.
6. If you w ant the matte to be generated in the layer containing your outlines, uncheck the Create
Matte on New Layer option. Otherw ise, a new layer w ill be created underneath the layer
containing your outlines, and the matte w ill be generated in that new layer.

NOTE
In both cases, the generated matte w ill appear behind the outlines in your artw ork.

7. If you chose to generate the matte in a new layer, but you w ant to be able to fill the different
sections of the matte in different colours, check the Copy Strokes to Destination option. This w ill

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Storyboard Pro 22 User Guide

copy your artw ork onto the matte, but as invisible outlines (referred to as strokes). You w ill be able
to fill those outlines w ith different colours.

8. Click on OK.
A coloured matte is generated for each selected layer, and is placed behind the artw ork in eachselected layer.

NOTE
If you chose to create the matte in a new layer, and a matte layer already exists
for one of the selected layers, you w ill be prompted to either Replace theexisting matte, to Keep Both the old and new mattes or to Cancel.

If this happens for multiple layers, you can check the Apply to All option toeither replace the matte, keep both mattes or cancel for all layers.

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Chapter 7: Draw ing

If you need to generate the matte for all the draw ings in your storyboard, you can add the Generate AutoMatte button to the Layers toolbar—see Customizing Toolbars

or assign a keyboard shortcut to the Generate Auto-Matte dialog to streamline the procedure.

How to assign a shortcut key to the Generate Auto- Matte dialog
1. Select Edit > Keyboard Shortcuts (W indow s) or Storyboard Pro 20 > Keyboard Shortcuts (MacOS X).
2. Select the Shortcuts tab.
3. In the Shortcuts list, select Layer > Generate Auto- Matte.
4. Click inside the Press Shortcut Key field.
5. Press the shortcut key you w ant to assign to the Generate Auto-Matte dialog.
6. Click on OK.

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Storyboard Pro 22 User Guide

Blurring Artwork
T-SBADV-007-001
All the blur effects (Blur, Radial Zoom Blur and Directional Blur) can be applied to both vector and bitmap
layers. If you w ant to apply an effect on a vector layer, it w ill be converted to a bitmap layer after you confirm
the effect.

How to apply a blur effect
1. Select the layer(s) on w hich you w ant to apply the effect.
2. Do one of the follow ing:lRight-click the layer and select Apply Effect.

l

From the top menu, select Layer > Apply Effect.

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Chapter 7: Draw ing

3. Choose one of the follow ing options:
l

Blur

l

Radial Zoom Blurl

Directional Blur

4. In the dialog box, enter the parameters for your blur effect. For more information on the available
parameters, refer to the Blur Dialog Box, Radial Zoom Blur Dialog Box and Directional Blur Dialog
Box documentation in the Reference Guide.
5. Click OK.

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Storyboard Pro 22 User Guide

Sharing Drawings
W hen there is a draw ing that occurs across multiple panels, you can share (link) the draw ing. This w ay, anychanges you make to one of the draw ing affects all other instances, making it faster and more efficient w hen
managing and producing your storyboard.
Duplicating a panel that contains a shared draw ing preserves the link.
W hen sharing is not needed, you can easily unlink an instance of a shared draw ing from the other instances.

How to share a drawing
1. In the Draw ing list, right-click the layer that contains the draw ing to share.
2. Right-click and select Share Drawing.
The draw ing is now available in the Shared Draw ings folder of the Library view . In the Layers list, a
star appears beside the name of the draw ing to indicate that it is a shared draw ing.
3. To use the shared draw ing in another panel, drag it from the Share Draw ings folder to the Layer list
or Stage view .

How to unlink a shared drawing
1. Right-click the layer to unlink and select Unlink from Shared Drawing.
The layer is unlinked from the shared draw ing and its instances.

567

Chapter 8: Colour

Chapter 8: Colour

W ith Storyboard Pro, you can add colour to your projects.

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Storyboard Pro 22 User Guide

About Colour Space Management in Storyboard Pro

569

Chapter 8: Colour

About Colour Spaces
Colour spaces are profiles defining the rules used by a display device, such as a monitor or a projector, toconvert numerical colour values into colours.
In computing, as a general rule, colours are defined by three numerical values: one for red, one for green and
one for blue, w hich are the primaries used for additive colour mixing. Each of these values vary betw een 0 and
255. Those primary values result in actual red, green and blue light, at an intensity proportional to said value.
By mixing different primary colours, different hues such as cyan, yellow and magenta can be obtained, andmixing all three primaries results in w hite.
W here colour spaces come into play is how each primary value is used to determine the intensity of theirrespective colour signal. For example, let’s say you have a blue value of 127, w hich is halfw ay betw een 0 and
255. The resulting blue light w ill not be exactly halfw ay betw een black and the lightest possible blue light thedisplay can generate, because monitors don’t convert colour values to colour signals on a linear scale, butrather, on a curvilinear scale that is a lot like an exponential function. This is because the human eye canperceive differences betw een low er light intensities better than betw een higher light intensities. Hence, to get
the most nuances out of the 255 possible values of a primary, the differences betw een low er values must be
smaller than the differences betw een higher values. The point is that, to the human eye, incrementing a colour
value by 1 results in the same perceived intensity difference regardless of the colour value.
The curvilinear function used to convert colour values to colour intensities is referred to as the gamma
conversion curve, and each colour space has its ow n gamma conversion curve. The most commonly usedcolour space in computing, sRGB, has a gamma conversion curve that is designed to reproduce that of CRT
displays. How ever, the most commonly used colour space in HD television, Rec. 709, has a gamma conversion
curve that is considered better than that of sRGB.
Another aspect of colour spaces is the range of colours they can display. Commonly used colour spaces such
as sRGB, Rec. 709 and Display P3 can display the same limited subset of the colours that can be perceived by
the human eye. This subset is especially limited in the range of greens it can display. In contrast, the colour
space Rec. 2020 is know n for supporting a much w ider range of colours, especially in terms of greens, thanthose colour spaces. Rec. 2020 is hence preferred for high end productions, but displays that support Rec.
2020 are currently very expensive, and hence producing in Rec. 2020 comes at a cost in hardw arecompatibility.
Because of this, productions typically use a specific colour space that is different than that of the standard
sRGB. This also incurs common production problems such as:lMaterials such as character models and backgrounds may have been created in a specific colour spacethat is different than the one intended for production.

lProject collaborators may be using displays that do not use the colour space intended for the project’s
delivery.

lCompositing artists may also prefer using a specific colour space for compositing, as special effects may
w ield different results w ith a colour space that uses linear values than w ith a colour space that uses acurvilinear gamma curve.

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Storyboard Pro 22 User Guide

Colour Spaces in Storyboard Pro
To ensure the integrity of colours across your production, Storyboard Pro uses sRGB colour space for Toon
Boom draw ings. It allow s you to specify the colour space of your inputs (bitmap images), of your outputs(rendered frames, movies) as w ell as the colour space used internally for compositing your scene. Morespecifically, you can specify different colour spaces for:lEach imported bitmap imagel

The scenel

The preview image in the Camera viewl

The rendered images and movies

The w ay it w orks, w hen rendering a frame in your scene, is as follow s:
1. Storyboard Pro converts the colours of each draw ing layer from sRGB colour space to the scene’s
w orking colour space.
2. Storyboard Pro converts the colours in each bitmap image from their respective colour space to thescene’s w orking colour space.
3. All visual elements and effects in your scene are composited together into a single image, all in yourscene’s w orking colour space.
4. The image is converted to the colour space selected for the Camera view or for rendering, depending on
w hether the frame is a preview image or a final frame.
The follow ing graph illustrates this process:In order to properly manage the colours in your production, you must make sure that:571

Chapter 8: ColourlEach exported project has a colour space that is compatible to one you are importing to — see Setting
Export Colour Space.

lEach project has a set colour space that all imported projects w ill convert to — see Setting Project
Colour Space.

By default, Storyboard Pro supports the follow ing colour spaces:lLinear: The same primaries and w hite point as sRGB and Rec. 709, but w ith no gamma transfer curve
applied to the colour values. This colour space is useful for compositing intermediary images that aremeant to be rendered in sRGB or Rec. 709.

l

Display P3: A colour space commonly used for digital projection. It has the same primaries as DCI-P3,
the same w hite point as sRGB and the same gamma transfer curve as sRGB.

l

Display P3 Linear: The same as Display P3, except w ith no gamma transfer curve. This colour space isuseful for compositing intermediary images that are meant to be rendered in Display P3.

lRec. 709: The colour space used for HDTV. It has the same primaries and w hite point as sRGB, but has
a different gamma transfer curve.

lRec. 709 2.4: The same colour space as Rec. 709 or sRGB, except w ith a gamma transfer curve of 2.4(per ITU-R BT.1886). This colour space exists because some editing systems use a gamma transfer
curve of 2.4 instead of the standard gamma curve for Rec. 709.

lRec. 2020: A colour space used for Ultra High Definition TV (UHDTV). It has a complex gamma transfer
curve and primaries that cover more of the human-perceivable colour space than other colour spaces,
especially in the area of human-perceivable greens.

lRec. 2020 2.4: The same colour space as Rec. 2020, except w ith a simple gamma transfer curve of 2.4(per ITU-R BT.1886). This colour space exists because some editing systems use a gamma transfer
curve of 2.4 instead of the standard gamma curve for Rec. 2020.

lRec. 2020 Linear: The same colour space as Rec. 2020, except w ith no gamma transfer curve. This
colour space is useful for compositing intermediary images that are meant to be rendered in Rec. 2020.

lsRGB: A colour space typically used for standard computer monitors. It has the same primaries andw hite point as Rec. 709, but has a different gamma transfer curve.

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Storyboard Pro 22 User Guide

Setting Project Colour Space
The project colour space is the colour space of the project you are w orking in. You can specify the colour spaceof the project in the Project Properties dialog. All projects you import w ill convert to the colour space selectedin this dialog.
You can select the project colour space in the Project Properties dialog.

How to set the project colour space
1. Select Storyboard in the top menu.
2. Select Properties...
3. In the Colour Space field, select a colour space for your project.

The Colour Space options are listed below .
lLinear: The same primaries and w hite point as sRGB and Rec. 709, but w ith no gammatransfer curve applied to the colour values. This colour space is useful for compositing
intermediary images that are meant to be rendered in sRGB or Rec. 709.

l

Display P3: A colour space commonly used for digital projection. It has the same primaries
as DCI-P3, the same w hite point as sRGB and the same gamma transfer curve as sRGB.

573

Chapter 8: ColourlDisplay P3 Linear: The same as Display P3, except w ith no gamma transfer curve. This
colour space is useful for compositing intermediary images that are meant to be rendered in
Display P3.

lRec. 709: The colour space used for HDTV. It has the same primaries and w hite point as
sRGB, but has a different gamma transfer curve.

lRec. 709 2.4: The same colour space as Rec. 709 or sRGB, except w ith a gamma transfer
curve of 2.4 (per ITU-R BT.1886). This colour space exists because some editing systems
use a gamma transfer curve of 2.4 instead of the standard gamma curve for Rec. 709.

lRec. 2020: A colour space used for Ultra High Definition TV (UHDTV). It has a complex
gamma transfer curve and primaries that cover more of the human-perceivable colour spacethan other colour spaces, especially in the area of human-perceivable greens.

lRec. 2020 2.4: The same colour space as Rec. 2020, except w ith a simple gamma transfer
curve of 2.4 (per ITU-R BT.1886). This colour space exists because some editing systems
use a gamma transfer curve of 2.4 instead of the standard gamma curve for Rec. 2020.

lRec. 2020 Linear: The same colour space as Rec. 2020, except w ith no gamma transfer
curve. This colour space is useful for compositing intermediary images that are meant to berendered in Rec. 2020.

lsRGB: A colour space typically used for standard computer monitors. It has the same
primaries and w hite point as Rec. 709, but has a different gamma transfer curve.

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Setting Export Colour Space
If you are exporting a project for use in another softw are, you may w ant to keep the colour space consistentw ith the project you are importing to. Before exporting your project, it is possible to set a colour space
You can set a colour field for your exported project in the Export to Bitmap field.

How to set the project colour space
1. Select File > Export > Bitmap.

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Chapter 8: Colour

2. In the Colour Space field in Setup Bitmap Export Parameters, select a colour space. The options
are listed below .
lLinear: The same primaries and w hite point as sRGB and Rec. 709, but w ith no gammatransfer curve applied to the colour values. This colour space is useful for compositing
intermediary images that are meant to be rendered in sRGB or Rec. 709.

l

Display P3: A colour space commonly used for digital projection. It has the same primaries
as DCI-P3, the same w hite point as sRGB and the same gamma transfer curve as sRGB.

l

Display P3 Linear: The same as Display P3, except w ith no gamma transfer curve. This
colour space is useful for compositing intermediary images that are meant to be rendered in
Display P3.

lRec. 709: The colour space used for HDTV. It has the same primaries and w hite point as
sRGB, but has a different gamma transfer curve.

lRec. 709 2.4: The same colour space as Rec. 709 or sRGB, except w ith a gamma transfer
curve of 2.4 (per ITU-R BT.1886). This colour space exists because some editing systems
use a gamma transfer curve of 2.4 instead of the standard gamma curve for Rec. 709.

lRec. 2020: A colour space used for Ultra High Definition TV (UHDTV). It has a complex
gamma transfer curve and primaries that cover more of the human-perceivable colour spacethan other colour spaces, especially in the area of human-perceivable greens.

lRec. 2020 2.4: The same colour space as Rec. 2020, except w ith a simple gamma transfer
curve of 2.4 (per ITU-R BT.1886). This colour space exists because some editing systems
use a gamma transfer curve of 2.4 instead of the standard gamma curve for Rec. 2020.

lRec. 2020 Linear: The same colour space as Rec. 2020, except w ith no gamma transfer
curve. This colour space is useful for compositing intermediary images that are meant to berendered in Rec. 2020.

lsRGB: A colour space typically used for standard computer monitors. It has the same
primaries and w hite point as Rec. 709, but has a different gamma transfer curve.

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Storyboard Pro 22 User Guide

About Colour Swatches
T-SBFND-008-008
You can use tw o different types of colour sw atches. You can paint draw ings w ith vector sw atches, w hich are
the solid and gradient colours.
You can paint your vector draw ings w ith bitmap texture sw atches. You can import textures and add them toyour palette. Textures must be *.psd or *.tga files. Transparency is supported. Once you have painted w ith
textures, you can edit the gradient's position—see Using the Edit Gradient - Texture Tool on page 594.

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Chapter 8: Colour

Changing the Current Colour
T-SBFND-008-009
There are several w ays to modify the current colour. It can be modified directly in the Colour view using thesliders (HSV or RGB), or using the Colour Picker w indow .

How to change the current colour in the Colour view
1. In the Colour view , make sure the Colour area is expanded by clicking the Collapse/Expand arrow .
2. In the Colour view , drag the H,S,V sliders left or right to adjust the colour.
3. In the Opacity field, adjust the colour's alpha.
4. In the HSV/RGB menu, you can sw itch betw een HSV and RGB sliders.

How to change the current colour in the Colour Picker window
1. In the Colour view , make sure the Colour area is expanded by clicking the Collapse/Expand arrow .
2. Double-click on the current colour sw atch.
The Colour Picker w indow opens.

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Storyboard Pro 22 User Guide

3. In the Colour Picker w indow , do one of the follow ing to modify the current colour:l

In the colour picking area, click to select a colour.

lType in the HSV or RGB values in the corresponding fields. Select the R,G,B or H,S,V
options to change the look of the colour picking area.

lDrag the Dropper

to select any colour in the Storyboard Pro interface.

NOTE
W hen using the Dropper tool, the selected colour becomes the current colour,
but is not added to the colour sw atches.

You can also click the Multi W heel Mode button to open the Multiw heel Colour dialog box. This
displays all the picking area styles and a picking undo list. Click the Single W heel Mode button
return to the regular Colour Picker w indow .

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Chapter 8: Colour

4. Click the Shade Scale sw atches to modify the shade of the selected colour.

5. Adjust the level of transparency w ith the Alpha slider, or type the value directly in the Alpha field.
6. Click the Add button to add the current selected colour to the Colour Storage Library, so you canquickly access it later.

7. You can rename the colour sw atch in the Colour Picker w indow or directly in the colour list by
double-clicking its name.

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Storyboard Pro 22 User Guide

Adding Colour Swatches
T-SBFND-008-010
You can create your ow n vector colour sw atches and import bitmap textures to use as sw atches in yourpalette.

NOTE
Once added, a colour sw atch can no longer be modified. You must delete the sw atch and add a
new one.

How to add a vector colour swatch
1. In the Colour view , make sure the Colour area is expanded by clicking the Collapse/Expand arrow .
2. Using the Colour view sliders or the Colour Picker w indow , adjust the colour for the new sw atch.
3. Click the Add Colour

button or select New Colour Swatch from the Colour Sw atch menu.

How to create a bitmap texture swatch
1. In the Colour Sw atch menu, select New Texture.

A brow ser w indow opens.
2. Brow se for a PSD or TGA bitmap file created in a third party softw are and click Open.

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Chapter 8: Colour

A textured colour sw atch is added to the sw atch palette.

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Renaming Colour Swatches
If you plan on adding a lot of colour sw atches to your palette, it is a good idea to organize them by naming andreordering them.

How to name a colour swatch
1. In the Colour Sw atch menu, deselect the Swatch Mode option.
2. In the Colour list, double-click on a sw atch name to rename it.

3. Once you are done renaming the sw atch, press Enter/Return to validate the entry.

How to order swatches‣ In the Colour list, in Sw atch mode or List mode, drag and drop the sw atches to change the order.

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Chapter 8: Colour

Deleting Colour Swatches
At any time, you can delete colour sw atches that you are not using or not part of the colour palette you have inmind for a character or scene.

How to delete a colour swatch
1. In the Colour view , select a colour sw atch to delete by clicking a sw atch. To select multiple
sw atches, press Ctrl (W indow s) or ⌘ (macOS), and click the sw atches to delete. To select multiple
sw atches in a range, press Shift, click the first sw atch to delete and then click the last sw atch.
2. Do one of the follow ing:‣

Press Delete.

‣

From the Colour Sw atch menu, select Delete Swatch.

‣

Click the Remove Colour

button.

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Creating Gradients
Vector draw ings can be painted using linear and radial gradients. Once painted, you can modify the position of
the gradient—see Using the Edit Gradient - Texture Tool on page 594.

How to create a gradient colour
1. In the Colour view , double-click the current colour sw atch.
The Colour Picker w indow opens.
2. Select the Gradient option.

3. Select the Linear or Radial option.
4. In the color picking area, use the gradient arrow s to modify the colours.

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Chapter 8: Colour

Sharing Colour Palettes
Once you have established the colours to be used throughout your storyboard, you can save it as your default
colour palette for the project. You can also import and export colour palettes so that everyone on your team isusing the same colours.

NOTE
Toon Boom colour palettes are appended w ith a .plt extension.

How to save a default colour palette‣

In the Colour view , click the Colour Sw atch menu and select Save as Default Palette.

How to export a colour palette
1. From the Colour Sw atch menu, select Export Colours.
2. In the Export Colours w indow , give your palette a name and click Save.

How to import a colour palette
1. From the Colour Sw atch menu, choose Import Colours.
2. In the Import Colours w indow , select a colour palette and click Open.

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Storyboard Pro 22 User Guide

About Colour Tools
The colour tools are available in the Tools toolbar. The Tool Properties view displays the properties of thecurrently selected tool on the current layer you are w orking. If you are editing a vector layer, then all of thetools are available to you. If you are draw ing on a bitmap layer, some tools are not available.

NOTE
You can display the Tools toolbar horizontally (flat toolbar) if you find it more efficient for yourw orkflow —see Tools Toolbar in the Reference Guide.

Depending on the type of layer you select, here are the colour tools available:

Tool

Vector Layer

Bitmap Layer

Edit Gradient/Texture

•

•

Paint

•

•

Paint Unpainted••

Unpaint••

Close Gap•

Dropper•587•

Chapter 8: Colour

About the Paint Tool
The main tool you w ill use to paint your draw ings is the Paint tool. The Paint tool can be used in several
different modes, and can be customized in the Tool Properties view .

The Paint tool only paints closed zones. If you have gaps in your lines, you must close them using either theBrush, Pencil, or Close Gap tools.

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Storyboard Pro 22 User Guide

About Painting Modes
The Paint tool has three different modes: Paint, Paint Unpainted, and Unpaint.
You can also find these tools in the Tools toobar and in the Tools menu.

You can also enable the Auto Close Gap mode to automatically close open areas w hile painting.

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Chapter 8: Colour

Painting
T-SBFND-008-011

How to paint a drawing
1. Do one of the follow ing:l

In the Tools toolbar, select the

Paint tool.

l

In the top menu, select Tools > Paint.

lPress Alt+I.

2. In the Colour view , do one of the follow ing to select a colour:lDouble-click on the Current colour sw atch to open the Colour Picker w indow .

l

Use the Hue, Saturation and Value sliders to select the colour w ith w hich you w ant to draw .

lSelect a colour sw atch from the sw atch list.

3. In the Stage view , start painting on your draw ing by clicking the area to be painted. If you w ant tofill several areas simultaneously, draw a lasso around them.

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Storyboard Pro 22 User Guide

NOTE
If the shape you are trying to paint is not fully closed, it w ill not fill. You can make the
Paint tool automatically close small gaps in the shapes you attempt to fill by increasing
the Close Gap

setting of the Paint tool in the Tool Properties view . To close big

gaps, you can use the Close Gap
Painttool, w hich is available in the pop-up menu of thetool in the Tools toolbar.

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Chapter 8: Colour

Using the Dropper Tool

W hile w orking in the Stage view , you can use the Dropper tool to pick a colour from your draw ing w ithout
going to the Colour view . W hen picking a colour w ith the dropper, the colour is not added to the sw atch list. It
becomes the current colour.

How to select a single colour in a drawing
1. Do one of the follow ing:In the Tools toolbar, select the Dropper

tool.Select Tools >Dropper.Press Alt + D.
2. In the Stage view , click the desired colour.

How to select a composite colour
1. Do one of the follow ing:In the Tools toolbar, select the Dropper

tool.Select Tools >Dropper.Press Alt + D.
W hen enabled, the dropper picks the RGBA values of all the layers combined. W hen disabled, thedropper picks the RGBA value from just one layer at a time.
2. In the Tool Properties view , click the Sample All Layers

button.

3. In the Stage view , position the dropper tip over overlapping strokes and click to select the colour.
The new colour is displayed in the Colour view and becomes the current colour.

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Storyboard Pro 22 User Guide

How to select colours with or without transparency
1. Do one of the follow ing:In the Tools toolbar, select the Dropper

tool.Select Tools >Dropper.Press Alt + D.
2. In the Tool Properties view , do one of the follow ing:‣

Click the Do Not Pick Transparency

button to select colours at 100% opacity, ignoring thealpha value.
‣

Do not click the Do Not Pick Transparency

button to select colours and retain the alphavalue of the stroke.
3. In the Stage view , position the dropper tip over a stroke and click to select the colour.
The new colour is displayed in the Colour view and becomes the current colour.

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Chapter 8: Colour

Using the Edit Gradient - Texture Tool

If you paint a zone w ith a gradient or texture colour, you can use the Edit Gradient/Texture tool to modify its
position in the zone. You can move, scale, rotate and skew . If you w ant to match the colour to the animation,
set the first texture position and copy the Edit Gradient/Texture position. W hen moving to the next draw ing,
you can select the next texture and paste the previous position to continue the modifications.
If you are painting a hand-draw n animation or if you w ant the Brush and Paint tool to use your gradient’s
position, angle and scale settings instead of the default ones, you can store your ow n settings and reuse themafterw ard.
This w ay of editing a texture using the Edit Gradient/Texture tool also w orks w ith pencil lines draw n w ith
textured “brushes”. If you then paint your textured pencil line w ith a gradient, you can do so and then edit bothelements independently at the same time.

How to use Edit Gradient/Texture tool
1. In the Tools toolbar, select the Edit Gradient/Texture

tool or select Tools > Edit

Gradient/Texture.
1. Click the Gradient or Texture zone to be modified. To modify several areas at once, hold dow n the
Shift key and click in the zones to be modified.

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Storyboard Pro 22 User Guide

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Chapter 8: Colour

2. Move the edit texture’s anchor points to the desired result.

‣

If the same modification needs to be applied to another gradient in another draw ing or texture
zone, you can select the modified zone and select Edit > Copy. Select the zone to be modified in
the other draw ing and select Edit > Paste.

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Storyboard Pro 22 User Guide

Using the Close Gap Tool

The paint tool requires the area you attempt to fill to be closed in order to know exactly w hat area of yourartw ork must be filled. How ever, it is common for artists to accidentally leave small gaps in their artw ork.
The Close Gap tool allow s you to quickly close small gaps in a shape by creating an invisible stroke connecting
tw o extremities of the gap. You can then fill the area using the Paint tool, as this invisible stroke w ill be takenin account to determine the outline of the shape to fill.

TIP
You do not need to use the Close Gap tool w ith precision. If you draw a crude stroke near the gap
you w ant to close, the tool w ill automatically detect the tw o closest line extremities and w ill draw
an invisible straight line connecting them. closing the gap betw een them.

How to use the Close Gap tool
1. In the Tools toolbar, select the Close GaplClick the Auto Flatten

tool or select Tools > Close Gap.

button in the Tool Properties view if you w ant the stroke you w illdraw to be flattened in your draw ing instead of being on top.
l

You can display the invisible lines by selecting View > Extras > Show Strokes in the top
menu.

l

If you do not display the strokes, a w arning message dialog box w ill appear. Enabling the
Don’t Show This Message Again option prevents this Message from appearing.

2. In the Stage view , trace an invisible line near to the gap to be closed.
The gap automatically closes.

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Chapter 8: Colour

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Storyboard Pro 22 User Guide

About Colour Models
Once you have a fully painted draw ing, you can use it as a colour model and load it in the Reference view . That
draw ing can be used and loaded in any of your Storyboard Pro scenes.

Once a draw ing is loaded in the Reference view , you can use the Reference view ’s

Colour Eyedropper tool

to select a colour from the model and use it to paint in your Camera or Stage view w ithout having to pick thecolour from the colour palette.
You can do more than just copy colours from a colour model. Storyboard Pro gives you the ability to copy partsof the character directly from its colour model and paste these elements into the Stage, or Camera view s.

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Chapter 8: Colour

Opening the Model View
In order to w ork w ith colour models, you need to open the Reference view first.

How to open the Model view
Do one of the follow ing:l

From the top menu, select W indows > Reference View.

l

From any of the other view s, click the Add View

600

button and select Reference View.

Storyboard Pro 22 User Guide

Importing and Deleting Models
You can import any *.tvg (Toon Boom Vector Graphic) draw ings in your Reference view . To avoid brow sing formodels every time you w ork on your project, you can store default models in your project and load them w hennecessary.

How to import a drawing into the Reference View
1. Do one of the follow ing:l

From the Stage, Camera, Thumbnail or Layers view , select a draw ing layer, then dragand drop it directly in the Reference view .

lIn the Stage, Camera, Thumbnail or Layers view , select a draw ing layer, then from theReference View

menu, select Use Current Drawing as Reference.

The model appears in the Reference view .

How to import a model from outside your project
1. Do one of the follow ing:l

In the Reference View toolbar, click the Import Referencesl

From the Reference View menu, select Import References.

button.

2. In the Brow ser w indow , brow se for any *.tvg draw ing file on your hard drive.
3. Click Open.
The model appears in the Reference view .

How to create and import default models
1. In your project’s folder, create a new folder and name it models.
2. On your hard drive, copy the *.tvg draw ing files you w ant to use as colour models in your project.
3. Paste the copied models in the models folder you created.
4. Do one of the follow ing:l

From the Reference View menu, select Load Default Referencess.

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Chapter 8: Colour

How to import a model from the Library view
1. In the Library view ’s left side, select the Template folder and continuing expanding its subfolders
until *.tvg files appear on the right side.

2. In the Library view ’s right side, select a *.tvg draw ing and drag it into the Reference view .

How to unload a model from the Reference View
1. In the Reference view , navigate to the model you w ant to remove.
2. Do one of the follow ing:l

In the Reference View

menu, select Unload Model.

lRight-click in the Reference view and select Unload Model.

lPress Del.

How to delete a model from the Reference View
1. In the Reference view , navigate to the model you w ant to remove.
2. Do one of the follow ing:

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Storyboard Pro 22 User Guidel

In the Reference View

menu, select Delete Current.

lRight-click in the Reference view and select Delete Current.

lPress Del.

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Chapter 8: Colour

Navigating the Reference View
Use the navigation features in the Reference view to flip through, rotate or zoom in on your models.
All the rotate and reset view commands can be found in the top menu > View , the Reference Viewmenu

and the menu that appears w hen you right-click in the Reference view .

How to flip between models
1. Do one of the follow ing:l

In the Reference View toolbar, click the Nextl

From the Reference View

or Previous

buttons.

menu, select Next or Previous.

The previous or next model appears in the Reference view .

How to zoom in and out
Do one of the follow ing:l

From the Reference View toolbar, select the Zoom

tool, then click in the Reference view tozoom in and Alt + click to zoom out.
lFrom the Reference View

menu, select either Zoom In or Zoom Out.

l

Right-click in the Reference view and from the menu select Zoom In or Zoom Out.

l

In the Reference view , use the keyboard shortcuts 2 (zoom in) and 1 (zoom out).

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Storyboard Pro 22 User Guide

Using Models
Use models from the Reference view to sample colours, copy parts or copy entire character positions.

How to sample a colour
1. In the Reference view , navigate to a model w hose colours you w ish to sample.

2. Select the Dropper

tool by doing one of the follow ing:l

In the Reference view toolbar, select the Dropper

tool.

l

In the Reference ViewlRight-click in the Reference view and from the menu select Colour Eyedropper.

l

Use the keyboard shortcut Alt + D.

menu, select Colour Eyedropper.

3. In the Reference view , click on an area of colour from the model to select a desired colour.
The colour is now the current selected colour. This means you can save it as a sw atch in the Colour
view , or use it to paint or draw in the Stage or Camera view s.

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Chapter 8: Colour

How to copy parts of a model
1. In the Reference view , select the Cutter

tool by doing one of the follow ing:l

In the Reference view toolbar, select the Cutter

tool.

l

In the Reference ViewlRight-click in the Reference view and from the menu select Cutter.

l

Use the keyboard shortcut Alt + T.

menu, select Cutter.

2. In the Reference view , use the Cutter tool to create a selection around the part of your model thatyou w ant to copy.

3. From the top menu, select Edit > Copy Drawing Object or press Ctrl + C (W indow s) or ⌘ + C(macOS).
4. In the Thumbnail view , make sure you have the correct panel selected.
5. In the Stage or Camera view , make sure you have the correct layer selected.

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Storyboard Pro 22 User Guide

6. From the top menu, select Edit > Paste Drawing Object or press Ctrl + V (W indow s) or ⌘ + V(macOS).
The cut part of the model appears in the selected view .

TIP
You can change the Cutter tool's selection mode by selecting the Cutter tool in the main Tools
Toolbar, then selecting either Marquee or Lasso from the Tool Properties view .

How to copy an entire model
1. In the Reference view , select the Selecttool by doing one of the follow ing:l

In the Reference view toolbar, select the Select

tool.

l

In the Reference ViewlRight-click in the Reference view and from the menu select Select.

l

Use the keyboard shortcut Alt + S.

menu, select Select.

2. In the Reference view , use the Select tool to create a selection around your entire model.
3. From the top menu, select Edit > Copy Drawing Object or press Ctrl + C (W indow s) or ⌘ + C(macOS).
4. In the Thumbnail view , make sure you have the correct panel selected.
5. In the Stage or Camera view , make sure you have the correct layer selected.

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Chapter 8: Colour

6. From the top menu, select Edit > Paste Drawing Object or press Ctrl + V (W indow s) or ⌘ + V(macOS).
The entire model appears in the selected view .

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Storyboard Pro 22 User Guide

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Chapter 9: Timing

Chapter 9: Timing
Once you have created a storyboard, you can start w orking on making your storyboard into a full-featured
animatic. The first step to making an animatic is to time each panel and scene in your storyboard to match theintended pace of your action and, if applicable, the soundtrack.
By default, each panel you add to your project is timed to last one second during playback. Hence, you alreadyhave a barebone animatic just as soon as you finished creating your storyboard. Using the Timeline view , you
can adjust the cue time and length of each panel, then play your animatic to test the pace.
In Storyboard Pro, time is expressed in the follow ing format: HH:MM:SS:FF, w here HH means hours, MM means
minutes, SS means seconds and FF means frames.

TIP
By default, the time at frame 1 of the project is 00:00:00:00. How ever, in animation, the first
frame of a scene is usually identified as frame 1. If you prefer the time at frame 1 of your project to
be 00:00:00:01, you can set the time code at the start of your project by changing the ProjectStart Time setting in the Settings tab of the Project Properties dialog. You can also change thedefault value of that setting for new projects in the Global UI tab of the Preferences dialog.

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Storyboard Pro 22 User Guide

About the Panel Duration
T-SBFND-009-001
W hen panels are initially created, their default length is 1 second, displayed in timecode format. W hen it
comes to your animatic, you w ill w ant to be more accurate. Modifying the duration of a particular panel is key
w hen w orking out timing. There are a few different w ays to accomplish this.
In the Timeline view , it is easy to change the duration of a panel just by dragging to resize it. This w ay, you caneasily see the length of panels in relation to one another.

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Chapter 9: Timing

Changing the Panel Duration
T-SBFND-009-002
There are tw o w ays to resize a panel, depending on how you w ant the change to affect subsequent panels.
You can resize a panel in the Timeline view and shift all other panels dow n. This is handy w hen you are notconcerned about modifying the position of all subsequent panels. Or you can resize a panel w hile only
affecting the next panel. This is useful if you need to keep subsequent panels exactly w here they are.
An accurate w ay of setting the duration of a panel is to use the Panel view , w hich w ill display, among otherthings, the exact timecode information for the selected panel. You can also use the Add Frame to Panel andRemove Frame from Panel commands, in the Storyboard Pro 22 menu, to adjust the length of the selected
panel frame by frame.

NOTE
W hen you change the duration of a panel, its camera and layer keyframes are repositioned.
How ever, if you change the length of a panel one frame at a time, the position of keyframes might
not follow . This is because keyframes can only be positioned on w hole frames, so they cannot be
shifted by distances too small.

How to set the duration of a panel duration by frame
1. In the Timeline or Thumbnails view , select a panel.
2. Do one of the follow ing:

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Storyboard Pro 22 User Guidel

In the Panel view , type in the exact length for the panel in the Duration field.

NOTE
The format of the duration is H:MM:SS:FF, w here H means hours, M means
minutes, S means seconds and F means frames.

l

In the Panel view , right of the Duration field, click on the
one frame, or on the

Up arrow to extend the panel by

Dow n arrow to shorten the panel by one frame.

lPress + to add a frame to the panel, or - to remove a frame from the panel.

l

In the top menu, select Storyboard > Add Frame to Panel or Storyboard > Remove Framefrom Panel.

How to adjust the length of a panel in the Timeline view and ripple subsequent panels
1. Place the cursor near the right edge of the panel you w ant to resize.
The resize icon

displays. Make sure that it points tow ards the inside of the panel you w ant toresize.

2. Click and drag the edge to the right to extend it, or to the left to shorten it.
As you drag, the new length of the panel is indicated, along w ith the amount of time you are adding
or subtracting from it.

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Chapter 9: Timing

All subsequent panels w ill be rippled forw ard or backw ard to preserve their length.

TIP
You can also extend or shorten a panel by clicking and dragging on its left edge.

W hen you do that, dragging tow ards the left w ill extend it, and dragging tow ards the rightw ill shorten it.

How to move the transition between two panels without offsetting later panels
1. W hile pressing and hold the Alt key, position the mouse cursor over the right edge of the panel you
w ant to resize.
The resize icon

displays.

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Storyboard Pro 22 User Guide

2. W hile holding the Alt key, click and drag the edge of the panel to the right to extend it, or to the left
to shorten it.
As you drag, the new length of the panel is indicated, along w ith the amount of time you are adding
or subtracting from it.

The length of the follow ing panel w ill be adjusted to avoid shifting subsequent panels.

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Chapter 9: Timing

Setting the Panel's In and Out PointYou can adjust the duration and position of a panel by moving its in and out points to a specific frame
determined by the current position of the playhead.

NOTE
Note that the frame you specify must be contained w ithin the current position of the panel you
w ant to change the in or out point of.

How to set a panel's in- point to the current frame
1. In the Timeline view , position the timeline playhead w here you w ant the panel to start.

2. Do one of the follow ing:l

In the top menu, select Storyboard > Move Panel In to Current Frame.

lRight-click on the selected panel and select Move Panel In to Current Frame.

The selected panel's in point is moved to the current frame, resulting in the previous panel being
extended to this point.

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Storyboard Pro 22 User Guide

How to set the panel's out- point to the current frame
1. In the Timeline view , position the timeline playhead to w here you w ant the panel to end.

2. Do one of the follow ing:l

In the top menu, select Storyboard > Move Panel Out to Current Frame.

lRight-click on the selected panel and select Move Panel Out to Current Frame.

The selected panel's out point is moved to the current frame. Every panel afterw ard is shiftedbackw ard.

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Chapter 9: Timing

Splitting a Panel at the Current Frame
You can split your current panel into tw o pieces. Follow ing this operation, you w ill have tw o identical panels
generated from the original. All elements, including layers, w ill be in both panels. Each panel’s length w ill be
determined by w here you have the red playhead w hen you perform the operation.

How to split panel at current frame
1. In the Timeline view , position the red playhead to w here you w ant the panel to be split.

2. Do one of the follow ing to split the panel:lSelect Storyboard > Split Panel At Current Frame.

l

In the Timeline view , right-click in your selected panel and select Split Panel At Current
Frame.

Your panel is split into tw o pieces, precisely w here the red playhead is positioned.

NOTE
You may have to adjust any layer transformations you created before splitting the panels.

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Storyboard Pro 22 User Guide

Locking the Scene Duration
You can lock the duration of all scenes in your project w ith the Lock Scene Duration command. This ensuresthat the length of every scene is preserved w hen adding, duplicating, or deleting panels.

How to lock the scene duration
1. Select Storyboard > Lock Scene Duration.

NOTE
You can add a custom keyboard shortcut to this option through the Preferences dialog box or
use the Lock Scene Duration

button in the Storyboard toolbar. You may need to add the

button to the toolbar. Right-click the toolbar area and select Customize.

2. Once your scene duration is locked:‣

Adding a panel using the New Panel or Smart Add Panel command reduces the size of theselected panel to make room for the new one. If the selected panel's length is one frame, thepanel length cannot be reduced and therefore the new panel cannot be inserted in the scene.

‣

Deleting or cutting one or more panels causes the preceding panel's length to extend to fill the
gap and preserve the scene's duration. Cutting or deleting a scene or all the panels on a scene
w ill not let you preserve the scene's duration.

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Chapter 9: Timing‣

Duplicating a single panel using the Duplicate Panel command reduce the length of theselected panel to make room for the duplicated one. Duplicating multiple panels w ill not keep
the scene's duration.

‣

Copying and pasting panels, adding a scene or a sequence, or deleting an entire scene w ill notpreserve scene duration.

‣

Manually changing the duration of a panel is still permitted and w ill modify the scene duration.

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Storyboard Pro 22 User Guide

Selecting All Panels Forward
By using a series of keyboard shortcuts, it is possible to select a panel and all the panels follow ing. You canalso do this on the audio tracks—see Sound on page 774.

How to select all panels forward
1. In the Timeline view , select a panel.
2. Hold Ctrl + Alt + Shift (W indow s) or ⌘ + Alt (macOS) and click the panel again.
The selected panel and all the panels follow ing it, up until the end of the storyboard project, areselected.

‣

If you drag the selection forw ard, the panel preceding the selection w ill be extended.

‣

If you drag the selection backw ard, the panel preceding the selection w ill be reduced until itreaches the minimum length allow ed (one frame). Then the second panel preceding it w ill be
reduced.

How to select all panels and all sound clips forward
1. In the Timeline view , press Ctrl + Alt + Shift (W indow s) or ⌘ + Alt (macOS) and click the panel
from w hich you w ant the selection to start.
The panel and all the panels follow ing it, up until the end of the storyboard project, as w ell as all
the sound clips in all audio tracks starting from the position of the play head are selected and canbe moved together.

‣If you drag the selection forw ards, the panel preceding the selection w ill be extended.

‣

If you drag the selection backw ards, the panel preceding the selection w ill be reduced until itreaches the minimum length allow ed (one frame), then the second panel preceding it w ill be
reduced. Overlapping sound clips w ill be overw ritten by the ones that are selected.

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Chapter 9: Timing

About Animatic Editing Mode
By default, every change you make in the lengths of your scenes and panels w ill result in subsequent scenes
and panels to ripple backw ard or forw ard, so as to make sure there is no hole in the timeline.
W hen Animatic Editing Mode is enabled, you can reposition the in-point and out-point of each panel w ithout
affecting anything else in your your animatic. This means that, in this mode, shortening or deleting a panel
creates a hole in the timeline in w hich another panel can be extended, moved or created. You can also delete
panels or scenes and leave holes behind instead of rippling subsequent panels backw ard.
Then, in the gaps you created in your animatic, you can move existing panels, create new panels or resize apanel next to the gap to fill it.

In this w ay, Animatic Editing Mode makes the w orkflow in Storyboard Pro more similar to that of a typical
video editing softw are, w hich may make editing easier for users w ho are familiar w ith this kind of application.

NOTES
Projects w ith holes in their timeline cannot be opened in versions of Storyboard Pro earlier than 7.

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Storyboard Pro 22 User Guide

Enabling and Disabling Animatic Editing Mode
You can toggle Animatic Editing Mode by clicking on the

Animatic Editing Mode button in the bottom-leftcorner of the Timeline view .
W hether Animatic Editing Mode is enabled or disabled, you can temporarily toggle it by pressing and holding
the Ctrl (W indow s) or ⌘ (macOS) key.
You can also assign a keyboard shortcut to the Toggle Animatic Editing Mode command in the Storyboard
section of the Keyboard Shortcuts dialog, w hich toggles it by pressing the key, w ithout requiring you to holdthe key.

TIPSl

W hen Animatic Editing Mode is disabled, you can press and hold the Ctrl (W indow s) or ⌘(macOS) to temporarily enable Animatic Editing Mode w hile making changes to your animatic.
Likew ise, w hen Animatic Editing Mode is enabled, pressing and holding the Ctrl (W indow s) or⌘ (macOS) key w ill temporarily disable it.

l

You can also assign a keyboard shortcut to the Toggle Animatic Editing Mode command in the
Storyboard section of the Keyboard Shortcuts dialog, w hich toggles it by pressing the key,w ithout requiring you to hold the key.

How to toggle Animatic Editing Mode
1. In the bottom-left corner of the Timeline view , click on the

Animatic Editing Mode button.

2. Once you are done using Animatic Editing Mode, simply click on the button again to disable it.

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Chapter 9: Timing

Adjusting the In- Point and Out- Point of Panels in Animatic EditingMode
W hen Animatic Editing Mode is enabled, clicking and dragging on either extremity of a panel w ill allow you toshorten or extend the panel freely, w ithout affecting any other panel.

How to adjust the in- point of a panel in Animatic Editing Mode
1. Place the cursor near the left edge of the panel.
The resize icon

displays. Make sure that it points tow ards the inside of the panel you w ant toedit.

2. Click and drag the edge to the right to move the in-point forw ard, or to the left to move the in-point
backw ard.

As you drag, the new length of the panel is indicated, along w ith the amount of time you are adding
or subtracting from it.

NOTE
You cannot move the in-point of a panel or scene before the out-point of the previous panel orscene.

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Storyboard Pro 22 User Guide

How to set a panel's in- point to the current frame in Animatic Editing Mode
1. In the Timeline view , position the timeline playhead w here you w ant the panel to start.

2. Do one of the follow ing:l

In the top menu, select Storyboard > Move Panel In to Current Frame.

lRight-click on the selected panel and select Move Panel In to Current Frame.

The selected panel's in point is moved to the current frame.

How to adjust the out- point of a panel in Animatic Editing Mode
1. Place the cursor near the right edge of the panel.
The resize icon

displays. Make sure that it points tow ards the inside of the panel you w ant toedit.

2. Click and drag the edge to the left to move the out-point backw ard, or to the right to move the outpoint forw ard.

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Chapter 9: Timing

As you drag, the new length of the panel is indicated, along w ith the amount of time you are adding
or subtracting from it.

NOTE
You cannot move the out-point of a panel or scene past the in-point of the next panel or scene.

How to set the panel's out- point to the current frame in Animatic Editing Mode
1. In the Timeline view , position the timeline playhead to w here you w ant the panel to end.

2. Do one of the follow ing:l

In the top menu, select Storyboard > Move Panel Out to Current Frame.

lRight-click on the selected panel and select Move Panel Out to Current Frame.

The selected panel's out point is moved to the current frame.

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Storyboard Pro 22 User Guide

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Chapter 9: Timing

Moving Panels In Gaps
In Animatic Editing Mode, you can move panels around w ithin gaps.

628

Storyboard Pro 22 User Guide

Rippling Panels in Animatic Editing Mode
In Animatic Editing Mode, panels do not ripple forw ard or backw ard, w hich may be constraining. To get themost out of Animatic Editing Mode, it is useful to know how to ripple panels on the fly.
At any time, you can press and hold the Ctrl (W indow s) or ⌘ (macOS) key before editing your animatic totemporarily enable or disable Animatic Editing Mode. This means that, w hen Animatic Editing Mode isenabled, pressing and holding Ctrl (W indow s) or ⌘ (macOS) w ill temporarily disable it, making any change
you make to your animatic w hile holding this key offset all the panels after the affected panel. W hen there aregaps in your timeline, those gaps also get rippled forw ard or backw ard.
If you need to create a gap, or to adjust the size of a gap, you can do so by selecting all the panels from a
specific point until the end of the animatic, then moving the selection.

How to select and ripple all panels from a specific point in the animatic in Animatic
Editing Mode
1. Press and hold Ctrl (W indow s) or ⌘ (macOS), Alt and Shift.
2. W hile holding those keys, in the Timeline view , click on the first panel of the sequence of panels
you w ant to offset.
The panel you clicked on as w ell as every panel after it until the end of the animatic w ill beselected.

3. Click and drag on the selection to offset it.

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Chapter 9: Timing

Clearing and Deleting Panels in Animatic Editing Mode
By default, w hen you delete a panel, all the subsequent panels ripple backw ard to make sure there is no gap
in the animatic.
In Animatic Editing Mode, w hen you w ant to delete panels, you can choose betw een deleting the panel
leaving a gap w here it w as, or deleting the panel rippling the subsequent panels backw ards to close the gap.
Leaving a gap is the default behavior in Animatic Editing Mode. Hence, if you select panels and press Del(W indow s) or ⌫ (macOS), it w ill leave a hole in the animatic w here the panels w ere.
It is also possible to delete gaps, w hich instantly ripples all panels after the gap backw ards and fills the gap
w ith them.

How to delete panels and leave a hole in the timeline in Animatic Editing Mode
1. Select the panels you w ant to delete.

TIPSl

You can select multiple panels by holding Ctrl (W indow s) or ⌘ (macOS) andclicking on each panel you w ant to delete.

l

You can select a sequence of multiple panels by clicking on the first panel you w ant
to select and, w hile holding Shift, clicking on the last panel you w ant to select.
Every panel in-betw een w ill be selected.

2. Do one of the follow ing:lRight-click on the selection and select Clear Panels.

l

In the top menu, select Edit > Clear Panels.

l

Press Del (W indow s) or ⌫ (macOS).

The selected panels w ill be deleted, leaving a gap w here they used to be.

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Storyboard Pro 22 User Guide

How to delete an empty space in the animatic and ripple subsequent panels
backwards
1. In the Timeline view , select the gap you w ant to delete.

2. Do one of the follow ing:lRight-click on the selection and select Ripple Delete Space.

l

In the top menu, select Edit > Ripple Delete Space.

lPress Shift + Del (W indow s) or ⇧ + ⌫ (macOS).

All panels after the selected empty space w ill be shifted backw ards to fill the gap.

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Chapter 9: Timing

How to delete panels and ripple subsequent panels backwards in Animatic EditingMode
1. Select the panels you w ant to delete.

TIPSl

You can select multiple panels by holding Ctrl (W indow s) or ⌘ (macOS) andclicking on each panel you w ant to delete.

l

You can select a sequence of multiple panels by clicking on the first panel you w ant
to select and, w hile holding Shift, clicking on the last panel you w ant to select.
Every panel in-betw een w ill be selected.

2. Do one of the follow ing:lRight-click on the selection and select Ripple Delete Panels.

l

In the top menu, select Edit > Ripple Delete Panels.

l

Press Shift + Del (W indow s) or ⇧ + ⌫ (macOS).

The selected panels w ill be deleted, and subsequent panels w ill be shifted backw ards to fill the
gap.

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Storyboard Pro 22 User Guide

About Playback
The Playback features can be used all through the animatic process, all the w ay from Timing to Transitions.
You can preview you timing, animation, camera movements and sound in the Stage or Camera view s or as ahigh quality playback in the Playback view .

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Chapter 9: Timing

Playing Back the Animatic
You can preview your project as an animatic in Storyboard Pro at any time during its development process.
Using the Playback toolbar, you can preview the visual content, including transformations and transitions, andhave it synchronized w ith sounds.

How to preview an animatic
1. In the Playback toolbar, click the Soundbutton.

2. If you w ant to see how the shots w ill look w ith dynamic camera movement, click the Camera
Preview

button.

You w ill need this option on to preview Camera moves and transitions. W hen you drag the timeline
playhead w hile Camera Preview is enabled, it w ill adjust the Stage view to match the point of viewof the camera.
3. In the Timeline or Thumbnails view , select the panel w here you w ant the playback to begin.
4. In the Playback toolbar, click the Play Selectionor Play

5. To play your project in a continuous loop, click the Loopbuttons or press Shift + Enter.
button.

6. You may also scroll through the Timeline view by dragging the red playhead.
7. Select Play > Previous Frame or Next Frame to skip and play back one frame at a time. Or press
comma (,) and period (.).

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Storyboard Pro 22 User GuideHigh Quality Playback
You can view a high quality playback of your animatic in the Playback view . By default, this view does notappear in the softw are. You must enable this option in the Preferences and relaunch the softw are to make thisoption available.
The Playback view pre-renders frames (composites camera moves, effects, transitions, etc.) and saves them ina cache, then uses this cache for playback. The result is an accurate real-time preview .
The Playback view allow s for the display of information pertaining to the current frame. This can include
captions and dialog, the project timecode and the current scene and panel. Consult the Preferences Guide >Playback tab for more details.
You can now define the playback range and select the playback range options. You can also redefine thew orking range by setting the Start and Stop frames.

How to make the Playback view available
1. In the top menu, select Edit > Preferences (W indow s) or Storyboard Pro > Preferences (macOS).
The Preferences w indow opens.
2. In the Preferences w indow , click on the Playback tab.

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Chapter 9: Timing

3. In the Playback tab, in the Cached Playback section, click on the Playback Mode drop-dow n menu
and select Playback View.
4. Click OK to confirm the changes and to close the Preferences w indow .
5. Close Storyboard Pro by either clicking on the red square w ith an X, located at the top corner of thesoftw are, or by using the keyboard shortcut Ctrl + Q (W indow s) or ⌘ + Q (macOS).
6. Relaunch Storyboard Pro.
The Playback view and its options are now available in the softw are.

How to access the Playback viewlIn the top menu, select W indows > Playback.
The Playback view opens as a floating w indow .

How to play a preview in the Playback view
1. In the Playback toolbar, verify that the Auto Update Playback Cache
2. In the Playback toolbar, click on the Playbutton is enabled.

button (or the Play Selection

button, if you selected

a range of frames to play in the Timeline view ).
3. The Render Frames w indow s appears to display the progress of frames being rendered. This isalso visible in the Timeline view , w here an indicator line above the panels signals rendered frames
in green and unrendered frames in red.

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Storyboard Pro 22 User Guide

W hen the rendering process is complete, the animatic automatically starts to play in the Playbackview .

How to define Playback Rangel

In the top menu, select Play > Playback Rangel

In the Timeline view ruler, right click to select Playback Range.

You can select from the follow ing Playback Range options:l

Storyboard Track - Plays back only the spaces in the Timeline w ith scenes.

lTrack Storyboard and Audio Tracks - Plays back the spaces in the Timeline w itheither a scene, an audio, or both.

l

W orking Range - Plays back only the w orking range. To set the w orking range, movethe black triangles in the Timeline ruler to cover the desired playback area.

How to set the W orking Range
1. In the top menu, select Play > Playback Range > W orking Range
2. In the Timeline view , move the red playhead to set the Start and Stop Frames.
The Start and Stop Frames of the w orking range are displayed in the Timeline view 's ruler as black
triangles. You can drag them to change their position in time. You can also select items in the Timeline andset their w orking range.

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Chapter 9: Timing

About Markers
T-SBFND-009-017
Markers are visual indicators displayed at the top of the Timeline view , in the frame counter area. Use markers
to denote anything relevant to your w ork. You can indicate the frames you w ant to clean up, a change in action,
an impact, or w here you intend to apply an effect. In addition, you can add a note to a scene marker, w hich w ill
be displayed w ith the starting time value w hen you hover over the marker.

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Storyboard Pro 22 User Guide

Creating Markers on a Current Frame
T-SBFND-009-018
Using Markers, you can identify important moments in your storyboard. You can later easily find these
moments by simply scanning the Timeline.

How to mark the current frame
1. In Timeline view , drag the red playhead to the frame on w hich you w ant to add a marker.

2. Do one of the follow ing:lSelect Storyboard > Markers > Add Marker.

lRight-click in the frame counter area and select Add Marker.

NOTE
You may also set a keyboard shortcut for adding a marker. Please see Customizing
Keyboard Shortcuts.

A marker is added in the Timeline view at the exact position of the red playhead.

NOTE
It is also possible to add a marker during a playback of the storyboard or to asound by right-clicking in the frame counter area. The marker w ill appear at theexact position of the red playhead at the moment of the right-click.

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Chapter 9: Timing

Deleting Markers
T-SBFND-009-022
You can delete any marker no longer needed in the project.

How to delete a marker
1. In the Timeline view , select the marker you w ant to delete.

2. Do one of the follow ing:lSelect Storyboard > Markers > Delete Marker.

lRight-click in the frame counter area and select Delete Marker.

How to delete ripple marker or panelsl

In the Timeline view , right click and select Ripple Delete Panels.

Markers placed before or in the time range of the deleted panel w ill stay at their current time range.

How to delete all markers
1. Do one of the follow ing:lSelect Storyboard > Markers > Delete All Markers.

lRight-click in the frame counter area and select Delete All Markers.

NOTE
W hen deleting all markers, it is not mandatory to select a marker first.

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Storyboard Pro 22 User Guide

Editing Markers
T-SBFND-009-019
Once a scene marker is created, you can modify the duration of the marker, modify its colour, apply a note to
identify it, or move it.
There is also a new option to Ripple Markers in the Timeline view w hen editing panels. W hen enabled,
operations that cause the overall project duration to change w ill shift and ripple the markers to follow thepanels.
The follow ing image is an example of an edited marker:

How to edit a marker
1. In the Timeline view , select a marker.

2. Do one of the follow ing:lSelect Storyboard > Markers > Edit Marker.

lDouble-click on the marker.

lRight click in the ruler at the top of the timeline, and select Edit Marker.

The Marker dialog box opens.

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Chapter 9: Timing

3. Make your changes.
4. Click OK.

How to change colour of a marker
1. Click Colour.
A list of predefined colours w ill display to select. You can still assign a custom colour using the Custom
option at the bottom of the colour list.
2. Click OK.

How to activate ripple marker
1. In the Timeline view , select a marker.

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Storyboard Pro 22 User Guide

2. Do one of the follow ing:lSelect Storyboard > Markers > Ripple Markers.

lRight-click in the frame counter area and select Ripple Markers.

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Chapter 9: Timing

Displaying Marker Tooltips
T-SBFND-009-020
You can display marker tooltips by hovering the pointer over a marker.

How to display a marker’s tooltip
1. In Timeline view , hover over a marker.

NOTE
The marker's tooltip can display time, duration and note.

2. Move the pointer over the next marker to see the next tooltip.

NOTE
As default value, the marker tooltip only show s the information about the time.
Depending on the changes made in the Marker dialog box, the tooltip may show
additional information, such as duration and note. If a duration other than
00:00:00.00 has been set, duration information w ill appear in the tooltip. The
same logic applies to note information. For details, see Editing Markers on page641.
You can display the tooltip by hovering over the marker betw een its starting andending points. The range varies depending on the duration of the marker.

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Storyboard Pro 22 User Guide

Moving Markers
T-SBFND-009-021
You can move a marker to another location w hen needed.

How to move a marker
1. In Timeline view , select a marker.

2. Drag and drop the marker to the new location.

NOTE
Only one marker can be selected at a time; therefore, it is not possible to dragand drop multiple markers at the same time.
In the Timeline view , if more than one marker appears at the same time/frame,
the last marker created or moved appears on top of the other(s).

How to snap a marker to the beginning of a panel
1. In Timeline view , right-click in the frame counter area and select Snapping.
2. Select the marker.

3. Drag the marker near the beginning of the new panel.
W hen the marker snaps at the beginning of a new panel, a blue line w ith arrow s w ill replace thered line of the red playhead.

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Chapter 9: Timing

Exporting Markers to Toon Boom Harmony
W hen exporting scenes from Storyboard Pro to Toon Boom Harmony, the markers are exported automatically.
All information about the markers (time, duration and note) w ill be brought over.
For more information, see Exporting Harmony Scenes on page 1017
From Storyboard Pro:To Toon Boom Harmony:

NOTE
For more information about Scene Markers in Toon Boom Harmony, see About Scene Markers.

NOTE
In Storyboard Pro, any marker having a range that exceeds another scene, w ill not be exported in
the second scene in Harmony.

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Storyboard Pro 22 User Guide

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Chapter 10: Animation

Chapter 10: Animation
The camera and layers in your panels can be animated. This is helpful to test the potential animation of sceneelements. In Storyboard Pro, you can add keyframes to move a camera or layer to a specific position and keep
adding keyframes and moving the camera or layer until you are satisfied w ith the movement. W hen you playback the panels, the layer moves from one position to the next.
By default, layers are not animated. To animate a layer, you w ill use the Layer Transform tool. Using the Layer
Transform tool on a layer that contains no animation w ill affect the panel's entire duration.

NOTE
W hen a layer is selected and the Layer Transform tool is active, the 3D path for the layer isdisplayed in the Stage, Camera, Top and Side view s.

As you animate the position of a draw ing layer, a motion path is created w hich are trajectories. Using
keyframes, you can then record key positions along the trajectory. You can produce simple and advanced
motions and trajectories.

About the Animate Mode
Animate mode records the position, rotation, scale, skew , etc. of objects as keyframes in the Timeline view .
Turn off the Animate mode to reposition objects for the entire scene. W hen the Animate mode is disabled,
keyframes are not created w hen an object's parameters change.
To animate a layer using multiple keyframes, you must first activate the Animate mode. You can modify theobject in the panel and Storyboard Pro w ill transform the object from one keyframe to the next at a speed
defined by the duration of the panel.

Deactivating the Animate mode clears all the keyframes and leaves the layer at the position of the current
frame.

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Storyboard Pro 22 User Guide

Animating Layers
By default, layers in Storyboard Pro are static, but they can be animated.
A layer is animated by setting it in different positions, angles or sizes at tw o different frames in the timeline,
then letting Storyboard Pro calculate the position, angle and size of the layer for each frame betw een thosetw o frames. The frames at the beginning and end of an animation are referred to as keyframes.
You can animate a layer by enabling animation on it, w hich w ill create a keyframe for it in its current position,at the current frame. From there, you can just go to another frame and change its position, w hich w ill
automatically create another keyframe at the current frame. At this point, the layer is already animated from its
original position to the position you just moved it to.

How to animate a layer
1. In the Timeline view , select the panel w ith the layer you w ant to animate.
2. Move the Timeline cursor to the exact time w here you w ant to create the first keyframe for youranimation.
3. In the Layer panel of the Stage or Camera view or in the Layers view , click on the

Animatebutton of the 3D object you w ish to animate.
The

Animate button turns yellow and changes shape.

In the Layer Animation track of the Timeline view , a keyframe is created at the current frame. This
keyframe stores the position, angle and size of the layer at the current frame.

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Chapter 10: Animation

4. In the Tools toolbar, select theLayer Transform tool.

In the Stage or Camera view , the controls of the Layer Transform tool appear around the selecteddraw ing layer.

5. Using the manipulator box, transform the layer so that it is in the position, angle and size you w ant
it to be at the beginning of the animation:l

To move the layer, either click on its artw ork or on the blue point in the centre, then drag it to
the desired position.

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Storyboard Pro 22 User Guide

TIPSl

If you are having trouble dragging the layer by its artw ork, you can also click
and drag on theblue point in the centre. How ever, this point may be

obstructed by the layer's

pivot point . If that is the case, you can click anddrag on the pivot point to move it out of the w ay, then click and drag on thecentre point to move the layer.
l

You can also nudge the selection by using the arrow keys on your keyboard.

l

You can also enter specific coordinates in the

Horizontal Offset andVertical Offset fields in the Tool Properties view .

lTo scale the layer, click on one of the squares at the edges or corners of the manipulator box
and drag them to stretch or shrink the draw ing.

TIPSl

You can preserve the horizontal and vertical proportions of the selection byholding the Shift key.

ll

You can also enter specific scale percentages in the
Vertical Scale fields in the Tool Properties view .

Horizontal Scale andTo rotate the layer, move the cursor just outside of one of the corners of the manipulator box
until the mouse cursor becomes. Then, click and drag in either direction to rotate thelayer clockw ise or counterclockw ise.

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Chapter 10: Animation

TIPSl

You can rotate the artw ork in 15° increments by hold the Shift key.

l

You can also enter a specific angle in degrees in theAngle field of theTool Properties view .
lYou can also rotate the clip in 90° increments by clicking on the

Rotate 90

CW button in the Tool Properties view to rotate it 90° clockw ise, or on the
Rotate 90 CCW button to rotate it 90° counterclockw ise.

l

To flip the layer horizontally, click on the

Flip Horizontally button in the Tool Properties

view .
l

To flip the layer vertically, click on the

Flip Vertically button in the Tool Properties view .

lTo reset a layer to its original position, scale and angle, do one of the follow ing:lSelect Layer > Reset Transform.

lPress Ctrl + R (W indow s) or ⌘ + R (macOS).

6. In the Timeline view , move the cursor to the frame w here you w ant to create your second keyframe.

7. In the Stage or Camera view , use the manipulator box to transform the layer so that it is in theposition, angle and size you w ant it to be at the end of the animation.

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A keyframe is created at the current frame as soon as you make the first transformation.

8. Move the timeline cursor back to the beginning of the panel.
9. In the Playback toolbar, click on thePlay button to preview the animation.

NOTE
You can also use the Coordinate toolbar to enter values for the translation, scale and rotation
values of a selected layer—see .

If you w ant to start over, you can instantly delete a layer's animation by disabling animation on it.

How to clear all keyframes
1. Select a layer that contains animation. This is indicated by the yellow Animate icon.
2. Click the Animate

icon.

The follow ing message appears w hen turning off the Animate mode.

3. Click OK.
All keyframes are cleared and the layer remains at the position of the current frame. The Animate
icon on the layer turns grey to indicate that it does not contain animation.

How to animate the opacity of layer
1. In the Timeline view , move the red playhead to create the first keyframe to set the layer opacity.
2. In the Stage or Camera view , select the layer in the panel.
3. Clicknext to the Opacity value at the top of the layer list.

This w ill create an opacity keyframe to set the opacity of the layer.

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Chapter 10: Animation

4. Repeat steps 1,2 & 3 to add another opacity frame.

NOTE
W hen you playback, the opacity w ill change over time.

How to delete opacity keyframe
1. Use > < to navigate to the Previous or Next opacity keyframe.
2. Clickto delete an opacity keyframe.

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Storyboard Pro 22 User Guide

Moving the Pivot Point of a Drawing Layer
T-SBFND-009-009
The pivot point of a layer determines the location of the point around w hich a layer is rotated, scaled or
skew ed w ith the Layer Transform tool.
By default, the pivot point of a layer is at the centre of the stage. You can reposition that pivot point to adjust
w here your layer rotates, scales or skew s from w hen animated.

IMPORTANT
Changing the pivot point of a layer affects the position of its pivot point throughout the entire
panel. If your layer is already animated and you change the position of its pivot point, its position at
the current frame w ill remain the same, but Storyboard Pro w ill have to adjust the position of thelayer in other keyframes to w ork w ith the new position of the layer's pivot, w hich might produce
unexpected results in your animation. It is recommended to set the pivot point of your layer before
animating it.

How to set the pivot point of a layer
1. In the Timeline view , select the panel on w hich you w ant to animate a layer.
2. Do one of the follow ing:l

From the Tools toolbar, click the Layer Transforml

Select Tools > Layer Transform.

tool.

3. In the Stage view , select a layer to animate.
The selected layer’s transformation controls and pivot point become visible. The pivot point isrepresented by a blue circle at the centre of the camera frame.

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Chapter 10: Animation

4. In the Stage view , drag the pivot point to new location.

The new location of the pivot point w ill now be used as the reference w hen transforming layers.

How to centre the pivot point of a layer
1. In the Timeline view , select the panel containing the layer on w hich you w ant to set the pivot.
2. Do one of the follow ing:l

From the Tools toolbar, click the Layer Transforml

Select Tools > Layer Transform.

tool.

3. In the Stage view , select the layer w ith the pivot you w ant to set at the centre.
4. Do one of the follow ing:l

In the Tool Properties view , click the Center Pivot on SelectionlSelect Layer > Pivot > Center Pivot on Selection.

The pivot position is set to the centre of the selection.

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Storyboard Pro 22 User Guide

How to reset the pivot position
1. In the Timeline view , select the panel containing the layer on w hich you w ant to reset the pivot.
2. Do one of the follow ing:l

From the Tools toolbar, click the Layer Transforml

Select Tools > Layer Transform.

tool.

3. In the Stage view , select the layer w ith the pivot to reset.
4. Do one of the follow ing:l

In the Tool Properties view , click the Reset Pivotl

Select Layer > Pivot > Reset Pivot.

button.

The pivot position is reset to the centre of the camera frame.

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Chapter 10: Animation

Adding Ease- In and Ease- Out to a Layer Animation
T-SBANIM-003-006
By default, w hen you animate a layer, it w ill move from its position in one keyframe to its position in the next
keyframe by progressing tow ards it at a constant pace, then stop moving abruptly. This rarely looks natural.
To fine-tune the timing of an animation, you can add ease-in and ease-out to it. Adding ease-in to an
animation w ill make it start slow ly and gain in speed as it goes. Adding ease-out to an animation w ill make itslow dow n before it stops.

You can set the ease-in and ease-out for an animation in the Tool Properties view .

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Storyboard Pro 22 User Guide

How to add ease- in and ease- out to a layer animation
1. In the Tools toolbar, select the Layer Transform

tool.

2. In the Layer panel of the Stage or Camera view , or in the Layers view , select the layer for w hich you
w ant to add ease.
The motion path for the selected layer's animation w ill appear in the Stage and Camera view s.

3. In the Timeline view , move the timeline cursor betw een the first and last keyframe of the layer
animation to w hich you w ant to add ease.

4. In the Tool Properties view , enter the desired length of the ease-in in the Ease In field in the
H:MM:SS:FF format, w here H means hours, MM means minutes, SS means seconds and FF means
frames. The longer the length of the ease-in, the smoother it w ill be.
5. Enter the desired length of the ease-out in the Ease Out field, in the same format. The longer thelength of the ease-out, the smoother it w ill be.
As you make adjustments to the ease-in and ease-out of the animation, the notches in the motion
path change place, giving you an idea of how the ease is affecting the timing.

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Chapter 10: Animation

6. To test your animation, move the timeline cursor to a point just before the start of the animation.
Then, in the Playback toolbar, click on the Play660

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Storyboard Pro 22 User Guide

Copying and Pasting Keyframes
T-SBANIM-003-005
You can copy layer keyframes and paste them at a different time or on a different layer. It is possible to copy
keyframes one at a time or in series. W hen copying several keyframes together, they w ill preserve their easevalues, allow ing you to copy motion and preserve its timing.

How to copy and paste a Keyframe
1. In the Timeline view , select a panel w ith an animated layer.
2. In the Stage or Camera view select an animated layer.
3. Select a layer keyframe from the Layer track.
The keyframe turns blue.

4. Do one of the follow ing:lSelect Edit > Copy Layer Keyframes.

lPress Ctrl + C (W indow s/Linux) or ⌘ + C (macOS).

5. Move the playhead to the position w here you w ant to paste the keyframe. If you w ant to paste thekeyframe on a different layer, be it in the same panel or in a different panel, select the destination
layer in the Stage or Camera View .

6. Do one of the follow ing:lSelect Edit > Paste Layer Keyframes.

lPress Ctrl + V (W indow s/Linux) or ⌘ + V (macOS).

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Chapter 10: Animation

How to copy and paste several Keyframes
1. In the Timeline view , select a panel w ith an animated layer.
2. In the Stage or Camera view select a layer w ith several keyframes.
3. Select the first keyframe in the series of keyframes to be copied.
4. Hold Shift, then select the last keyframe in the series.
All the keyframes betw een the first and the last selected keyframes turn blue.

5. Do one of the follow ing:lSelect Edit > Copy Layer Keyframes.

lPress Ctrl + C (W indow s/Linux) or ⌘ + C (macOS).

6. Move the playhead to the position w here you w ant to paste the keyframes. The first keyframe inthe series w ill be pasted w here the playhead is, and all subsequent keyframes w ill be pasted after
this one.

NOTE
If you try to paste an animation that w ould exceed the length of the panel, thekeyframes that w ould end up beyond the end of the panel w ill be ignored.

7. Do one of the follow ing:lSelect Edit > Paste Layer Keyframes.

lPress Ctrl + V (W indow s/Linux) or ⌘ + V (macOS).

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Storyboard Pro 22 User Guide

How to copy the end position from the start position
1. In the Timeline view , select the panel that contains the start position to copy.
2. Select Layer > Copy Start Layer Position to End.

How to copy the start position from the end position
1. In the Timeline view , select the panel that contains the end position to copy.
2. Select Layer > Copy End Layer Position to Start.

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Chapter 10: Animation

Spreading the Layer Motion
T-SBANIM-003-004
W ithin the same shot, you can spread the current layer motion across all panels or a specified number ofpanels after the current panel.
A new layer w ill be added and the draw ing w ill be duplicated for panels that do not have the same name inthe defined range.

How to spread the motion from one panel to more than one panel
1. In the Timeline view , select the layer w ith the motion you w ant to spread.
2. Do one of the follow ing:‣

Select Layer > Spread Layer Motion.

‣

In the Layer toolbar, click the Spread Layer Motion

button. You may have to add this button

to the Layer toolbar by customizing it.
The Spread Layer Motion dialog box opens.

3. Do one of the follow ing:l

To spread layer motion over all panels in the same shot, select the All panels in thesame shot option.

l

To spread layer motion a specified number of panels after the current panel in thesame shot, select Next panel(s) and enter or select the number of adjacent panels.

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Storyboard Pro 22 User Guide

About Animation Functions
T-SBANIM-003-006A
Using the Layer Transform tool, the Timeline view as w ell as the parameters in the Tool Properties view , you
can control the position of each point in a layer, the position of each keyframe in time as w ell as the ease-in
and the ease-out of each movement. Layer animations are composed of functions that can be customized invarious other w ays. If you need to tw eak the animation of a layer in specific w ays, you may have to use theFunction Editor view .
The Function Editor view displays all the functions w hich, internally, compose the movement of the selected
layer or of the scene's camera. A function is simply a geometric (ie: position, size, angle) component of ananimation. W hen you add a keyframe to a layer or to the camera, a keyframe is created for each animation
function for that layer or camera, and that keyframe stores the value for that function at the current frame.
Then, the value of the function for each frame betw een any tw o keyframes is calculated by Storyboard Pro.

Animation Functions
A layer or camera animation is composed of the follow ing functions:lPath X, Y and Z: The position of the object on the x, y and z axes, relative to the centre of the stage. The
default value for these functions is 0.

NOTE
In 2D scenes, the Path Z function should alw ays be 0, as it represents the distance of thelayer relative to the camera. Changing the value of this function w hile in a 2D scene w illconvert the scene to a 3D scene.

lPath Velo: This function is used to adjust the curve of the Path X, Y and Z functions betw een their
keyframes.
The Path Velo is automatically generated by Storyboard Pro and has one keyframe for each keyframeon the Path X, Y and Z functions. You cannot adjust the value of these keyframes, only the curve
betw een the keyframes. W hen you do so, the curve betw een the keyframes of the Path Velo function isapplied to the Path X, Y and Z functions. Basically, this allow s you to adjust the ease of the object's
movement on all three axes simultaneously, using a single function.
In summary, you can edit the Path X, Y and Z function to adjust the position of the object on different
keyframes, and the Path Velo function to adjust the pace at w hich the object moves betw een
keyframes.

NOTE
The value of this function alw ays progresses from 0 to 1.

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Chapter 10: Animationl

Scale X, Y and Z: The size of the object on the x, y and z axes relative to its original size. The default
value for these functions is 1.

NOTE
The Scale Z function only has a visible effect on 3D objects.

lAngle Z: The rotation angle of the object around the z-axis.

lQuaternion X, Y and Z: If you have rotated the object on any angle but the z-axis, a Quaternion (3Drotation) function is used to track and adjust its angle on each of the x, y and z axes.

lQuaternion Velo: Like the path function, the Quaternion function uses a Velo function to determine theease of the rotation betw een keyframes. The values of the keyframes in the Quaternion Velo function
cannot be adjusted, only the curve betw een its keyframes. This curve is applied to the Quaternion X, Y
and Z functions, allow ing you to adjust the ease of the object's rotation on all three axes
simultaneously, using a single function.

Function types
The functions are of the follow ing types:lBezier: A bezier function determines how the interpolation betw een each keyframe is timed based on
Beziers that extend left and right of each keyframe, creating Bezier curves betw een keyframes.

lCoordinate: The X, Y or Z component of a 3D Path or 3D Quaternion functions. These functions do nothave Beziers nor ease. Their curve is determined by the Velo function to w hich they are associated (ie:Path Velo or Quaternion Velo).
For Path functions specifically, each keyframe can have a tension, continuity and bias setting w hich w ill
influence on how the trajectory of the animation path is curved betw een each keyframe.

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Storyboard Pro 22 User Guide

Path X, Y and Z functions as w ell as Quaternion X, Y and Z functions are coordinate functions. How ever,
only Path functions have tension, continuity and bias parameters.

l

Ease:

NOTE
Ease circles can appear in the Function Editor view if an earlier version of a Storyboard Pro
project file is opened in Storyboard Pro 20 or later. If a project file later than Storyboard Pro
20 is opened in Storyboard Pro 7 or earlier, velocity curves w ill still appear as Bezier.
How ever, if the easing values are modified in the Ease in Ease out boxes, the Bezier editing
system changes to the Ease circles customary to earlier versions of Storyboard Pro.

An ease function determines how the interpolation betw een each keyframe is timed based on thelength of the ease, in frames, before and after a keyframe. A function subjected to an ease-in w ill speed
up for the length of the ease-in, then continue at constant pace until it reaches the next keyframe. A
function subjected to an ease-out w ill start out progressing at a constant pace, then start slow ing dow n
w hen the ease-out begins.
Path Velo and Quaternion Velo functions are ease functions.

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Chapter 10: Animation

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Storyboard Pro 22 User Guide

Tweaking an Animation Path
T-SBANIM-003-007
Using the Function Editor view , you can fine-tune the animation of a layer or camera movement in very specificw ays.

How to view a layer or the camera's function curves
1. In the Stage or Camera view , select a layer that contains animation. This is indicated by the yellow
Animateicon.

2. From the Tools toolbar, click one of the follow ing:lLayer Transforml

Camerabutton for layer animation.

button for camera animation.

NOTE
To sw itch betw een layer and camera functions, click the Show Camera Functions
button at the bottom of the Function Editor view . W hen the button is selected, camera
functions are displayed in the graph, W hen deselected, layer functions are displayed.

3. In the Tool Properties view , click the Function Editor view

button.

The Function Editor view is blank until you select the layer containing the functions you w ant todisplay.
4. In the list of functions, check the functions that you w ish to edit, and uncheck the ones you w ant toleave unchanged so that they do not clutter the graph view to the right.

TIP
You can change the colour of the function's representation in the graphic by double-clicking on
the coloured square to the right of the function's name. This can help you identify thefunctions visually.

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Chapter 10: Animation

How to edit a Coordinate function
1. In the function editor view , identify w hich functions are the coordinate (Path X, Path Y and Path Z)
functions. If necessary, uncheck all other functions in the functions list so that only they are visible.
2. If your functions appear too big, too small or cropped out of the view , adjust the graph view by
doing one of the follow ing:lClick on the Reset View

button to adjust the graph view to the size of the functions thatare currently visible.
l

Click on the Reset View Verticallybutton if you only w ant the functions to fit w ithin theview vertically.
l

W hile holding Spacebar, click and drag on the graph to pan it.

lPress 2 to zoom in on the graph or 1 to zoom out of the graph.

3. Select one of the keyframes of one of the coordinate functions.
4. To adjust the value of the coordinate, click on the keyframe and drag it up or dow n, or type in a newvalue in the Value field at the top.

5. To adjust the position of the keyframe in time, press and hold Alt, then click on the keyframe anddrag it left or right. This w ill adjust the position of the keyframe in time for all corresponding
coordinate functions (X, Y, Z and Velo).

6. In the top of the function view , right of the Frame and Value fields, expand the extra parameters
section. If the arrow is pointing tow ards the right
The Tension, Continuity

and Bias, click on it so that it points to the bottom.

fields display at the right of the Frame and Value fields.

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Storyboard Pro 22 User Guide

NOTE
Since extra parameters depend on the type of keyframe selected, if keyframes fromseveral different types of functions are selected at the same time, no extra parameters
w ill be visible. To remedy this, discard the selection by clicking anyw here inside thefunction graph, then click on the keyframe you w ish to select.

7. In the Tension

field, enter a value betw een -1 and 1. A positive tension w ill reduce the curve of

the path betw een keyframes. A negative tension w ill increase it.

8. In the Continuity field, enter a value betw een -1 and 1. A positive continuity w ill cause the path tocurve beyond the trajectory betw een each keyframes. A negative continuity w ill have a reverse
effect.

9. In the Bias field, enter a value betw een -1 and 1. A high bias w ill make the curve more straight
before the keyframe and more curved out after it. A negative bias w ill make the curve more curved
out before the keyframe and more straight after it.

NOTE
Tension, Continuity and Bias settings are applied for all the functions in the same path
(Path X, Path Y and Path Z) simultaneously.

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Chapter 10: Animation

How to edit a Bezier function
1. In the function editor view , identify w hich functions are the coordinate (Path X, Path Y and Path Z)
functions. If necessary, uncheck all other functions in the functions list so that only they are visible.
2. If your functions appear too big, too small or cropped out of the view , adjust the graph view by
doing one of the follow ing:lClick on the Reset View

button to adjust the graph view to the size of the functions thatare currently visible.
l

Click on the Reset View Verticallybutton if you only w ant the functions to fit w ithin theview vertically.
l

W hile holding Spacebar, click and drag on the graph to pan it.

lPress 2 to zoom in on the graph or 1 to zoom out of the graph.

3. Select one of the keyframes of one of the coordinate functions.
4. To adjust the value of the coordinate, click on the keyframe and drag it up or dow n, or type in a newvalue in the Value field at the top.

5. To adjust the position of the keyframe in time, press and hold Alt, then click on the keyframe anddrag it left or right. This w ill adjust the position of the keyframe in time for all corresponding
coordinate functions (X, Y, Z and Velo).

6. Do one of the follow ing to adjust the point's Bezier handles:l

Locate the yellow arrow s pointing tow ards the left and tow ards the right of the keyframe.
By default, those arrow s w ill be at the same position as the keyframe. You can click and drag672

Storyboard Pro 22 User Guideon the left Bezier handle to adjust the curve at the left of the function, or on the right Bezier
handle to adjust the curve at the right of the function.

l

In the top of the function view , right of the Frame and Value fields, expand the extra
parameters section. If the arrow is pointing tow ards the rightthe bottom. The Left Length, Left Angle, click on it so that it points to, Right Length

and Right Angle

fields w ill appear at the right of the Frame and Value fields. You can use these fields toadjust the angle and length of their respective Bezier handles relative to the keyframes.

NOTE
Since extra parameters depend on the type of keyframe selected, if keyframes
from several different types of functions are selected at the same time, no extra
parameters w ill be visible. To remedy this, discard the selection by clicking
anyw here inside the function graph, then click on the keyframe you w ish to
select.

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Chapter 11: Camera

Chapter 11: Camera
T-SBFND-009-003
In the Stage view , the camera is displayed as a frame that matches the aspect ratio of your chosen resolution.

You can enhance your animatics by adding camera movements to the scenes. You can restrict camera
movements to one panel or spread it out across an entire scene/shot. An example of a camera movement
w ould be if you w anted the camera to go from a w ide shot and then zoom in to a close up.
Camera movements are created in much the same w ay as setting the Static Camera frame, but you w ill w ork
w ith keyframes in the Timeline view to set the different camera positions over time. Once again you w ill use
the Camera tool to animate the camera.

NOTE
This chapter covers mostly 2D camera movements. For information on how to position andanimate the camera in a 3D scene, see Animating the 3D Camera on page 769

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About the Stage and Camera Views
T-SBANIM-004-002
In Storyboard Pro, the Stage view is the default view in w hich to draw and manipulate objects. How ever,w hen w orking in 3D, it has one pitfall: W hen you pan, rotate, zoom into or zoom out of the stage view , you arechanging the point of view from w hich you are looking at the stage. This means that the apparent position andsize of elements may not be representative of w hat w ill appear in your storyboard or animatic.
If you w ant to see a 3D scene exactly as it w ill look in your storyboard, you must use the Camera view . The
Camera view alw ays displays the stage from the point of view of the camera, even if you pan, rotate or zoom it.
Therefore, you should alw ays preview your scene from the Camera view if you make changes to the positionof the Camera or of 3D objects, to make sure the composition of the scene is as expected.

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Chapter 11: Camera

Positioning the Camera
T-SBANIM-004-003
You can move the camera’s position using the Camera tool.
You can also set up the Static Camera position using the Camera tool properties—see Camera Tool Properties
in the Reference Guide.

How to position the Static Camera using the Camera tool
1. In the Timeline view , select a panel w ithin the scene in w hich you w ant to adjust the camera.
2. In the Tools toolbar, select the Camera

tool.

The camera frame is displayed. It is represented by a black box. The default camera frame is set to
12 fields.
3. Do one of the follow ing to modify the Static Camera:‣

To position the selected panel along the Z-axis to create a truck in or truck out movement, dragthe top-left corner of the camera frame up or dow n w hen you see the Truckicon. To change

the zoom level, change the Focal Length field in the Tool Properties view .

‣To rotate the Static Camera on the X and Y axes, drag w hen you see the Rotation

icon. Holdthe Shift key w hile rotating to restrict movement to the X or Y axis, depending on the axis on
w hich you started dragging.
‣

To rotate the Static Camera on the Z axis, position the cursor outside one of the corners of thecamera frame. W hen you see the Rotation‣

icon, drag to rotate.

To move the centre pivot point, position your the cursor over the centre point and w hen you see
the dragicon, drag to move in the X or Y axis. Hold dow n the Alt key w hen dragging thecenter point to move it on the Z axis. The farther you drag the mouse, the faster the camera
moves.

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NOTE
You can use the Proportion Grid to help you frame your shot. The grid w ill follow the Camera
frame. To turn on the Proportion grid, click on its

icon in the Camera view toolbar or fromthe top menu, select View > Extras > Proportion Grid.

By default, the grid is divided into 3 vertical and 3 horizontal sections so as to help follow theclassic rule of thirds in composition. These divisions can be customized in the Camera tab of
the Preferences dialog.

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Chapter 11: Camera

Resetting the Camera
T-SBANIM-004-004
If necessary, you can remove all the keyframes in your scene, and revert back to the original Static Camera.

How to reset camera animation
1. In the Timeline view , select the scene on w hich you w ant to reset the camera animation.
2. Do one of the follow ing:‣

Select the Camera‣

Select Camera > Reset Camera.

tool, and in the Tool Properties view , click the Reset Camera

button.

All camera keyframes for the selected scene are deleted and the scene’s Static Camera is reset.

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Copying and Pasting the Camera
T-SBFND-009-006
If you need to reuse a camera position, you can copy and paste it from one scene to another. It is not necessary
to have the Camera tool selected to do this.

How to copy and paste the camera position
1. In the Timeline view , select the scene that contains the Static Camera to copy.
2. Select Camera > Copy Camera from Selected Panels.

3. In the Timeline view , select the scene to w hich you w ant to paste the copied camera information.

4. Select Camera > Paste and Fit Camera on Selected Panels.

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Chapter 11: Camera

About Camera Movements
T-SBFND-009-004
Camera keyframes enable you to modify the position of your camera and have it change over time. The camera
keyframes are coordinates indicating the position of your camera on a particular frame. In order to create any
camera movements, you must set at least tw o camera keyframes.
W ith Camera keyframes, you set the camera to go from one position in the frame to another, over a defined
number of frames. You can also to control the velocity at w hich the camera attains its final position.
Keyframes appear as grey diamonds or half diamonds in the Timeline view . The space betw een keyframes in
the Timeline view represents the number of frames it takes for the camera to move from one keyframe to thenext, w hich determines the speed.
W hen a keyframe is selected in the Timeline view , it is displayed in blue. Camera keyframes are displayed in
the Timeline view only, in a strip above the panel thumbnails. The first and last keyframes in a scene appear as
half diamonds, w hile any in betw een are displayed as full diamonds.

In the Timeline view , w hen the first keyframe of the panel is selected, the rectangle that defines the camera
frame, along w ith a large X that quarters the camera frame, is highlighted in green. W hen the last keyframe isselected, these elements appear in red. If you have any keyframe betw een the first and last selected, thenthese elements w ill appear in blue.

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Storyboard Pro 22 User Guide

These are the default camera keyframe colours. You can use the Preferences dialog box to choose your ow ncamera keyframe colours. W hen you do, the new colours w ill used in the Camera and Stage view s, as w ell as
in the different export formats of your storyboard.
If you w ant to create a truck in or truck out (a move along the Z-axis), you can use the manipulators in the Top
or Side view s, (you can also click on the upper-left corner of the frame in the Camera view ). If you select thearrow pointing along the Z-axis and drag the manipulators from that arrow instead of from the centre point of
the manipulator circle, your movements w ill be locked to that axis. This is useful if you do not w ant toaccidentally displace the up and dow n or left and right position of your camera frame.
Remember that the light-blue arrow s in the Camera view do not necessarily indicate backw ard and forw ard
movements. If your second camera frame appears larger or smaller than the initial camera frame position, then
you can be sure that a camera truck in or truck out w as made.

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Adding Keyframes
To create camera movement in a scene, you must start by creating at least tw o camera keyframes, then set theposition of the camera in each of those keyframes. Storyboard Pro w ill interpolate the position of the camera
on each frame betw een tw o keyframes.Below are four methods to add keyframes to the Timeline view .

How to add a camera keyframe at the current frame
1. In the Timeline view , click and drag the timeline cursor to the frame at w hich you w ant to create acamera keyframe
1. Select the Camera tool by doing one of the follow ing:l

From the Tools toolbar, select the

Camera tool.

l

From the top menu, select Tools > Camera.

2. Create a camera keyframe by doing one of the follow ing:l

In the Timeline view , in the left column of the Camera track, click on the

Add Keyframe

button.
l

In the top menu, select Camera > Add Camera Keyframe at Current Frame.

l

In the Tool Properties view , click on the

Add Keyframe button in the Camera Transformpanel.
A keyframe is added in the Camera track of the Timeline view , w here the timeline cursor is.

How to add a keyframe at the beginning of the current panel
1. In the Timeline view , select the panel on w hich you w ant to add a keyframe.
2. Do one of the follow ing:‣

In the Tools toolbar, click the Camera‣

Select Tools > Camera.

tool.

3. Do one of the follow ing:‣

Select Camera > Add Camera Keyframe at Beginning of panel.

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In the Tool Properties view , click the Add Keyframe at Beginning of Current Panelbutton.

In the Timeline view , a keyframe is added at the beginning of the selected panel.

How to add a keyframe at the end of the current panel
1. In the Timeline view , select the panel on w hich you w ant to add a keyframe.
2. Do one of the follow ing:‣

In the Tools toolbar, click the Camera‣

Select Tools > Camera.

tool.

1. Do one of the follow ing:‣

Select Camera > Add Camera Keyframe at End of panel.

‣

In the Tool Properties view , click the Add Keyframe at the End of Current Panel

A keyframe is added in the Timeline view , at the end of the current panel.

How to use the Copy and Paste commands to add keyframes
1. In the Timeline view , click to select a camera keyframe.
The keyframe turns blue.

2. In the Stage view , click the camera keyframe.

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button.

Chapter 11: Camera

3. Do one of the follow ing:‣

Select Edit > Copy Camera Keyframes.

‣

Press Ctrl + C (W indow s) or ⌘ + C (macOS).

‣

Select the Camera
Panelstool. In the Tool Properties view click the Copy Camera from Selectedbutton.

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4. Move the playhead to the position w ithin the same scene w here you w ant to paste the keyframe.

5. Do one of the follow ing:‣

Select Edit > Paste Camera Keyframes.

‣

Press Ctrl + V (W indow s) or ⌘ + V (macOS).

‣

Select the Camera
Selected Panels

tool, and in the Tool Properties view , click the Paste and Fit Camera on
button.

NOTE
You can copy/paste several keyframes simultaneously if you selected multiple keyframes
before performing the operation.

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Chapter 11: Camera

Deleting Keyframes
W hen you no longer need keyframes, you can delete them from the Timeline view .

How to delete keyframes from the Timeline view
1. Select the keyframe(s) to delete.
2. Do one of the follow ing:‣

Select Edit > Delete Selected Camera Keyframes.

‣

Select the Camera
button.

‣Press Delete.

tool, and in the Tool Properties view , click the Delete Selected Keyframe

How to delete a keyframe at the current frame
1. In the Timeline view , place the red playhead on the frame that contains the keyframe to delete.
2. Select Camera > Remove Camera Keyframe at Current Frame.

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Animating Keyframes
T-SBFND-009-005
The position of the camera keyframes is set in much the same w ay as the Static Camera, using the Camera toolin the Stage view . You must do this for every keyframe you created, so the camera moves from one keyframeto the next w hen played back.

NOTE
This section show s you how to set up a 2D Camera movement. W hen using the Camera in 3D
space, new manipulators become available—see About 3D Objects on page 724 to learn more
about 3D camera moves and framing your 3D scene.

NOTE
W hen manipulating the Camera, you can enable the Camera Label

option in the Stage view

status bar to display a letter in the corner of each camera frame, indicating their order in thecamera movement.

How to position camera keyframes in a 2D scene
1. Select the Camera tool by doing one of the follow ing:l

From the Tools toolbar, select the

Camera tool.

l

From the top menu, select Tools > Camera.

2. Do one of the follow ing:l

In the Camera track of the Timeline view , select the camera keyframe you w ant to modify.

l

In the Stage or Camera view , zoom out to see all of the camera frames. Then, select thecamera frame you w ant to modify by clicking on its edge or its centre point.

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Chapter 11: Camera

TIP
Even if your camera frames are in the same position, you can still select a specific one in
the Stage or Camera view . Just below the bottom-left corner of the camera frames, you
w ill find blue square-shaped dots. Each of these dots can be clicked on to select a
specific camera frame. If tw o or more camera keyframes are in the same position, theorder of these dots w ill represent their relative position on the timeline. The leftmost
dot can be used to select the first camera keyframe, the second leftmost dot can beused to select the second camera keyframe, etc.

3. Use one of the follow ing methods to modify the camera frame:lMove: Move the mouse cursor over the edge or the centre point of the camera frame until themouse cursor becomesl, then click and drag the camera frame to move it.

Truck In or Truck Out: Move the mouse cursor over the point in the top-left corner of thecamera frame until the mouse cursor becomes, then click and drag this corner to shrink or

stretch the camera frame. Shrinking the camera frame w ill make it zoom in, and stretching it
w ill make it zoom out.

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Storyboard Pro 22 User Guidel

Rotate: Move the mouse cursor just outside of one of the corners of the camera frame until
the mouse cursor becomes, then click and drag the corner in either direction to rotate thecamera frame clockw ise or counterclockw ise.

TIP
You can also nudge the camera frame by using the arrow keys on your keyboard, or
enter its exact coordinates in the Tool Properties view .

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Chapter 11: Camera

Timing Keyframes
T-SBANIM-004-008
If you need to change the frame or timing of a keyframe in the Timeline view , there are a few different w ays todo this. Note that camera keyframes can only be moved to a new location w ithin the same scene.
The follow ing tw o methods are useful w hen you w ant to move a keyframe to a new location, or cut and paste
a keyframe.

How to drag camera keyframes to a new location in the Timeline view
1. In the Timeline view , select one or more keyframes.
The keyframe turns blue.
2. Drag the selected keyframe left or right to choose a new position in time. You can only drag it to a
new location w ithin the current scene.

W hile you drag the keyframe, its position relative to the scene is displayed in a black box. The
number of frames is also displayed from the original position the new keyframe w ill be located.

How to using the Cut and Paste commands to move keyframes
1. In the Timeline view , select one or more keyframes.
The keyframe turns blue.

2. Select Edit > Cut Camera Keyframes or press Ctrl + X (W indow s) or ⌘ + X (macOS).
The keyframe is removed and copied to the Clipboard.

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3. W ithin the same scene, move the red playhead to the position on w hich you w ant to paste thekeyframe.
4. Select Edit > Paste Camera Keyframes or press Ctrl + V (W indow s) or ⌘ + V (macOS)).

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Chapter 11: Camera

Spreading Camera Motions Across Panels
T-SBFND-009-007
A camera movement is not restricted to a panel. Keyframes for a particular camera movement can span
multiple panels w ithin the same scene.

How to spread a camera movement across multiple panels of a scene
1. In the Timeline view , select the panel that contains the camera movement you w ant to span overmultiple panels.

2. Select the keyframe you w ant to move to a new panel.
3. Drag the selected keyframe to another panel w ithin the scene.

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Adding Ease- In and Ease- Out to a Camera Animation
By default, w hen you create camera movements, the camera w ill move from its position in one keyframe to its
position in the next keyframe by progressing tow ards it at a constant pace, then stop moving abruptly. If you
w ant it to gain speed as it start moving or to slow dow n before it stops, you can do this by adding ease-in andease-out to its animation. Adding ease-in to an animation w ill make it start slow ly and gain in speed as it goes.
Adding ease-out to an animation w ill make it slow dow n before it stops.

You can set the ease-in and ease-out for an animation in the Tool Properties view .

How to add ease- in and ease- out to a camera animation
1. In the Tools toolbar, select the Camera

tool.

2. In the Timeline view , move the timeline cursor betw een the first and last keyframe of the camera
animation to w hich you w ant to add ease.

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Chapter 11: Camera

3. In the Tool Properties view , enter the desired length of the ease-in in the Ease In field in the
H:MM:SS:FF format, w here H means hours, MM means minutes, SS means seconds and FF means
frames. The longer the length of the ease-in, the smoother it w ill be.
4. Enter the desired length of the ease-out in the Ease Out field, in the same format. The longer thelength of the ease-out, the smoother it w ill be.
5. To test your camera animation, move the timeline cursor to a point just before the start of thecamera movement. Then, in the Playback toolbar, click on the Play696

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Storyboard Pro 22 User Guide

Snapping Keyframes to Sound Clips
T-SBANIM-004-007
W hen snapping is enabled, camera keyframes w ill snap to sound clips and to the timeline cursor as you click
and drag them.

How to enable or disable snapping
1. Do one of the follow ing:l

At the bottom-left of the Timeline view , click on the Snappingl

Right-click the Timeline view and select Snapping.

button.

NOTE
W hile dragging a clip, you can temporarily override w hether snapping is enabled by holding
the Shift key.

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Chapter 11: Camera

Syncing Keyframes
T-SBANIM-004-006
By default, w hen you change the duration of a panel, the position of camera keyframes w ithin that panel isadjusted to fit the new length of the panel. This behavior can be adjusted depending on your preference.
The Keyframes Sync Mode has three options:lNone: W hen adjusting the length of a panel or a scene, the camera keyframes remain at their actual
frames. This means that if you make a scene shorter than its camera movements, some of its last
camera keyframes w ill get clipped out.

lRelative to Panels: The default option. W hen adjusting the length of a panel, the position of camera
keyframes w ithin this panel w ill be adjusted to fit the new length of the panel. If camera keyframes areoutside of that panel but inside the same scene, their distance relative to each other w ill not be affected.

lRelative to Scene: W hen adjusting the length of the panel, the position of all camera keyframes w ithin
the scene in w hich that panel is w ill be adjusted to fit the new length of the scene. This could causesome camera keyframes to end up in a different panel than the one w here they originally w ere.
How ever, since camera movements occur at the level of the scene, not the panel, this option may give
preferable results in some situations.

How to change keyframe syncing settings
1. Do one of the follow ing:lSelect Camera > Keyframe Sync Mode > None, Relative to PanelorRelative to Scene.

l

In the Timeline view , right-click on the Camera track and select Keyframes Sync Mode >None, Relative to Panel or Relative to Scene.

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About the Camera Path
You can adjust the Tension, Bias, and Continuity parameters on keyframes and control points by selecting thepoint in the Timeline view and using the Keyframes and Control Points toolbar.
•

Continuity controls the smoothness of a transition betw een the segments joined by a point.

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Chapter 11: Camera•

Tension controls how sharply the path bends as it passes through a control point or keyframe.

•

Bias controls the slope of the path so that it flow s tow ards one side of the motion point or the other.

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Adding Control Points
You can change the camera path from one keyframe to the next by adding control points to the trajectory.

How to add control points to a trajectory
1. In the Timeline view , select the scene on w hich you w ant to modify the camera trajectory.
2. From the Tools toolbar or the Tools menu, select the Camera

tool.

3. In the Stage view , place the cursor over the trajectory betw een tw o keyframes.

4. W hen you see this icon

, click and drag the trajectory to reshape it.

5. A control point is added w hen you let go of the mouse button.

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Chapter 11: Camera

Now , instead of the camera going from A to B in a linear fashion, there is a slight curve to the
trajectory.
6. Click the control point to move it and to reshape the trajectory if desired. You can also select thecontrol point in the Stage view , Top view or Side view and click Del. You do not have to go to theTimeline.

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Deleting Control Points
Control points are visible in the Timeline, but you can only move them in the Stage view . To delete a control
point, you must go to the Timeline. A control pointed is represented by a small dot betw een keyframes.

How to delete a control point
1. In the Timeline view , select the control point w hich represented by a small dot betw een keyframes.
The control point turns blue.

2. Press Delete to remove the selected point.
The trajectory reverts to its original shape.

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Chapter 11: Camera

Adjusting the Curve of a Camera Movement
W hen you animate a camera movement w ith more than tw o keyframes, the path of the camera follow s a curvethat touches every keyframe in its animation. Using the Keyframes and Control Point toolbar, you can adjust
how the path curves before and after each keyframe in the camera's trajectory.
W hen a camera keyframe is selected, the Keyframes and Control Point toolbar gives you access to threesettings that can be applied to that keyframe. Each setting can have a value ranging from -1 to 1. W hen all
fields are set to their default value, 0, the curve is constant and even. Here is an example opf how each setting
can affect the camera path:l

T (Tension): A positive tension w ill reduce the curve of the path betw een keyframes. A negative tension
w ill increase it.

l

C (Continuity): A positive continuity w ill cause the path to curve beyond the trajectory betw een each
keyframes. A negative continuity w ill have a reverse effect.

l

B (Bias): A high bias w ill make the curve more straight before the keyframe and more curved out after
it. A negative bias w ill make the curve more curved out before the keyframe and more straight after it.

How to adjust the Continuity, Tension and Bias parameters of a keyframe or control
point
1. Add the Keyframes and Control Points toolbar to your w orkspace by doing one of the follow ing:l

In the top menu, select W indows > Toolbars > Keyframes and Control Points.

l

Right-click on a toolbar or on the empty space around a toolbar and select Keyframes andControl Points.

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The Keyframes and Control Points toolbar appears

2. In the Tools toolbar, select the Camera

tool.

3. In the Timeline view , select the keyframe or control point you w ant to adjust.
4. In the Keyframes and Control Points toolbar, enter values betw een -1 and 1 in the Continuity,
Tension, and Bias fields until the path before and after the selected keyframe is the w ay you w ant it
to be.

How to set defaults for the Continuity, Tension and Bias parameters for keyframes
and control points
1. Select Edit > Preferences (W indow s) or Storyboard Pro 22 > Preferences (macOS).
The Preferences dialog box opens.
2. Select the Camera tab.
3. In the Keyframes and Controls Points section, enter the defaults for Tension, Continuity and Bias,
based on your preferred settings.

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Chapter 11: Camera

Pinning Layer to Camera
You can make a layer follow the movement of the camera, so that it alw ays appears in the same area of thecamera field no matter the position of the camera.

NOTE
If you are w orking on a 3D scene, see Aligning 2D Layers w ith a 3D Camera on page 772.

How to pin a drawing layer to the camera
1. Add the Layers view to your w orkspace by doing one of the follow ing:l

In the top-right corner of any view , click on the Add Viewl

In the top menu, select W indows > Layers.

button and select Layers.

2. In the Layers view , select the layer you w ant to pin to the camera.

3. In the Layer Alignment options, click on the Pin Layer to Camera

button.

NOTE
To unpin the layer from the camera, select No alignment. The other option, Face Camera, is for 3D scenes—see Aligning 2D Layers w ith a 3D Camera on page 772.

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Chapter 12: 3D

Chapter 12: 3D
Storyboard Pro has an extensive set of 3D functionalities:l

You can move draw ing layers are different distances from the camera's point of view .

lYou can rotate draw ing layers on any axis.

l

You can import 3D models into your scene and place them into your panels at any position, size andangle.

l

You can animate the position, size and angle of 3D models.

l

You can adjust the position, size and angle of sub-objects in your 3D model.

l

You can separate a sub-object from its 3D model and animate it independently.

W hether 3D functionalities are enabled depends on w hether or not the current scene is in 2D mode or 3D
mode. By default, scenes created in your project are in 2D Mode. 2D Mode disables 3D functionalities to avoid
letting them clutter your w orkflow , since storyboards are often strictly 2D projects. How ever, you can enable
3D on a scene instantly and at any time, w ithout it having any negative impact on the scene. 3D functionalities
cannot be enabled for a single panel, or for the w hole project at a time.

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About Staging in 3D Space
Storyboard Pro adds a new dimension to the layout process by allow ing you to plan your 2D scenes in a 3D
space. The 3D space is described in terms of three planes:•

EW : Maps the horizontal plane in terms of East and W est, this is the X coordinate.

•

NS: Maps the vertical plane in terms of North and South, this is the Y coordinate.

•

FB: Maps the depth of the plane in terms of Front and Back, this is the Z coordinate.

W hen you add elements to a scene, they appear in layers in the initial position of zero fields NS, zero fields
EW , and zero fields FB w ithin the 3D scene space. Before the 3D space feature, you could only change thelayer position—see .
But in 3D space, you can use the EW (X), NS (Y), and FB (Z) coordinates to place your elements at different
distances in depth from the camera and from each other, adding a three-dimensional effect to your tw odimensional animation.

Once you place the elements in your scene, you can move, rotate, or scale your elements in 3D space.
Storyboard Pro automatically applies the changes to all of the contents in the element.
W here previously 2D objects could only be moved, rotated and animated on a 2D plane, now they too can be
manipulated in 3D space. This means that flat, 2D objects can move forw ard or backw ard along the Z-axis,
grow ing realistically bigger or smaller as they move tow ards or aw ay from the camera. Features, such as
Alw ays Face Camera, mask the paper thin edges of 2D objects for camera rotations around these objects.

709

Chapter 12: 3DConverting the Current Scene to 3D
W hen you create a scene, it is in 2D mode by default. This means layers are locked at the same position on thez-axis and can only be rotated on the z-axis. This is to avoid incumbering your w orkflow w ith 3D
functionalities that are not needed.
You can easily convert a 2D scene to 3D, and back and forth. In a 3D scene, you can move layers on the z-axis
and rotate them in any direction. You can also rotate the camera in any direction and make it move across thedepth of the stage. Likew ise, you can rotate the Stage view in any angle and navigate the stage in its depth,
allow ing you to look at it from various points of view .

NOTE
You can convert a scene to 3D, but not a single panel. W hen sw itching to 3D mode, the mode is
only applied to the current scene, not the entire project.

How to enable the 3D option
1. In the Thumbnails or Timeline view , select the scene you w ant to convert to 3D.
2. Do one of the follow ing:l

In the Storyboard toolbar, click the

Enable 3D button.

l

Select Storyboard > Enable 3D for Current Scene.

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Resetting the Current Scene to 2D
You can reset a 3D scene back to 2D. W hen you do this, the follow ing changes are made to your scene:lImported 3D models are removed.

l

3D camera movements are converted to 2D camera movements. Camera movements on the z-axis w ill
be converted to 2D camera zoom-ins and zoom-outs, but 3D rotations w ill be ignored.

l

3D transformations on layers are converted to 2D transformations. Layers that have been moved on thez-axis w ill be scaled up or dow n to preserve their apparent proportions, but 3D rotations w ill beignored.

How to reset a scene to 2D
1. Do one of the follow ing:l

In the Storyboard toolbar, click the

Reset Scene to 2D button.

l

Select Storyboard > Reset Scene to 2D.

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Chapter 12: 3DViewing Objects from the Top and SideW hen w orking in 3D, you can use the Stage view to look at your stage from any point of view and any angle,
allow ing you to see how objects are positioned in space, and you can use the Camera view to look at yourstage from the point of view of the camera. How ever, you may often need to have precise control over how
objects and layers are positioned on the z-axis.
The Top and Side view s allow you to view the stage from its top and from its side, respectively. Because theseview s do not apply perspective to the stage, they can be used to position elements w ith more precision. Using
the Side view , you can view and position layers and objects on the front-back (z) axis , as w ell as on the northsouth (y) axis. Using the Top view , you can view and position layers and objects on the front-back (z) as w ellas the east-w est (x) axis. Hence, both view s combined can help you position objects on the z-axis w ithout
losing sight of their position on the other axes.

The Top and Side view s display 2D layers as thin segments, as if you w ere looking at sheets of paper from theside. You can manually select and manipulate 2D layers right from these view s.

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Positioning 2D Objects in 3D SpaceIn a 3D scene, draw ing layers can be manipulated like 3D objects. You can position them closer to or further
aw ay from the camera, allow ing you to create a multiplane effect. You can also rotate them in any direction,
allow ing you to make pseudo-3D constructions such as open-faced rooms..

How to position 2D objects in 3D space
1. In the Stage or Camera view , select a layer w ith a 2D object.

2. From the Tools toolbar, click the Layer Transformbutton.

Manipulators appear over the object layer’s pivot point.
3. Use the manipulators to manipulate your image in the follow ing w ays:‣

To squash and stretch your image vertically: Pull the green, square points located at the top
and bottom of the manipulator circle.

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Chapter 12: 3D‣To squash and stretch the image horizontally: Pull the red, square points located on the rightand left sides of the manipulator circle.

‣

To scale the image proportionally: Hover anyw here over the box outside the manipulator circle
until the cursor turns into a w hite, double-headed arrow . Pull in any direction to scale the image
up or dow n.

‣

To move the image vertically: Click the green, vertical arrow and pull it up or dow n.

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Storyboard Pro 22 User Guide‣

To move the image horizontally: Click the red, horizontal arrow and pull it left or right.

‣

To move the image backwards or forwards along the Z- axis: Go to either the Top or Side
view s and use the blue arrow to pull the layer closer or farther from the static camera cone.

715

Chapter 12: 3D‣To rotate the image on the X- axis: Hover over the vertical line (actually a ring) bisecting themanipulator circle. The rotate X-axis cursor

appears. Pull up or dow n to rotate your object

along this axis.

‣

To rotate the image on the Y- axis: Hover over the horizontal line (actually a ring) bisecting themanipulator circle. The rotate Y-axis cursor

appears. Pull tow ards the left or right to rotate

your object along this axis.

‣

To rotate the image on the Z- axis: hover anyw here over the manipulator ring. The rotate Zaxis cursor appears. Pull clockw ise or counter clockw ise to rotate the object.

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You can perform any of these manipulations in combination. For example, after have rotated your2D object 45 degrees around the Y-axis, you can reposition it along the Z-axis.

717

Chapter 12: 3DMoving Layers in the 3D Space and Maintaining their Size
T-SBADV-011-015
W hen positioning elements, you can retain the visual scale of elements as you move them in the Z-axis in theSide or Top view s. As you move draw ing layers on the Z-axis, they are scaled to preserve their size in thecamera.

How to position an element in the Top and Side views
1. From the Tool toolbar, select the Maintain Size

tool.

2. In the Side or Top view , select a layer.
The selected layer is highlighted in pink.

3. Drag the layer to the correct depth position in the camera cone.
Your element aspect remains the same in the Camera view .

4. To scale the element up or dow n in relation to its distance to the camera, select the Layer
Transform

tool from the Tools toolbar.

5. In the Tool Properties view , make sure the Peg Selection Mode
The selected layer is highlighted in the camera cone.

718

option is deselected.

Storyboard Pro 22 User Guide

6. In the Top view , drag the element sidew ays to position it horizontally. Hold Shift w hile dragging to
make sure it only moves along the X-axis.
7. In the Side view , drag the selected element up or dow n to position it vertically. Hold Shift w hile
dragging to make sure it only moves along the Y-axis.

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Chapter 12: 3DDrawing on 2D Layers in a 3D Space
Flat 2D objects integrated into your 3D scene may sometimes need to be edited, even after the camera has
been repositioned or rotated in 3D space. An edit usually requires redraw ing and recolouring part of theobject. How ever, after making several rotations or a movement in 3D space, the Stage view and the draw ing
layer of the 2D object might no longer be parallel to one another. If this happens, you cannot draw on thatlayer. To make your edits, you must use the Look At Selected feature.

How to use the Look at Selected feature
1. Select a layer by doing one of the follow ing:‣

Stage View: In the Layers section select a layer.

‣

Stage View: Use the Layer Transform‣

Thumbnails View: Click the scene's layer tab.

tool to select a layer.

2. In the Stage view status bar, click the Look At Selectedbutton.

The Draw ing object layer is perpendicular to the Stage view , ready for draw ing edits.

NOTE
You can use rotate the light table by pressing: Ctrl + Alt (W indow s) or ⌘ + Alt (macOS).
You can rotate the Stage view by pressing V or C (W indow s) or Shift + ⌘ (macOS).

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Navigating the 3D SpaceW hen w orking in the Stage view , you can quickly navigate through a scene using the mouse buttons or 3D
navigation tools.
By using your left, middle, and right mouse buttons, you can rotate around in the Stage view , dolly on the Z
axis, and pan the X and Y axes. If you only have access to the left mouse button, such as w hen using a pen andtablet, you can still navigate easily in 3D space.
To increase efficiency w hile w orking w ith the tools in Storyboard Pro, you can temporarily sw ap one tool for
another—see About Quick Sw ap Shortcut on page 488.

How to navigate 3D space using only the left mouse button
1. In the Stage view , do any of the follow ing:lPress Shift + Ctrl and left-click to rotate.

lPress Spacebar and left-click to pan.

lPress Spacebar+Alt and left-click to zoom out.

lPress Spacebar+Ctrl and left-click to zoom in.

How to navigate 3D space using the three mouse buttons
1. In the Stage view , hold dow n Shift + Ctrl and do any of the follow ing:lLeft Mouse Button: Hold dow n the left mouse button and drag to rotate the view .

lMiddle Mouse Button: Hold dow n the middle mouse button and drag to pan along the X and Y
axes.

l

Right Mouse Button: Hold dow n the right mouse button and drag to dolly on the Z-axis.

l

Scroll W heel: Roll the scroll w heel to dolly on the Z-axis.

How to navigate 3D space with the 3D Navigation tool
1. From the Tools toolbar, click the 3D Navigation

tool.

2. Do any of the follow ing:lHold dow n the left mouse and drag to rotate the scene.

lHold dow n the middle mouse and drag to pan the scene.

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Chapter 12: 3DlHold dow n the middle mouse button w hile pressing Spacebar and drag to dolly in the Z axis.

lRoll the scroll w heel to dolly on the Z-axis.

You can get a first person perspective w hile navigating w ith the 3D Flying Navigation tool. By using yourmouse buttons, mouse w heel, and arrow keys, you can move through 3D space interactively.
W hen the 3D Flying Navigation tool is active, the cursor (hand) is not visible. You can now navigate through ascene. W hen you move the mouse, the view rotates around the current view point (instead of around a fixedpivot).
You can move around in the scene by using the follow ing:•

The mouse w heel controls the Z axis.

•

The Up/Dow n keys control the Z axis.

•

The Left/Right keys control the X axis.

•

The Pg Up/Pg Dn keys the Y axis.

You can deactivate the tool by clicking anyw here on the interface.

NOTE
W hen using the 3D Flying Navigation tool w ith a tablet, the cursor remains visible.

How to navigate with the 3D Flying Navigation tool
1. In the Tools toolbar, select the 3D Flying Navigationtool.

2. To activate the tool, click on the Stage view .
The hand cursor disappears.
lMove mouse to rotate the scene.

lRoll the mouse w heel to move forw ards or backw ards. The more you roll the mouse w heel,
the faster you navigate through the scene.

lPress the arrow keys and PgUp/PgDn keys to move in all six directions. Press repeatedly toincrease or decrease speed.

3. To stop all motion, click anyw here on the interface.
The hand cursor reappears.

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Storyboard Pro 22 User Guide

723

About 3D Objects
T-SBADV-011-001

Storyboard Pro allow s you to use 3D models in your storyboard. If your project uses 3D, you can import thebackground and character models that w ere designed for the animation of your project into your storyboard.
By doing this, you w ill not only save time by not having to draw your characters and backgrounds in every
panel, but you can also ensure that they are represented accurately and consistently in the storyboard.
You can integrate 3D models to your project by importing them to your library, then dragging and droppingthem into your panels w here needed. Each Storyboard Pro project has its ow n 3D Models library. Since each
instance of the model is sourced from your project's library, Storyboard Pro does not have to store a copy ofyour model for each panel that uses it.
Storyboard Pro supports the follow ing types of 3D models:lFilmbox (.fbx)l

3DS Max (.3ds)l

W avefront OBJ (.obj)lAllembic (.abc)lCollada (.dae)

NOTE
It is recommended to use the Filmbox (.fbx) format, as it can be packaged w ith textures embeddedin the model.

There are tw o w ays to integrate a 3D model into a scene. You can add a 3D model to a 3D scene, in w hichcase it w ill remain a 3D object and be fully manipulable and animatable, or you can render it into a 2D scene.
W hen you do that, the 3D model is rasterized into a flat draw ing layer. The layer itself can be animated, but
the model remains static throughout the panel.

724

Storyboard Pro 22 User Guide

Importing 3D Objects to your Project Library
T-SBADV-011-004
Before adding 3D objects to panels in your storyboard, you must first import them to your library. W hen you
import a 3D model, it is automatically added to the 3D Models library of your project, in the Library view . You
can then drag and drop that 3D model to each panel in w hich you w ant to use it, w ithout having to import itover and over again.
Storyboard Pro supports the follow ing types of 3D models:lFilmbox (.fbx)l

3DS Max (.3ds)l

W avefront OBJ (.obj)lAllembic (.abc)lCollada (.dae)

In addition to importing 3D objects into the 3D Models folder in the Library view , you can also open a folder
containing 3D models as a library in the Library view . The models can then be dragged and dropped into thescene directly from that library.

NOTE
W hen a model is added to a panel from a library other than the 3D Models library, it is also added
to the 3D Models library at the same time.

How to import a 3D object into your project
1. In the Library view , right-click on the 3D Models library folder, then select Import Files.
2. In the file brow ser, locate and select your 3D model, then click on Open.
The follow ing prompt appears.

If you w ant, you can choose to import your model in its original format. Converting it to FBX w ill
how ever make sure its textures are consolidated w ith the model in your project.
3. Click on OK.
The selected model appears in the 3D Models folder of the Library view .

725

NOTE
If you delete a 3D model from the library, every instance of that model in the project w ill bedeleted.

How to add a folder containing 3D models as a Library
1. In the Library view , right-click in the list of libraries and select Open Library.
A file brow ser w indow opens.
2. In the file brow ser, brow se for the folder that contains the 3D models that you w ant to use in yourproject. Those files should be .fbx, .abc, .osb, .3ds, or .obj files.
3. Click on Select Folder.
The selected folder w ill appear in the list of libraries.
4. Select the folder you just added to the list of libraries.
Any files that can be imported into Storyboard Pro, including 3D models, templates and draw ings
that are located w ithin this folder are listed in the list of items to the right.

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Storyboard Pro 22 User Guide

About Adding 3D Models to 3D Scenes
If you add a 3D model to a 3D scene, it is added as a 3D object. It can be transformed and animated in a 3D
stage, rotated in any direction and scaled on any axis. You can also reposition the model's sub-objects, andeven separate them so as to be able to animate them separately.

A 3D model in a 3D scene is linked to the model in your 3D Models library. This means that you can replace
the model in your library, and by doing so, replace it in every panel in w hich the model w as added.
If you import a 3D model to a 2D scene, you can choose to either render it as a 2D layer or to convert the scene
to 3D so it can be added as a 3D object. In the latter case, the camera as w ell every layer in your scene w ill be
subject to 3D transformations and animations, not just the 3D model. Although a 3D scene is more flexible,
having 3D controls over every element in your scene just because you have a single 3D element in it may beburdening. If you prefer, you can render your 3D model into a flat draw ing layer. This w ill not give it theflexibility of a 3D object, but w ill preserve the 2D property of your scene and keep your w orkflow simple—see
About Adding 3D Models to 2D Scenes.
You can also convert a scene to a 3D scene w ithout importing a 3D model in it, allow ing you to make 3Dtransformations on its draw ing layers—see About Staging in 3D Space.

727

About the Scale Factor of 3D Objects
T-SBADV-011-003
W hen importing a 3D object created in a 3D modeling application, such as Maya, Cinema4D, Blender orothers, the 3D object can appear much larger or smaller than intended inStoryboard Pro. Therefore, you may
have to scale it up or dow n for it to be in the right proportions. This is because 3D modeling applications use
different base units than Storyboard Pro. For example, Autodesk Maya w orks in centimetres, and Blenderw orks in metres, w hereas Storyboard Pro w orks in fields.

Instead of scaling your 3D model manually in each panel w here you use it, you can add a scaling factor to your
3D model as it is in your library, before you import it. From thereon, it w ill already be scaled according to thatscaling factor w henever you import that model to one of your project's panels, and you w on't have to scale it
manually every time.
At any time, you can change the scaling factor of your 3D model again. How ever, changing the scaling factor
of a 3D model w ill cause its size to change in every panel in w hich it w as already imported. Hence, it isimportant to make sure your scale factor is optimal before you start adding your 3D model to several panels. If
you only need to adjust the size of your 3D model in a few panels, and not all the panels in w hich it appears, it
might be better to adjust its size manually using the Layer Transform tool instead, as the Layer Transform tool
w ill only affect its size in the current panel.
The scale factor of a 3D model is retained if you create a template w ith your 3D model. Likew ise, it is retained
if you export your storyboard into Harmony scenes.

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Storyboard Pro 22 User Guide

NOTE
W hen you apply a scaling factor to your 3D model, it affects its apparent size in your storyboard,but it does not affect the model's scale value in your panels. This means that, w hen you add a 3Dmodel w ith a scaling factor to one of your panels, although your model already appears scaled up
or dow n, its scale is actually still 1, w hich is the default value. This w ay, you can differentiate thescaling that w as manually applied to your model using the Layer Transform tool from the scaling
applied to your model because of its scaling factor.

729

Setting the Scale Factor for a 3D ModelIf you have imported a 3D model into your panels, and you find that its default size is too big or too small foryour project's purposes, you can adjust its scale factor. The 3D Model's scale factor w ill affect its size in every
panel in w hich it appears in the project.

NOTE
A 3D model's scale factor should be used to set the default size of a 3D model. If you change your
3D model's scale factor after it has been inserted into some of your project's panels, its size w ill beaffected in every panel in w hich it appears, even if the size of the model w as manually adjusted or
animated in some of your project's panels. If you only w ant to adjust the size of a 3D model in asingle panel, use the Layer Transform tool instead—see Positioning, Rotating and Scaling 3D
Objects on page 736.

How to set the scale factor of a 3D model
1. In the Library view , select the 3D Models library.
2. Select the 3D model for w hich you w ant to set the scale factor. If you have not imported your 3D
object to the 3D models library yet, see Importing 3D Objects to your Project Library on page 725.
3. So that you can see the effects of the scale factor on your 3D model, add the 3D model to thecurrent panel by dragging and dropping it to the Stage or Camera view . If the model is already inthe current panel and has not been scaled up or dow n, skip this step. You can delete the modelfrom your panel once you're done setting the scaling factor, if it is not needed in this panel.
4. Right-click on the 3D model and select Set Scale Factor.
The Model Properties dialog appears.

By default, the model's scale factor is set to 1.000 (or 1), w hich means the model is neither scaled
up or dow n.
5. Do one of the follow ing:l

If you w ant the model to appear smaller, enter a value betw een 0 and 1. For example, tomake the model half of its original dimensions, enter 0.5.

l

If you w ant the model to appear bigger, enter a value above 1. For example, to make themodel tw ice its original dimensions, enter 2.

6. Click on the OK button.

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Storyboard Pro 22 User Guide

The model's new scale factor is applied to all its instances in the project. If the model is currently
visible in the Stage or Camera view , its size w ill update to match the new scale factor.

731

Determining the Scale Factor for a 3D model
T-SBADV-011-002
Before importing a 3D object, you must consider the scale factor to use. You can calculate the appropriate
scale factor for a 3D model by comparing the measuring units used by Storyboard Pro to the ones used byyour 3D modeling softw are.
This can be done by importing a cube that is 1 unit in size, cubed, in your 3D modeling softw are, into
Storyboard Pro. Then, you can adjust this cube's scale factor until it matches a unit in Storyboard Pro.
To be able to match the size of the cube against a unit in Storyboard Pro, you can enable the W orld Grid,w hich is a lot like a standard 12 fields grid, except its fields are square-shaped, w hereas units in Storyboard
Pro are typically shorter vertically than horizontally, to match the 4:3 aspect ratio of legacy standard displays.

How to determine the right scale factor for your 3D models
1. In your 3D modeling softw are, create a cube that is 1 cubed unit in size (a cube that is 1 unit in
w idth, 1 unit in height and 1 unit in depth).
2. Export the model from into one of the formats supported by Storyboard Pro:l

Filmbox (.fbx)l

3DS Max (.3ds)l

W avefront OBJ (.obj)lAllembic (.abc)lCollada (.dae)

3. In the Library view of Storyboard Pro, select the 3D Models library.
4. Right-click in the 3D models list and select Import Files.
5. In the file brow ser, locate and select the 3D model containing the cube.
6. In the Library view , right-click on the imported model and select Set Scale Factor.
The Model Properties dialog appears.

7. In the Scale Factor field, verify that the model's scaling factor is set to 1.0.
8. Click on OK.

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Storyboard Pro 22 User Guide

9. Drag and drop the model into the Stage view .
The cube appears in the centre of the stage.
10. In the top menu, select View > Grid > Show Grid or press Ctrl + G (W indow s) or ⌘ + G (macOS).
The default grid (the 12 Field Grid) displays over the 3D model in the Stage view .
11. In the top menu, select View > Grid > W orld Grid.
The 12 Field Grid is replaced by the W orld Grid in the Stage and Camera view s.
12. In the Layer panel of the Stage view , or in the Layers view , right-click on the layer for your 3Dmodel and select W ireframe.
13. W hile holding Ctrl + Shift, click and drag on the Stage view to rotate it, so that you can clearly see
how the cube's vertexes align w ith the grid.
14. In the Library view , using trial and error, adjust the 3D model's scaling factor so that its corners
touch the points (-1,1), (1,1), (-1,-1) and (1,-1) of the w orld grid, w hich are identified w ith a hollow
1.

Once you get the cube's size to be 1,1,1 in Storyboard Pro's coordinates system, you can use thescaling factor you applied to this cube onto your other 3D models to make their coordinates
systems match Storyboard Pro's coordinates system as w ell.

733

Setting the Default Scale Factor for 3D Models
To preserve the proportions betw een 3D models in Storyboard Pro, you should set all your 3D models to thesame scale factor. Once you've determined the ideal scale factor for your project, you can set the default scale
factor to apply to 3D models w hen you import a 3D model into your project.

How to set the default scale factor for 3D models for the current project
1. In the top menu, select Storyboard > Properties.
The Preferences dialog appears.
2. In the Settings tab, in the 3D Models section, in the Default Scale Factor field, type in the default
scale factor for your 3D models.
3. Click on OK.
From now on, w hen you import a 3D model into your project, its scale factor w ill automatically be
set to the scale factor your just entered.

How to set the default scale factor for 3D models for new projects
1. In the top menu, select Edit (W indows) or Storyboard Pro 22 (macOS) > Preferences.
The Preferences dialog appears.
2. Select the Project Settings tab.
3. In the 3D Models section, in the Default Scale Factor field, type in the default scale factor for your
3D models.
4. Click on OK
Projects you create in the future w ill have their default scale factor set to the scale factor you justentered.

734

Storyboard Pro 22 User Guide

Adding a 3D Object to a Panel in a 3D Scene
T-SBADV-011-006
Once you have a 3D object in your library, you can insert it to your panels by dragging and dropping it from the
Library view to the Stage or Camera view . Once a 3D object is in a panel, it is considered one of your panel'slayers. You can move, rotate and resize your object, you can animate it and you can also hide, display andseparate the various sub-objects of the 3D object.

NOTE
You can only add a 3D object to your panel after having imported it to your project's 3D Models
library—see Importing 3D Objects to your Project Library on page 725.

How to insert a 3D object into a panel
1. In the Thumbnails or Timeline view , select the panel to w hich you w ant to add a 3D object.
2. In the Library view , select the 3D Models library.
3. In the list of 3D models, select the model you w ish to add to the current panel. If you have notimported your 3D object to the 3D models library yet, see Importing 3D Objects to your Project
Library on page 725.
4. Drag and drop the 3D model from the Library view to the Stage or Camera view :lTo insert it betw een tw o specific layers, drop it betw een those layers in the Layer panel ofthe Stage or Camera view .

l

If you w ant to insert it over all the other layers, you can drop it directly in the Stage or
Camera view .

If your scene w as in 2D mode, you w ill be presented w ith the follow ing dialog box:

5. Click on Use 3D Model. This w ill convert your scene to 3D so that the 3D model can be inserted init.
The 3D model is inserted into your panel, in its original size, in the centre of the stage. A layer forthe 3D model is added to the layer list.
6. To modify the position, size and angle of the 3D model, use the Layer Transform
Positioning, Rotating and Scaling 3D Objects on page 736.

735

tool—seePositioning, Rotating and Scaling 3D Objects
T-SBADV-011-009
If you select a 3D model w ith the Layer Transform

tool, a 3D transformation manipulator w ill appear overit in the Stage, Camera, Top and Side view s. The transformation manipulator for 3D models is a cube w ith
controls w ithin it to move, rotate and scale the model on any of the three axes.
A 3D model that has just been imported into a panel w ill be facing the camera. Consequently, the cube of its
3D manipulator w ill also be facing the camera, making it look like a square. At this angle, it w ill not allow you
to move or scale the model on the z-axis. To w ork around this, you must either rotate the Stage view , use theTop or Side view s, or rotate the model itself.

How to rotate the Stage view in 3D
1. Do one of the follow ing:l

In the Tools toolbar, double-click on the Hand

tool and select the 3D NavigationlPress and hold Ctrl + Shift (W indow s) or Shift + ⌘ (macOS).

2. Click and drag the inside of Stage view to rotate it in all directions.

How to manipulate a 3D object
1. In the Tools toolbar, select theLayer Transform tool.

2. Select the 3D model you w ant to manipulate.

736

tool.

Storyboard Pro 22 User Guide

3. In the Stage view , Camera view , Top view or Side view , do one of the follow ing:l

To translate the model on the x- axis, click ad drag the red arrow.

l

To translate the model on the y- axis, click and drag the green arrow.

l

To translate the model on the z- axis, click and drag the blue arrow.

l

To translate the model laterally relative to your point of view , click and drag on its
geometry.

l

To rotate the model on the x- axis, click and drag the red circle.

l

To rotate the model on the y- axis, click and drag the green circle.

l

To rotate the model on the z- axis, click and drag the blue circle.

737

l

To rotate the model in any direction, click and drag on its outer circle.

l

To scale the model on the x- axis, click and drag on the red square dot.

l

To scale the model on the y- axis, click and drag on the green square dot.

l

To scale the model on the z- axis, click and drag on the blue square dot.

l

To scale the model on all axes, click and drag on any vertex of the cube.

TIP
If you need to rotate or scale the 3D model from a specific pivot point, you can move thepivot point of the 3D model by clicking and dragging thepivot in the middle of themanipulator. The manipulator and its pivot w ill move, but not the model.

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Storyboard Pro 22 User Guide

Positioning, Rotating and Scaling 3D Sub- Objects
T-SBADV-011-016
You can select sub-objects in a 3D model and change their position, angle and size.
Transformations done on a 3D model's sub-object are relative to the 3D model itself. This means that the subobject w ill follow the 3D model if it moves and w ill be subjected to the same rotations and sizetransformations as the 3D model.
Transforming a 3D sub-object w orks the same w ay as transforming a 3D object. The key difference is inselecting the sub-object. If you merely click on a 3D Model in the Stage or Camera view , you w ill select thew hole 3D model. Using the 3D Graph view , you can see all the sub-objects in the selected 3D model andselect the sub-objects you w ant to manipulate.
You can also select sub-objects in the Stage or Camera view by holding Ctrl (W indow s) or ⌘ (macOS), but it
may be difficult to select the right sub-object w hen they are placed in a hierarchy.

NOTE
W hile a 3D model can be animated, transformations on 3D sub-objects are static. If you need toanimate a 3D sub-object, you must separate it from its model to make it into its ow n 3D model—
Separating 3D Sub-Objects for Animation on page 748.

How to add the 3D Graph view to your workspace
1. Do one of the follow ing:l

In the top-right corner of any existing view in your w orkspace, click on the Add View
button and select 3D Graph.

l

In the top menu, select W indows > 3D Graph.

2. To display a 3D model's sub-nodes in the 3D Graph view , select this 3D model in the Stage,
Camera or Layers view .

How to select an individual sub- object in the 3D object
1. In the Tools toolbar, select the Layer Transform

tool.

2. In the Stage, Camera or Layers view , select the 3D model containing the sub-object you w ant totransform.

739

3. Select the sub-object you w ant to transform by doing one of the follow ing:l

W hile holding Ctrl (W indow s) or ⌘ (macOS), click on the sub-object in the Stage or Camera
view .

lSelect the sub-object in the 3D Graph view .

TIPSlSome sub-objects do not have geometry, and are represented w ith a peg

icon inthe 3D graph view . Those objects only serve as parents of other sub-objects w ith
geometry, represented w ith a draw ing

icon in the 3D Graph view . Since thoseobjects have no visible component, you have to use the 3D Graph view to selectthem. To help find these objects in the 3D Graph, you can select one of the object's
visible children in the Stage or Camera view , then select that sub-object's parent in
the 3D Graph view .
lTo select multiple sub-objects in the Camera and Stage view , hold Ctrl + Shift(W indow s) or Shift + ⌘ (macOS) and click on each sub-object you w ant to select.

l

To select multiple sub-objects in the 3D Graph view , hold Ctrl (W indow s) or ⌘(macOS) and click on each sub-object you w ant to select, or hold Shift and click on
the first sub-object that you w ant to select.

l

To select a series of sub-objects in the 3D Graph view , hold Shift, click on the firstsub-object you w ant to select, then on the last sub-object you w ant to select. Every
sub-object in-betw een w ill be selected, inclusively.

The selected sub-object w ill appear in green, and the 3D manipulator w ill be centered on theselected sub-object.

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Storyboard Pro 22 User Guide

TIP
If you need to select a 3D sub-object that does not appear in the 3D Graph view , click
the Menu

button in the 3D Graph view and select Extended Mode.

4. Using the controls of the 3D transformation manipulator in the Stage or Camera view , set theposition, angle and scale of the selected sub-object. For information on how to use the 3D
transformation manipulator, see Positioning, Rotating and Scaling 3D Objects on page 736.

741

Resetting a 3D Object's Position
T-SBADV-011-017
If you make changes to the 3D object, such as its dimensions, position, or rotation, and you w ant to revert backto the object’s original settings, you do not need to delete the object and start over. You have couple ofoptions:l

You can use the Undo command to undo any of the changes you made to the object or in the panel since
the project w as last saved.

l

You can use the Reset Transform command to revert to the object’s original settings (position anddimensions).

The Reset Transform command w ill only affect the selected element, reverting it back to its default
dimensions, position, and rotation for all the frames in the panel (First Frame and Last Frame).
W hen you import a 3D element that contains 3D nodes, all these nodes are in their default position andsize/proportion. You can make changes to these nodes, but if you w ant to reset a node to its default position(undoing all the changes you made), you can restore each node to its default settings.

How to reset the position, angle and size of a 3D object
1. In the Stage, Camera or Layers view , select the 3D object you w ant to reset.
2. Select Layer > Reset Transform.

How to reset the position, angle and size of a 3D sub- object
1. Select the sub-object you w ant to reset by doing one of the follow ing:l

W hile holding Ctrl (W indow s) or ⌘ (macOS), click on the sub-object in the Stage or Camera
view .

lSelect the sub-object in the 3D Graph view .

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Storyboard Pro 22 User Guide

TIPSlSome sub-objects do not have geometry, and are represented w ith a peg

icon inthe 3D graph view . Those objects only serve as parents of other sub-objects w ith
geometry, represented w ith a draw ing

icon in the 3D Graph view . Since thoseobjects have no visible component, you have to use the 3D Graph view to selectthem. To help find these objects in the 3D Graph, you can select one of the object's
visible children in the Stage or Camera view , then select that sub-object's parent in
the 3D Graph view .
lTo select multiple sub-objects in the Camera and Stage view , hold Ctrl + Shift(W indow s) or Shift + ⌘ (macOS) and click on each sub-object you w ant to select.

l

To select multiple sub-objects in the 3D Graph view , hold Ctrl (W indow s) or ⌘(macOS) and click on each sub-object you w ant to select, or hold Shift and click on
the first sub-object that you w ant to select.

l

To select a series of sub-objects in the 3D Graph view , hold Shift, click on the firstsub-object you w ant to select, then on the last sub-object you w ant to select. Every
sub-object in-betw een w ill be selected, inclusively.

The selected sub-object w ill appear in green, and the 3D manipulator w ill be centered on theselected sub-object.
2. Select Layer > Reset Selected 3D Sub- Object.
The selected sub-objects return to their default position, angle and size.

743

Animating 3D Objects
T-SBANIM-003-002
Animating a 3D object is very similar to animating a draw ing layer. All you need to do is enable animation on
the 3D object, then put it in different positions, angles and sizes at different frames. Transforming an
animation-enabled 3D object w ill create a keyframe at the current frame, storing its transformation
parameters in that frame, and its position, angle and size w ill be interpolated by Storyboard Pro on each frame
betw een the keyframes you create.

How to animate a 3D object
1. In the Timeline view , select the panel w ith the layer you w ant to animate.
2. Move the Timeline cursor to the exact time w here you w ant to create the first keyframe for youranimation.
3. In the Layer panel of the Stage or Camera view or in the Layers view , click on the Animate
button of the layer you w ish to animate.
The Animate button turns yellow and changes shape:.

In the Layer Animation track of the Timeline view , a keyframe is created at the current frame. This
keyframe stores the position, angle and size of the layer at the current frame.

4. In the Tools toolbar, select the Layer Transform

744

tool.

Storyboard Pro 22 User Guide

In the Stage or Camera view , the controls of the Layer Transform tool appear around the selected
3D object.

5. Using the 3D manipulator box, transform the 3D model so that it is in the position, angle and size
you w ant it to be at the beginning of the animation:l

To translate the model on the x- axis, click ad drag the red arrow.

l

To translate the model on the y- axis, click and drag the green arrow.

l

To translate the model on the z- axis, click and drag the blue arrow.

745

l

To translate the model laterally relative to your point of view , click and drag on its
geometry.

l

To rotate the model on the x- axis, click and drag the red circle.

l

To rotate the model on the y- axis, click and drag the green circle.

l

To rotate the model on the z- axis, click and drag the blue circle.

l

To rotate the model in any direction, click and drag on its outer circle.

l

To scale the model on the x- axis, click and drag on the red square dot.

l

To scale the model on the y- axis, click and drag on the green square dot.

l

To scale the model on the z- axis, click and drag on the blue square dot.

746

Storyboard Pro 22 User Guidel

To scale the model on all axes, click and drag on any vertex of the cube.

TIP
If you need to rotate or scale the 3D model from a specific pivot point, you can move thepivot point of the 3D model by clicking and dragging thepivot in the middle of themanipulator. The manipulator and its pivot w ill move, but not the model.

6. In the Timeline view , move the cursor to the frame w here you w ant to create your second keyframe.

7. In the Stage or Camera view , use the 3D manipulator box to transform the 3D model so that it is in
the position, angle and size you w ant it to be at the end of the animation.
A keyframe is created at the current frame as soon as you make the first transformation.

8. Move the timeline cursor back to the beginning of the panel.
9. In the Playback toolbar, click on the Playbutton to preview the animation.

NOTE
You can also use the Coordinate toolbar to enter values for the translation, scale and rotation
values of a selected 3D object—see .

747

Separating 3D Sub- Objects for Animation
T-SBANIM-003-003
If you w ant to animate a specific part of a 3D model, you must separate it from the 3D model into its ow n 3Dmodel. Separating a sub-object from its 3D model w ill store it into its ow n layer in the panel. You w ill then beable to animate the original model and the separated sub-object separately, since each layer in your panel canbe transformed and animated independently.

NOTE
Separating a sub-object from its model does not actually modify the 3D model. It simply
duplicates the 3D model. In the original model, the sub-object is hidden. In the duplicated model,
everything but the sub-object is hidden. This creates the illusion that there is one model for the
sub-object and another one for the remainder of the 3D model, but they both use the same 3Dmodel in the 3D Models library.

How to separate a sub- object for animation
1. Do one of the follow ing to add the 3D Graph view to your w orkspace:l

In the top-right corner of any existing view in your w orkspace, click on the Add View
button and select 3D Graph.

l

In the top menu, select W indows > 3D Graph.

2. In the Stage, Camera or Layers view , select the 3D model w hich contains the sub-object you w ant
to separate.
3. Select the sub-object you w ant to animate by doing one of the follow ing:l

W hile holding Ctrl (W indow s) or ⌘ (macOS), click on the sub-object in the Stage or Camera
view .

lSelect the sub-object in the 3D Graph view .

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TIPSlSome sub-objects do not have geometry, and are represented w ith a peg

icon inthe 3D graph view . Those objects only serve as parents of other sub-objects w ith
geometry, represented w ith a draw ing

icon in the 3D Graph view . Since thoseobjects have no visible component, you have to use the 3D Graph view to selectthem. To help find these objects in the 3D Graph, you can select one of the object's
visible children in the Stage or Camera view , then select that sub-object's parent in
the 3D Graph view .
lTo select multiple sub-objects in the Camera and Stage view , hold Ctrl + Shift(W indow s) or Shift + ⌘ (macOS) and click on each sub-object you w ant to select.

l

To select multiple sub-objects in the 3D Graph view , hold Ctrl (W indow s) or ⌘(macOS) and click on each sub-object you w ant to select, or hold Shift and click on
the first sub-object that you w ant to select.

l

To select a series of sub-objects in the 3D Graph view , hold Shift, click on the firstsub-object you w ant to select, then on the last sub-object you w ant to select. Every
sub-object in-betw een w ill be selected, inclusively.

The selected sub-object w ill appear in green, and the 3D manipulator w ill be centered on theselected sub-object.

4. Right-click in the 3D Graph. In the pop-up menu that displays, select one of the follow ing:lSeparate Sub- Object: W ill only separate the selected objects from the model. If thoseobjects have children, those children w ill not be included in the separated object.

l

Separate Sub- Tree: W ill separate the selected objects and their children from the model.

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TIP
You should select Separate Sub-Tree if your selection contains a sub-object w ith nogeometry (represented by a peg

icon in the 3D Graph view ) but you did not selectthat sub-object's children. Otherw ise, only the sub-object w ith no geometry w ill be in
the separated sub-object, and this sub-object w ill hence be invisible.

The selected 3D model is separated into tw o 3D layers: One w ith only the selected sub-objects
visible, and another one w ith the remainder of the 3D model visible. Both 3D objects are stored in agroup.

NOTE
If the original 3D model had any transformations or animation, they w ill be transferredover to the group containing the separated sub-objects.

5. You can now animate the 3D model and its separated sub-object separately. If you w ant to animate
both of them together, simply select and animate the group in w hich they w ere stored. For
information on how to animate a 3D model, see Animating 3D Objects on page 744.

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Storyboard Pro 22 User Guide

Creating 2D Layers on Surface of 3D Objects
T-SBADV-011-013
W orking in the Camera view , you can create a new vector or bitmap layer on the surface of a 3D object. The
new layer w ill be positioned at the point in Z depth on w hich you clicked. It is positioned perpendicular to thecamera so you can start draw ing.

How to create a 2D layer on the surface of a 3D object
1. In the Tools toolbar, select the Create Layer on Surface

tool.

A red crosshair appears in the Stage view .

2. In the Tool Properties, select a layer type: Vector or Bitmap.
3. In the Stage view , move the crosshair around (w ithout clicking the mouse button) to see w here it ispossible to create a 2D layer. You can also click and drag the crosshair to display the draw ing grid.
The size of the grid is constant. W hen it is farther from the camera, it appears smaller.

4. W hen you are satisfied w ith the position, release the mouse button.
A 2D layer is created and is positioned perpendicular to the camera.

751

Snapping to Surface or Ground
T-SBADV-011-018
W hen w orking in Storyboard Pro, you can snap a 2D layer or 3D object to the 3D surface directly below it.
Contact betw een the layer or 3D object is maintained w ith the surface no matter w hat changes you make toyour selection. This makes it much faster to block out shots and also w orks w ith 2D artw ork.
W hen the layer or 3D object comes into contact w ith the surface, its pivot connects to the 3D surface directly
below it if you are moving the mouse. If your selection is a 2D layer, you can move it on the X and Z axes; the Yaxis is controlled by Storyboard Pro allow ing for quick placement around the ground plane. Also, the layer
automatically rotates to be parallel to the surface, w hich is useful w ith 2D layers. In the Tool Properties view ,you can disable the rotation parameter if you do not w ant to the rotation to occur.
For both 2D layers and 3D objects, the angle is retained. If needed, you can change the rotation using therotation controls. W hen snapping a layer, its low est point snaps to the 3D surface.

How to snap to a surface
1. Select the layer that contains the object w ith w hich you w ill snap to a surface.
2. In the Tools toolbar, Layer Transformbutton.

3. In the Tool Properties view , click the Snap to Surface

button.

The 3D navigation controls appear in the Camera and Stage view s.

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Storyboard Pro 22 User Guide

4. In the Tool Properties view , how you w ant to use the transform options in Layer Transform
controls.

lTranslate: Activate this option to move the 3D object. Deactivate to keep the object inplace.

lRotate: Activate this option if you w ant the 3D object to change its angle to matchthat of the 3D surface beneath it. Deactivate to keep the angle of the object.

l

Scale: Activate this option if you w ant to change the size of the 3D object. Deactivate
to keep the size of the object.

5. Position the cursor close to the centre pivot and w hen you see the Move Cursor

appear, click

and drag the 3D object to a new location. As you move, the object w ill rotate and scale (if you
selected these options in the Tool Properties), and adhere to the 3D surface underneath it.

6. Continue moving the object around until you are satisfied w ith its placement.
7. Deactivate the tool by clicking the Snap to Surface

753

button again.

How to snap to the ground
1. Select the layer that contains the object w ith w hich you w ill snap to the ground.
2. In the Tools toolbar, Layer Transformbutton.

3. In the Tool Properties view , click the Snap to Surface

button.

The 3D object snaps to the 3D surface directly beneath it.

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Changing the Display Mode of 3D Objects
T-SBADV-011-008
By default, 3D models that you add to your storyboard are displayed fully shaded. This might incumber yourstage or overflow the panels w ith colours and textures that contrast too much w ith the sketched artw ork. To
remedy this, Storyboard Pro allow s you to display 3D models in one of many display modes.

How to change the display mode of a 3D object
1. In the Thumbnails or Timeline view , select the panel that contains a 3D object.
2. In the Layer panel of the Stage or Camera view , or in the Layers view , select the layer that contains
the 3D object.
3. Right-click on the layer and select one of the follow ing:lShaded: The 3D object displays its colours and textures, shaded.

l

W ashed: The 3D object is displayed w ith a w ashed-out appearance, so that its details do
not overw helm the stage.

l

Flat: The 3D object displays the surface of its geometry in plain w hite, shaded.

l

W ireframe: The 3D object displays the vertexes defining its geometry.

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l

W ireframe on Shaded: The 3D objects displays its colours and textures w ith its w ireframeon top.

l

W ireframe on Flat: The 3D objects displays the surface of its geometry in w hite w ith its
w ireframe on top.

TIP
If you set your model's display mode to W ireframe, and only w ant to see the w ireframe
for the polygons facing your point of view and hide the ones for the polygons on thebackside, right-click on the layer containing the 3D object again and select Backface
Culling.

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Replacing a 3D Object in your Project
T-SBADV-011-005
Once you have imported a 3D model in the Library, you can easily replace it w ith a new one using the Replace
3D Model command. This w ill update all instances of the model used in the project.

How to replace a 3D model
1. In the Library view , click the 3D Models folder to display its contents.
2. From the 3D Models folder, select the model you w ant to replace.
3. Right-click on the selected model and select Replace 3D Model.
A brow ser w indow opens.
4. In the brow ser, locate the 3D model file you w ant to replace and click Open.
The Rename Node dialog box opens.

lClick Yes to rename the model you are replacing.

lClick No to keep the existing model name.

lSelect the Don't show this message again option to prevent this dialog box from
opening again, and use the same behavior as you choose now for future use of theReplace 3D Model command.

The 3D model is updated in the Library view and in your project.

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About Adding 3D Models to 2D Scenes
It is possible to add a 3D model to a 2D scene by rendering into a 2D layer. If you attempt to import a 3Dmodel into a 2D scene, you w ill be prompted to choose from w hich angle and position the model is going to berendered. Once rendered, the 3D object is added to your scene as a bitmap layer. Hence, from that point on,
you cannot manipulate or animate the 3D object in all three dimensions, like you could w ith a 3D object in a 3D
scene. You can only manipulate and animate the 2D layer in w hich the object is rendered horizontally andvertically, like you could w ith a regular draw ing layer.
Once the model is rendered in a 2D layer, it is possible to adjust the position and angle from w hich the modelis rendered, and render it again. This updates the rendered 3D model throughout the entire panel in w hich it isrendered, as the position and angle from w hich it is rendered cannot be animated.

Although this approach is more limited, it can be preferable if you only need to use a 3D model as a referenceor to make a static background, as creating a 2D scene is more simple than a 3D scene. If you need to be able
to make 3D transformations or animations to your 3D models, you w ill need to convert your scene into a 3D
scene and import your model as a 3D object—see About Adding 3D Models to 3D Scenes on page 727.

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Storyboard Pro 22 User Guide

Adding a 3D Object as a Rendered Image in a 2D Scene
T-SBADV-005-012A
If you attempt to import a 3D model into a 2D scene, you can choose to either convert your scene to a 3D
scene, or render the model in 2D. In the latter case, you can position the 3D model so it is rendered from theright point of view , then insert that model into a 2D bitmap layer in your scene. The rendered 3D model canthen be used as is, or as a reference for your artw ork.

How to add a 3D model as a rendered 2D image in a 2D scene
1. Make sure the current scene is a 2D scene—see Resetting the Current Scene to 2D on page 711.
2. In the Thumbnails or Timeline view , select the panel to w hich you w ant to add a 3D object.
3. In the Library view , select the 3D Models library.
4. In the list of 3D models, select the model you w ish to add to the current panel. If you have notimported your 3D object to the 3D models library yet, see Importing 3D Objects to your Project
Library on page 725.
5. Drag and drop the 3D model from the Library view to the Stage or Camera view :lTo insert it betw een tw o specific layers, drop it betw een those layers in the Layer panel ofthe Stage or Camera view .

l

If you w ant to insert it over all the other layers, you can drop it directly in the Stage or
Camera view .

The follow ing dialog box appears:

6. Click on Render to 2D.
The Render 3D Model dialog appears.

759

NOTE
For information on all the parameters in this dialog, see the Reference Guide.

7. If you w ant the model to fit inside the camera field, click on the Fit Model to View button justbeneath the parameters to the right.
8. In the preview area, do the follow ing to adjust the camera's point of view relative to the 3D model:lEither click and drag on the vertical slider to the right or scroll the mouse w heel up or dow n
to adjust the distance betw een the camera and the model.

lHold Ctrl + Shift (W indow s) or Shift + ⌘ (macOS), then click and drag on the preview area
to rotate the camera.

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Storyboard Pro 22 User Guidel

Hold Spacebar, then click and drag on the preview area to pan the camera laterally.

9. If you w ant to adjust the amount of perspective applied on the w ay the 3D model is rendered,adjust the Focal Length parameter. Increasing it w ill reduce the amount of perspective applied on
the model, and decreasing it w ill increase the amount of perspective applied on the model.

NOTE
Increasing this setting w ill also decrease the perceived size of the 3D model, anddecreasing it w ill increase its perceived size. You must then adjust the camera's
distance from the model or the model's scaling to compensate.

10. Adjust the Translation parameters until the 3D model is in the right position for the scene:l

X: The horizontal position of the 3D model, from w est to east.

l

Y: The vertical position of the 3D model, from south to north.

l

Z: The position of the 3D model relative to the camera, from near to far.

11. Adjust the Rotation parameters until the 3D model is in the right angle for the scene:l

X: The rotation angle of the model around the horizontal axis.

l

Y: The rotation angle of the model around the vertical axis.

l

Z: The rotation angle of the model around the z-axis.

12. Adjust the Scaling parameters until the 3D model is in the right size for the scene:lLock Scaling Axis: W hen enabled, you can use the X scaling field to set the scaling of the
3D model on all axes, preserving its proportions.

l

X: The horizontal scaling of the model.

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l

Y: The vertical scaling of the model.

l

Z: The scaling of the model on the z-axis.

13. Once the model is in the right position, angle and size, click on Render to Scene.
The model is added to the current panel, rendered into a 2D layer.

NOTE
The rendered 3D model is stored in a bitmap layer. How ever, to differentiate rendered 3Dmodel layers from manually created bitmap layers, the color bar at the left of their layer ispurple instead of blue.

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Repositioning a Rendered 3D Model in a 2D Scene
If you have rendered a 3D model in a 2D scene, and later decide that you need the model to be rendered froma different point of view , you do not need to re-import it into your scene. You can change the point of view of
the rendered model directly.

IMPORTANT
If you have draw n anything on the layer in w hich the 3D model w as rendered, updating themodel's position w ill discard the artw ork on that layer.

How to change the point of view of a rendered 3D model in a 2D scene
1. In the Layer panel of the Stage or Camera view or in the Layers view , select the layer w ith therendered 3D model.
2. Do one of the follow ing:lRight-click on the layer and select Update Model Position.

l

In the top menu, select Layer > Update Model Position.

The Render 3D Model dialog appears. The 3D model is in the same position as the one in w hich it
w as rendered, allow ing you to tw eak its current position.

763

NOTE
For information on all the parameters in this dialog, see the Reference Guide.

3. If you w ant the model to fit inside the camera field, click on the Fit Model to View button justbeneath the parameters to the right.
4. In the preview area, do the follow ing to adjust the camera's point of view relative to the 3D model:lEither click and drag on the vertical slider to the right or scroll the mouse w heel up or dow n
to adjust the distance betw een the camera and the model.

lHold Ctrl + Shift (W indow s) or Shift + ⌘ (macOS), then click and drag on the preview area
to rotate the camera.

l

Hold Spacebar, then click and drag on the preview area to pan the camera laterally.

5. If you w ant to adjust the amount of perspective applied on the w ay the 3D model is rendered,adjust the Focal Length parameter. Increasing it w ill reduce the amount of perspective applied on
the model, and decreasing it w ill increase the amount of perspective applied on the model.

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Storyboard Pro 22 User Guide

NOTE
Increasing this setting w ill also decrease the perceived size of the 3D model, anddecreasing it w ill increase its perceived size. You must then adjust the camera's
distance from the model or the model's scaling to compensate.

6. Adjust the Translation parameters until the 3D model is in the right position for the scene:l

X: The horizontal position of the 3D model, from w est to east.

l

Y: The vertical position of the 3D model, from south to north.

l

Z: The position of the 3D model relative to the camera, from near to far.

7. Adjust the Rotation parameters until the 3D model is in the right angle for the scene:l

X: The rotation angle of the model around the horizontal axis.

l

Y: The rotation angle of the model around the vertical axis.

l

Z: The rotation angle of the model around the z-axis.

8. Adjust the Scaling parameters until the 3D model is in the right size for the scene:lLock Scaling Axis: W hen enabled, you can use the X scaling field to set the scaling of the
3D model on all axes, preserving its proportions.

l

X: The horizontal scaling of the model.

l

Y: The vertical scaling of the model.

l

Z: The scaling of the model on the z-axis.

9. Click on Render to Scene.
The selected layer is updated w ith the 3D model as rendered from its new point of view .

765

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About 3D Camera Movements
T-SBANIM-004-012
W ith your scene enabled for 3D, you can rotate your camera on all three axes in the Camera view , as w ell as in
the Top and Side view s. As you pass your cursor over the camera manipulators, the cursor changes to indicate
this axis on w hich you w ill be performing the rotation. Think of the X, Y and Z axes as poles that you can clamp
your camera to in order to rotate on that pole or axis. For example, the Y-axis w ould be a pole that extends
from north to south. If you clamp your camera to that pole, your camera w ould actually move from side to side,or be rotating around that vertical axis.
In the Camera view , hover the cursor over:•

The N and S points on the manipulator circle w ill bring up the X-axis cursor. This means that if you

pull up or dow n on these points, you w ill be rotating your camera on the X-axis, the axis that runs
horizontally, or from east to w est, in the Camera view .

•The E and W points on the manipulator circle w ill bring up the Y-axis cursor. This means that if you

pull tow ards the left or right on these points, you w ill be rotating your camera on the Y-axis, the axis
that runs vertically, or from north to south, in the Camera view .

•Anyw here but the points on the manipulator circle w ill bring up the generic rotation cursor
Camera view , this cursor represents a rotation on the Z-axis.

767. In theThese cursors w ill obviously differ depending on w hich view you are in. For example, in the Top view , hovering
your cursor over the manipulator circle w ill bring up the Y-axis cursor instead of the generic rotation cursor. In
the Top and Side view s, there are no points on the manipulator circle, but rather three rings that each control
rotation on one of the three axes. Tw o of these axes are seen as lines instead of rings from the perspective.

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Storyboard Pro 22 User Guide

Animating the 3D Camera
T-SBANIM-004-010
Not only can you move 2D and 3D objects in 3D space, but you can also move and animate your camera in this
3D space as w ell. This makes for impressive animatics and is also a great w ay to show off imported 3D
objects. If the first frame does not do justice to your 3D camera movement in a printed or PDF version of yourstoryboard, you can add snapshots to better illustrate those w ide sw eeping, 3D camera movements.

How to animate the 3D camera
1. Be sure you are in the Camera view . You can also use the Top and Side view s for further clarity ifneeded.
2. In the Tool Properties view , click the Add Keyframe

button. Even if the playhead is not at thestart of the currently selected panel, a keyframe w ill be added to the first frame of that panel.

NOTE
If the Timeline view is not displayed, select W indows > Timeline.

3. In the Camera view , use the Camera

tool and adjust the camera manipulators to change thecamera‘s position and rotation—see About 3D Camera Movements on page 767.
4. Do one of the follow ing:l

In the Timeline view , move the playhead to the frame on w hich you w ant to place your final
camera position. In the Tool Properties panel, click the Add Keyframe
frame.

769

button to current

lClick the Add Keyframe

button at the end of current panel.

<
A keyframe is added to the selected location.
5. In the Camera view , w ith the Camera

tool selected, use the camera manipulators to move thecamera into its final position. If you do not see any manipulators in the Camera view , your second
keyframe might not be selected in the Timeline view .

NOTE
If the playhead is not at the correct keyframe, in the Tool Properties panel, click the Go to
Selected Keyframe button to move your playhead there.

6. Continue to adjust your camera move until you are satisfied. In the Timeline view , use the red
playhead to scrub back and forth betw een keyframes to view the smooth, interpolated movement.
Adjust the camera position on the first or last frame or add more keyframes betw een the first andlast keyframes.
From the Camera view Status Bar, use the Camera Mask
scene framing w ill look like.

770

to get a better sense of w hat the exact

Storyboard Pro 22 User Guide

For information about the options available in the Camera tool’s Tool Properties, see About Camera
Movements on page 682.

771

Aligning 2D Layers with a 3D Camera
T-SBANIM-004-011
W hile w orking w ith layers, you may w ant to align specific layers w ith the camera, so any time you adjust thecamera, the layer is alw ays in full view . You can set a different alignment for each layer. The default behaviouris that the camera is not aligned w ith layers.

How to align a layer with the camera
1. Add the Layers view to your w orkspace by doing one of the follow ing:l

In the top-right corner of any view , click on the Add Viewl

In the top menu, select W indows > Layers.

button and select Layers.

2. In the Layers view , select a layer to align w ith the camera.

3. From the Layer Alignment section, select one of the follow ing:l

No Alignment: The layer is independent of the camera.
If the layer is set to No Alignment and you sw itch to Face Camera, the offset and scale isretained but the rotation is removed.If the layer is set to No Alignment and you sw itch to Pin
to Camera, all layer transformation is reset and animation is removed.
If the layer is set to No Alignment and you sw itch to Pin to Camera, all layer transformationis reset and animation is removed.

lFace Camera: The layer is oriented to face the camera, so it rotates around its pivot point
to alw ays face the camera, but does not move w ith the camera.

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Storyboard Pro 22 User Guide

If the layer is set to Face Camera and you sw itch to Pin to Camera, all layer transformation isreset and animation is removed.
If the layer is set to Face Camera and you sw itch to No Alignment, the offset and scaling are
retained. You should change the rotation keyframes so the layer faced the camera at thecurrent frame.
l

Pin to Camera: The layer is oriented to the camera's perspective. Essentially the layer
alw ays moves w ith the camera.
If a layer is set to Pin to Camera and you sw itch to No Alignment or Face Camera, the layer
stays at its position at the current frame.
If a layer is set to Pin to Camera and set it back to No Alignment or Face Camera, the layertransformation is combined w ith the camera. The layer is left in place at the current frame.

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Chapter 14: Sound

Chapter 14: Sound
T-SBFND-009-010
You can add audio, such as sound effects, dialogue and music, to your animatic.
In order to add sound to your animatic, you must either prepare your sound files in third party softw are, orrecord them directly into your project. You can put sound clips into audio tracks, cue each sound clip to besynchronized w ith the action, and even edit the volume of each clip.
You can preview your panels w ith sound at any time by playing back an animatic of the current panel or theentire storyboard using the controls in the Play toolbar.
In order to w ork w ith audio in Storyboard Pro, you must use the Timeline view , as this view allow s you to edit
your audio tracks and their sound clips.

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Storyboard Pro 22 User Guide

About Audio Tracks
Audio tracks are tracks in w hich you can add sound clips. Each sound clip in an audio track is cued at a specifictime in your animatic, so that it can be synchronized w ith the action.
Your project can have as many audio tracks as you w ant. Having several audio tracks is required if you w ant toplay several sound clips at the same time, as a single audio track can have several sound clips cued across theanimatic, but can only play one sound clip at any given time. You can also use different audio tracks to organize
your sound clips, for example by having a specific track for each character's dialogue, one for music, and one
for sound effects. Each audio track can be muted, and you can also enable solo mode on an audio track if you
only w ant to hear that audio track.

NOTE
Audio tracks in Storyboard Pro are not restricted to a specific channel mode. A single audio track
can have both mono and stereo sound clips.

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Chapter 14: Sound

Adding Audio Tracks
T-SBANIM-002-002
If you need to have several sound clips playing at the same time, you must add additional audio tracks to yourproject so that you can cue several sound clips in the same areas of the timeline.

How to add an audio track
1. Do one of the follow ing:l

In the top menu, select Storyboard > New > New Audio Track.

l

In the Timeline view , either right-click on an existing audio track or underneath all tracks,then select New Audio Track.

l

In the Clips and Tracks toolbar, click the New Audio Trackbutton.

You can now import or move sound clips to the new audio track.

NOTE
W hen importing or recording a sound clip, you can also choose to add the sound clip into its
ow n new audio track—see Importing Sound Clips on page 789 and Recording Sound Clips on
page 793.

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Storyboard Pro 22 User Guide

Importing Audio Tracks
You can now import audio tracks using the exchange formats XML or AAF.

How to import an audio track using AAf or XML
1. In the top menu, select File > Import > Audio Tracks.
The Import Audio Tracks dialog box opens:

Choose one of the follow ing options:lImport to New Audio Tracks: This option w ill create new audio tracks and import the audio to thesetracks.

l

Replace all Audio Tracks: This option w ill remove all audio tracks from the project and replace themw ith new audio tracks on w hich the linked audio clips w ill be imported.

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Chapter 14: Sound

Renaming Audio Tracks
T-SBANIM-002-004
By default, audio tracks in your project are named A follow ed by a number. If you prefer, you can assign
custom names to your audio tracks to help keep your timeline organized. For example, you can name youraudio tracks according to their specific purpose: Voice samples, sound effects, music, etc. You can also assign
an audio track to each character in your scenario, and name each track w ith their character's name.

NOTE
Track names can only contain alphanumeric characters as w ell as the follow ing characters: plus(+), minus (-), equal (=), underscore (_), comma (,) and period (.). Other characters w ill be replaced
w ith underscores.

How to rename audio tracks
1. In the Timeline view , select the audio track you w ish to rename.
2. Do one of the follow ing:lRight-click anyw here on the audio track and select Rename Track.

l

In the top menu, select Storyboard > Tracks > Rename Track.

3. In the Rename Audio Track dialog, type in the desired name for the selected audio track.
4. Click OK.
The name of the selected audio track is updated in the Timeline view .

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Storyboard Pro 22 User Guide

Reordering Audio Tracks
T-SBANIM-002-005
You can change the order of your audio tracks in the Timeline view . This can be useful to make them organized
or to keep the one you're currently editing on top.

How to reorder video tracks
1. In the Timeline view , select the audio track you w ant to move.
2. Do one of the follow ing:lRight-click anyw here on the audio track and select Move Track Up or Move Track Down.

l

In the Clips and Tracks toolbar, click on the Move Track Up
button.

The track is moved up or dow n in the list of audio tracks.

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or the Move Track Dow nChapter 14: Sound

Deleting Audio Tracks
You can delete an audio track from your project in the Timeline view . W hen an audio track is deleted, all its
sound clips are also deleted from the project.

How to delete an audio track
1. In the Timeline view , select the audio track you w ant to delete.
2. Do one of the follow ing:lRight-click anyw here on the audio track and select Delete Current Audio Track.

l

In the top menu, select Storyboard > Tracks > Delete Current Track.

The selected audio track is removed from the Timeline view and deleted from your project.

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Storyboard Pro 22 User Guide

Muting Audio Tracks
T-SBANIM-002-006
You can mute one or several audio tracks in your project.

How to mute or unmute an audio track
1. In the Timeline view , near the left edge of an audio track, click on the Mute / Unmute
The Mute / Unmute button w ill display a "muted"

button.

icon. The next time you play your animatic,

you w ill not hear this audio track.

2. If you w ant to unmute the audio track, click on the Mute / Unmute
The Mute / Unmute button w ill display an enabled

button again.

icon again. The next time you play youranimatic, you w ill not hear this audio track.

TIP
W hen all audio tracks are enabled, you can instantly mute all but one audio track by holding
the Alt key and clicking on its Enable / Disable button. You can also instantly enable a single
one of your audio tracks by enabling Solo Mode—see Using Solo Mode w ith Audio Tracks on
page 782.

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Chapter 14: Sound

Using Solo Mode with Audio Tracks
T-SBANIM-002-012
If you have several audio tracks and only w ant to hear one or tw o of them, you can enable solo mode on thesetracks to temporarily mute all other tracks.
If solo mode is enabled on at least one audio track, only the audio tracks w ith solo mode enabled w ill be
audible. If solo mode is not enabled on any audio track, then all audio tracks w ill be audible.

NOTE
Muted audio tracks are never audible, even if solo mode is enabled on them.

How to use Solo Mode with audio tracks
1. In the Timeline view , click the Solo Mode

The Solo Mode button w ill become active

button of an audio track.

. From now on, you w ill only hear this audio track

during playback.

2. If you w ant to hear more than one audio track, you can activate the Solo Modebutton on otheraudio tracks. All audio tracks w ith Solo Mode enabled w ill be audible, provided that they are notmuted.
3. To remove a track from Solo Mode, click on its Solo Modebutton again to disable it for thattrack.
4. W hen you w ant to stop using solo mode and resume hearing all audio tracks, click on the SoloModebutton of all audio tracks on w hich it is enabled, until Solo Mode is no longer enabled on

any audio track.

TIP
You can also enable or disable solo mode for all but a single track by holding the Alt key andclicking on the Solo Mode button of an audio track.

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Storyboard Pro 22 User Guide

Locking Audio Tracks
T-SBFND-009-013
By default, the clips in your audio tracks follow the timing changes made to your animatic. For example, if you
extend the duration of a panel, this moves all subsequent panels, and the audio clips after this panel w ill also
be moved to follow the movement of subsequent panels.
If you w ant to prevent this from happening, you can lock your audio tracks. Locking a track w ill prevent you
from making any unw anted changes to the clips in the track. W hen a track is locked, it is impossible to move,delete, add or edit sound clips in this track.

How to lock or unlock an audio track
1. In the Timeline view , just right of the name of the audio track you w ant to lock, click on the Lock /Unlockbutton.

The Lock / Unlock button w ill display a "locked"

icon, and the track w ill appear cross-hatched toindicate that you can't make changes to it.

2. If you w ant to unlock the audio track, click on its Lock / Unlock
The Lock / Unlock button w ill display an "unlocked"

button again.

icon, and you w ill be able to edit the audio

track again.

TIP
You can also lock or unlock all but one audio track by holding the Alt button and clicking on
the track's Lock / Unlock button.

If none of your project's audio tracks are locked, you can lock them all simultaneously.

How to lock all audio tracks
1. In the Timeline view , make sure that all audio tracks are unlocked, or else, the Lock All Audio
Tracks command w ill be unavailable. and the Unlock Audio Tracks command w ill be available
instead.
2. In the top menu, select Storyboard > Tracks > Lock All Audio Tracks.
If at least one audio track is locked, you can unlock them all simultaneously.
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Chapter 14: Sound

How to unlock all audio tracks at once
1. In the Timeline view , make sure there is at least one locked audio track. Otherw ise, the Unlock All
Audio Tracks command w ill be unavailable.
2. In the top menu, select Storyboard > Tracks > Unlock All Audio Tracks.

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Storyboard Pro 22 User Guide

Enabling and Disabling Audio Track Synchronization
By default, w hen you offset or move panels in your animatic, sound clips that are cued during these panels w ill
be offset to remain synchronized w ith the action. You can disable this synchronization on some or all of youraudio tracks, so that sound clips in these audio tracks remain cued at the time you cued them w hile you makechanges to the timing in your animatic.

How to disable or re- enable synchronization on a single audio track
1. In the Timeline view , click on the

Synced icon for the audio trackfor w hich you w ant to disable

synchronization.

The icon w ill sw itch to

Unsynced, meaning that the audio track is not synchronized w ith youranimatic.
2. If you w ant the audio track to become synchronized w ith your animatic again, click on its
Unsynced icon.
The icon w ill sw itch back to

Synced, meaning that the audio track is synchronized w ith youranimatic.

How to disable synchronization on all audio tracks
1. In the top menu, select Storyboard > Tracks > Disable Sync on All Audio Tracks.

How to enable synchronization on all audio tracks
1. Make sure synchronization is disabled for all audio tracks.
2. In the top menu, select Storyboard > Tracks > Enable Sync on All Audio Tracks.

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Chapter 14: Sound

How to quickly disable synchronization for all but one audio track
1. W hile holding the Alt key, click on the

Synced /Unsynced icon for the audio track you w ant

to synchronize.
This w ill enable synchronization on this specific audio track, and disable synchronization on allothers.

How to quickly disable synchronization for all audio tracks
1. IW hile holding the Alt key, click on the

Synced /Unsynced icon for the audio track you w ant

to synchronize.
This w ill enable synchronization on this specific audio track, and disable synchronization on allothers.

2. Click on this specific audio track's

Synced icon to disable synchronization on it as w ell.

How to quickly enable synchronization for all audio tracks
1. Do one of the follow ing:l

If synchronization is disabled for all audio tracks: Hold the Alt key and click on the
Unsynced icon for any audio track.

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Storyboard Pro 22 User Guidel

If synchronization is disabled for all but one audio track: Hold the Alt key and click on the
Synced icon for that audio track.

l

If synchronization is enabled on several audio tracks: Hold the Alt key then click tw ice on
theSynced /Unsynced icon for any audio track.

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Chapter 14: Sound

About Sound Clips
Once you have created audio tracks, you can import or record sound clips. Sound clips are audio files that are
cued to play as your animatic plays. They are stored in your project's audio tracks, w here they can be moved,
trimmed at their beginning or their end, and have their volume adjusted.

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Storyboard Pro 22 User Guide

Importing Sound Clips
T-SBFND-009-011
You can import sound clips (.w av, .aif, .aiff, or .mp3) into an audio track at the first frame or at the current
frame. If the sound clip does not already exist in your project, Storyboard Pro copies the file from its present
location to the audio folder in your storyboard project folder. You must w ork in the Timeline view .

IMPORTANT
It is not recommended to w ork .mp3 files as it is a compressed format. Long .mp3 files may notproperly sync w ith the action in your project.

How to import a sound clip
1. In the Timeline view , select the audio track in w hich you w ant to import sound clips.
2. Do one of the follow ing:l

In the top menu, select File > Import > Sound Clip.

l

Right-click on the audio track in w hich you w ant to import sound clips, then selectImport Sound Clips.

lRight-click on the empty space below the tracks in the Timeline view , then selectImport Sound Clips.

The Import Sound Clips dialog box opens.

3. Click on the Brow sebutton.

4. In the file brow ser, locate and select the sound file that you w ant to add to your project, then click
on Open.
5. In the Target Audio Track panel, select New Audio Track if you w ant to create a new audio track
and import the sound file in it, or Current Audio Track if you w ant to import the sound file into the789

Chapter 14: Soundselected audio track.
6. In the Target Frame section, select w hether you w ant the sound clip to be added to the First
Frame of the audio track or to the Current Frame, w here the timeline cursor is.
7. If you selected the Current Audio Track option, and if other sound clips are present in the target
audio track, specify w hat w ill happen if the imported sound clip is too long and spans over anotherexisting sound clip by selecting an Import Rule:l

Overwrite Existing Sound Clips: If there are existing sound clips w here the imported clips
are supposed to be added, the existing clips w ill be overw ritten.

lFill Next Available Frames: If there are existing sound clips w here the new clips aresupposed to be added, the clips w ill be trimmed just before the existing clips.

8. Select the Set as default and don’t show dialogue again option if you w ant to use the samesettings next time you need to import a sound file.
9. Click OK.
The selected sound files w ill be added to your project as sound clips, in the selected destination
audio track, at the selected position.

How to import sound clips using drag & drop
1. Open an Explorer (W indow s) or Finder (macOS) w indow .
2. Brow se to the location of the sound files you w ant to import.
3. Select all the sound files you w ant to import.

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Storyboard Pro 22 User Guide

TIP
You can select multiple files by doing one of the follow ing:l

W hile pressing Ctrl (W indow s/Linux) or ⌘ (macOS), click on each file you w ant toselect.

l

W hile pressing Shift, click on the first file you w ant to select, then one the last file
you w ant to select to select every file in-betw een.

4. Make sure that both the Storyboard Pro w indow and the Explorer or Finder w indow are visible.
5. In the low er half of the Timeline view , scroll vertically to the audio track in w hich you w ant to insert
sound clips, then scroll horizontally to the point in time w here you w ant to insert sound clips.
6. In the Explorer or Finder w indow , click and drag on one of the selected files, then drop them in theaudio track w here you w ant to import them, at the time w here you w ant them to be imported.

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Chapter 14: Sound

The selected sound clips w ill be added to the target audio track, at the point in the timeline w here
you dropped them.

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Storyboard Pro 22 User Guide

Recording Sound Clips
T-SBANIM-002-011
You can record sound directly from Storyboard Pro and insert it in the timeline.

How to record sound in Storyboard Pro
1. In the Timeline view , add a new audio track if needed.
2. Position the play head at the frame you w ant your recording to begin and select the audio track you
w ant to record your sound guide in.
3. Do one of the follow ing:l

In the top menu, select File > Import > Record Sound.

l

In the Sound toolbar, click on Record Sound.

The Record Sound dialog box opens.

4. In the Target Audio Track section:l

Select the New Audio Tracks option to create a new audio track for the recording.

lSelect the Current Audio Track option to record in the selected audio track.

5. In the Target Frame section:l

Select the First Frame option to start the recording on the first frame of the project.

l

Select the Current Frame option to start the recording on the current frame.

6. In the Import Rule section:l

Select the Overwrite Existing Sound Clips option so that the resulting audio clip w ill
be position in its entire length, overw riting any existing clip positioned in its w ay.

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Chapter 14: Soundl

Select the Fill Next Available Frames option so that the recording do not overw rite
the position of existing audio clips that are on the same audio track.

7. In the Record Sound Clip section:lType in the name you w ant for your audio clip.

l

Click the RecordlClick the Stop

button to stop the recording.

l

Click the Playbutton to preview the recording.

button to start the recording.

8. Click OK.
The recording is imported in the selected audio track of your project.

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Storyboard Pro 22 User Guide

Adding Effects
You can add effects to imported or recorded sound clips to give them more personality. Use the Delay effect tomake a voice echo across a chasm or the Pitch Shift to make a voice sound like a cartoon mouse. To learn more
about all the available sound effects, refer to the Effect Stack View documentation in the Reference Guide.

How to add a sound effect
1. Do one of the follow ing:l

In the Top menu, select W indows > Effect Stack.

l

In any view , click the Add View

button and select Effect Stack.

2. In the Timeline view , click on a sound clip to select it.

3. In the Effect Stack view , click on the Add Effectbutton to bring up the list of available effects

and select an effect.
The effect appears in the effects stack and a small, yellow -green fx icon appears on the sound clip
in the Timeline view .

4. In the Effect Stack view , click on the grey arrow beside the effect to reveal its parameters.

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Chapter 14: Sound

5. Adjust the effect's parameters and use the Play Selected Audio

button to playback the results

until you get the desired effect.

How to disable a sound effect
1. In the Effect Stack view , click on the checkbox beside the effect you w ish to disable in order toremove the checkmark.

The effect is now disabled.

How to delete a sound effect
1. In the Effect Stack view , click on the effect you w ish to delete in order to select it.

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Storyboard Pro 22 User Guide

2. Click on the Clear Selected Effectbutton.

The effect is removed from the effect stack.

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Chapter 14: Sound

Deleting Sound Clips
You can delete sound clips from an audio track.

How to delete one or several sound clips
1. In the Timeline view , select the clip or clips you w ant to delete by doing one of the follow ing:l

To select a single sound clip, click on it.

l

To select a series of sound clips, draw a rectangle around them by clicking just outside of theclips you w ant to select, then dragging the mouse cursor all the w ay to the last clip you
w ant to select:l

To select a series of sound clips, you can also click on the first clip you w ant to select, then,w hile holding the Shift key, click on the last clip you w ant to select. This w ill select all clips
betw een the tw o clips you clicked on, inclusively.

l

To select several sound clips, press and hold Ctrl (W indow s/Linux) or ⌘ (macOS), then clickon each clip you w ant to select.

2. Do one of the follow ing:lRight-click on the selection and select Delete Selected Clips.

lPress Del (W indow s) or ⌫ (macOS).

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Storyboard Pro 22 User Guide

Moving Sound Clips
You can move one or several sound clips, even if they're on different audio tracks, at the same time. You canmove them horizontally to change their cue time in the animatic, or vertically to move them from one audio
track to another audio track.

How to move sound clips
1. In the Timeline view , select the clip or clips you w ant to move by doing one of the follow ing:l

To select a single sound clip, click on it.

l

To select a series of sound clips, draw a rectangle around them by clicking just outside of theclips you w ant to select, then dragging the mouse cursor all the w ay to the last clip you
w ant to select:l

To select a series of sound clips, you can also click on the first clip you w ant to select, then,w hile holding the Shift key, click on the last clip you w ant to select. This w ill select all clips
betw een the tw o clips you clicked on, inclusively.

l

To select several sound clips, press and hold Ctrl (W indow s/Linux) or ⌘ (macOS), then clickon each clip you w ant to select.

2. Click on one of the selected clips and drag the selection to the position w here you w ant to movethem.
W hile dragging, a black text box displays the new starting time of the selected clip, along w ith theamount of seconds and frames by w hich you're moving the clip.

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Chapter 14: Sound

Adjusting the In and Out Points of Sound Clips
T-SBFND-009-012
You can trim off the beginning and the end of sound clips so as to only play a specific part of the clip in youranimatic. This is also referred to as changing the in and out points of clips.
You can trim off parts of a clip in the Timeline view simply by dragging one of its left or right edges tow ards its
middle. If you trim off part of a sound clip, the trimmed off part does not get deleted. At any time, you can
extend the edges of clip back to their original position to restore the parts that w ere trimmed off.

TIP
It is easier to edit sound clips w ith their w aveform displaying in the Timeline view —see Displaying
W aveforms on page 814.

How to adjust the In and Out points of a sound clip
1. Do one of the follow ing:lClick on the left edge of the sound clip, then drag it tow ards the right to set the In point tolater w ithin the clip.
As you move the cursor, the beginning of the sound file gets cut out from the clip. A black
text box indicates the new length of the clip, as w ell as the length of the part of the clip you
are cutting out.

lClick on the right edge of the sound clip, then drag it tow ards the left to set the Out point toearlier w ithin the clip.
As you move the cursor, the end of the original sound file is cut out from the clip. A black text
box indicates the new length of the clip, as w ell as the length of the part of the clip you are800

Storyboard Pro 22 User Guide

cutting out.

NOTES
l

Trimming a sound clip does not delete the part of the audio that is trimmed off. At any
time, you can click on the edge of the sound clip and drag it back to its original position to
restore the part of the clip that you trimmed off.

l

Likew ise, trimming a sound clip w ith volume keyframes does not delete the volume
keyframes that get trimmed off. They are hidden, and extending the sound clip back to its
original length w ill restore those keyframes.

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Chapter 14: Sound

Snapping Sound Clips
W hen the Snapping option is enabled, w hen you drag and drop a video clip, the beginning and end of soundclips w ill snap against the beginning and end of panels as w ell as against the timeline cursor.
Likew ise, w hen you adjust the in point or the out point of a sound clip w hile snapping is enabled, it w ill also
snap against the beginning and end of panels and against the timeline cursor.

How to enable or disable snapping
1. Do one of the follow ing:l

At the bottom-left of the Timeline view , click on the Snappingl

Right-click the Timeline view and select Snapping.

button.

NOTE
W hile dragging a clip, you can temporarily override w hether snapping is enabled by holding
the Shift key.

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Storyboard Pro 22 User Guide

Copying and Pasting Sound Clips
T-SBANIM-002-014
You can copy one or several clips from your project's audio tracks and paste them somew here else in yourproject's audio tracks.

How to copy sound clips
1. In Timeline view , select one or multiple sound clips by doing one of the follow ing:l

To select a single sound clip, click on it.

l

To select a series of sound clips, draw a rectangle around them by clicking just outside of theclips you w ant to select, then dragging the mouse cursor all the w ay to the last clip you
w ant to select:l

To select a series of sound clips, you can also click on the first clip you w ant to select, then,w hile holding the Shift key, click on the last clip you w ant to select. This w ill select all clips
betw een the tw o clips you clicked on, inclusively.

l

To select several sound clips, press and hold Ctrl (W indow s/Linux) or ⌘ (macOS), then clickon each clip you w ant to select.

2. Do one of the follow ing to copy the selected clips:lIn the top menu, select Edit > Copy Clips.

lPress Ctrl + C (W indow s) or ⌘ + C (macOS).

3. In the Timeline view , select the audio track in w hich you w ant the clips to be pasted.
4. Move the timeline cursor to the position in time w here you w ant the clips to be pasted.
5. Do one of the follow ing to paste the copied clips:lIn the top menu, select Edit > Paste Clips.

lPress Ctrl + V (W indow s) or ⌘ + V (macOS).

The copied clips are pasted on the selected track, right after the Timeline cursor.

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Chapter 14: Sound

NOTES
l

If a sound clip is already present on a destination audio track, the pasted clip w ill overw rite
the sound clip on the destination track.

l

If sound clips are copied from multiple tracks, they w ill be pasted on multiple tracks as
w ell. If needed, Storyboard Pro w ill create additional audio tracks to preserve thedifferences in tracks betw een the copied sound clips.

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Storyboard Pro 22 User Guide

Splitting a Sound Clip
You can separate a sound clip into tw o sound clips, allow ing you to cue different parts of the same soundsample at different points in the timeline.

TIP
It is easier to edit sound clips w ith their w aveform displaying in the Timeline view —see Displaying
W aveforms on page 814.

How to split a sound clip
1. In the Timeline view , select the sound clip you w ant to split.
2. Move the timeline cursor to the frame at w hich you w ant to split the clip.

3. Do one of the follow ing:l

From the top menu, select Clips > Split Clip at Current Framel

In the Timeline view , right-click anyw here on the audio track and select Split Clip at Current
Frame.

The sound clip is split. You can now move both parts independently.

NOTE
W hen splitting a sound clip w ith volume keyframes, the tw o resulting clips w ill both have all
the volume keyframes the original sound clip did, but the volume keyframes outside of theirrespective boundaries w ill be hidden.

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Chapter 14: Sound

Selecting All Sound Clips
By using one of the follow ing keyboard shortcuts, it is possible to select a sound clip and all the sound clips
follow ing it at once. Similar shortcuts are also available for selecting panels—see About the Panel Duration on
page 611.

How to select all sound clips on a single audio track forward
1. In the Timeline view , hold Ctrl + Alt and click the sound clip from w hich you w ant the selection tostart.
The sound clip and all the ones follow ing it on the same audio track, up until the end of thestoryboard project, are selected.

How to select all sound clips on all audio tracks forward
1. In the Timeline view , hold Ctrl + Shift + Alt and click the sound clip from w hich you w ant the
selection to start.
The sound clip and all the sound clips follow ing it on all audio tracks, up until the end of thestoryboard project, are selected.

NOTE
You can also simultaneously select all panels and sound clips forw ard—see Selecting All Panels
Forw ard on page 621.

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Storyboard Pro 22 User Guide

Marking Sound Clips with Colours
Marking sound clips w ith a custom colour allow s you manage them and quickly identify them.

NOTE
You can also mark panels w ith a colour—see Storyboard Structure on page 112.

How to mark a sound clip with colour
1. In the Timeline view , select one or more sound clips by doing one of the follow ing:l

To select a single sound clip, click on it.

l

To select a series of sound clips, draw a rectangle around them by clicking just outside of theclips you w ant to select, then dragging the mouse cursor all the w ay to the last clip you
w ant to select:l

To select a series of sound clips, you can also click on the first clip you w ant to select, then,w hile holding the Shift key, click on the last clip you w ant to select. This w ill select all clips
betw een the tw o clips you clicked on, inclusively.

l

To select several sound clips, press and hold Ctrl (W indow s/Linux) or ⌘ (macOS), then clickon each clip you w ant to select.

2. Right-click on the selection, then select one of the follow ing: Set Colour > Red, Orange, Yellow,
Green, Blue, Purple or Custom.
The colour of the selected sound clips change to the selected colour.

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Chapter 14: Sound

How to reset the sound clip colour
1. In the Timeline view , select the clip or clips w hich you w ant to reset to their default colour by doing
one of the follow ing:l

To select a single soundvideo clip, click on it.

l

To select a series of soundvideo clips, draw a rectangle around them by clicking just outsideof the clips you w ant to select, then dragging the mouse cursor all the w ay to the last clip
you w ant to select:l

To select a series of soundvideo clips, you can also click on the first clip you w ant to select,
then, w hile holding the Shift key, click on the last clip you w ant to select. This w ill select all
clips betw een the tw o clips you clicked on, inclusively.

l

To select several soundvideo clips, press and hold Ctrl (W indow s/Linux) or ⌘ (macOS),then click on each clip you w ant to select.

2. Right-click on one of the clips in the selection and select Set Colour > Default Colour.
The colour of the selected clip or clips resets to the default colour.

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Storyboard Pro 22 User Guide

Searching Sound Clips
T-SBANIM-002-007
If your project contains a lot of sound clips, you can search through your project's audio tracks using part or allof the name of the sound clip you're looking for.

How to search for sound clips in your project
1. Do one of the follow ing:l

In the top menu, select Clips > Find Sound Clips.

lRight-click anyw here in one of your project's audio tracks, then select Find Sound Clips.

The Find Sound Clips dialog box appears.

2. In the Search field, type in the name of the sound clip you w ant to find. You can also type part of its
name.
3. If you w ant to make sure to only find sound clips w ith the same case as your search string, check
the Case Sensitive option. If you're not sure you typed the name of the sound clip w ith the correctcase, leave this option unchecked.
4. If your project has a lot of audio tracks, and you w ant the Timeline view to scroll up or dow n to theright audio track w hen it finds a sound clip, check the Scroll Vertically on Find option. Otherw ise, it
w ill only scroll horizontally to the sound clip, and you might have to scroll up or dow n in theTimeline view to see it.
5. Do one of the follow ing:lClick on Find All if you w ant to simultaneously highlight all the sound clips that match yoursearch criterialClick on Next to search for the next matching sound clip. The sound clip w ill be selected andthe timeline playhead w ill move to the beginning of the clip.

l

Click on Previous to search for the previous matching sound clip. The sound clip w ill beselected and the timeline playhead w ill move to the beginning of the clip.

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Chapter 14: SoundNOTE
W hen you search w ith the Previous or Next buttons, the search w ill start from the position of
the timeline playhead if no sound clip is selected, and w ill start from the position of theselected sound clip if a sound clip is selected. Since finding a sound clip makes it selected, if
you w ant to start the search from a different position, you must first deselect this sound clip
by clicking in the empty space in an audio track, then move the timeline cursor to the position
w here you w ant the search to start.

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Storyboard Pro 22 User Guide

About Sound Playback and Display
By default, the soundtrack of your project is represented by rectangular sound clips spanning from their In
point to their Out point, w ith the name of their audio file displayed in it. How ever, there are different w ays todisplay and preview the audio in your project, all of w hich can help you synchronize the action in your animaticw ith its soundtrack, and vice versa. For example, you can enable audio playback w hen preview ing youranimatic, you can enable audio scrubbing, w hich plays a short part of the soundtrack at the current frame
w hen you move the timeline cursor, or you can even display each sound clip's w aveform in the Timeline view ,giving you a visual representation of their content.

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Chapter 14: Sound

Enabling Audio Playback
If you w ant to hear your soundtrack play as you preview your animatic, you must enable audio playback. You
can also disable audio playback afterw ards if you prefer.

How to enable or disable audio playback
1. Do one of the follow ing:l

In the Playback toolbar, click theSound button.

l

In the top menu, select Play > Audio Playback.

Next time you play your animatic, you w ill hear the sound clips in your audio tracks play. To test
this, click on thePlay button in the Playback toolbar.

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Storyboard Pro 22 User Guide

Enabling Audio Scrubbing
Audio scrubbing allow s you to get a quick and precise idea of the timing of your project's soundtrack as you
w ork on your animatic. W hen enabled, Storyboard Pro w ill play a very short the part of your project's
soundtrack at the current frame each time you move the timeline cursor, so that you can navigate your timelineof your animatic by sound. This makes it easier to synchronize the action and audio in your animatic.

How to enable or disable audio scrubbing
1. Do one of the follow ing:l

At the bottom-left corner of the Timeline view , click on the Sound Scrubbing

button.

l

In the top menu, select Play > Audio Scrubbing.

l

In the Timeline view , right-click anyw here on an audio track and select Audio Scrubbing.

In the Timeline view , click and drag the timeline cursor over your sound clips to verify that you canhear bits of the soundtrack play.

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Chapter 14: Sound

Displaying W aveforms
T-SBANIM-002-013
W aveform is a visual representation of the frequency w aves that make a sound clip. Since w aves are higher
w hen the sound is louder or high-pitched, this allow s you to see at w hich point in time the sound effects reach
their highs and low s, and to time the action in your animatic accordingly.

How to display or hide the waveform of sound clips
1. Do one of the follow ing:l

In the bottom-left corner of the Timeline view , click the Menu

button and select ShowW aveform.

l

In the top menu, select Clips > Show W aveforml

In the Timeline view , right-click anyw here on the audio track area and select ShowW aveform.

814

Storyboard Pro 22 User Guide

Changing the Audio Track Height
There are four sizes in w hich you can display audio tracks: Mini, Small, Medium and Large. The size of an audio
track affects how much vertical space the audio track takes in the Timeline view . You can adjust the display
size of each track individually. By default, all audio tracks are displayed in small size.

Making audio tracks smaller can be useful if you have many audio tracks and w ant to see more audio tracks in
the Timeline view . Making audio tracks bigger can make it easier to see the differences in w aveform and in thevolume envelope, and allow s you to adjust the volume envelope w ith more precision—see Displaying
W aveforms on page 814, Displaying Volume Envelope on page 818 and Interpolating the Volume of Sound
Clips on page 822.

How to set the audio track size
1. In the Timeline view , right-click anyw here on an audio track, then select Track Size > Mini, Small,
Medium or Large.
The height of the audio track in the Timeline view is adjusted to the new setting.

815

Chapter 14: SoundShowing or Hiding the Sound Clip Name
By default, the clip's file names are displayed on the audio blocks. You can enable or disable show ing clip
names, depending on your preference.

How to show or hide the name of each clip in the audio tracks
1. Do one of the follow ing:l

In the bottom-left corner of the Timeline view , click on the Menu

button and select Show

Sound Clip Names.

l

In the top menu select Clips > Show Sound Clip Names.

l

In the Timeline view , right-click anyw here on an audio track and select Show Sound Clip
Names.

816

Storyboard Pro 22 User Guide

About Volume & Gain
There are tw o w ays to adjust the volume at w hich your sound clips play:l

Audio Gain: Gain is an effect that can be applied to one or several sound clips to compress or amplify its
sound w aves. It is applied before the volume. Gain affects the amplitude of the sample relative to its
maximum, so it can be used to make barely audible audio easy to hear, and it can even saturate thesample, causing it to clip.

lVolume Envelope: The volume envelope allow s you to adjust the volume at w hich the sound is played,
dow nstream. Adjusting the volume of a sound effect cannot saturate it. Volume can only be tw eaked on
one sound clip at a time and can only amplify audio up to +6dB. It can be adjusted for an entire soundclip, or interpolated betw een tw o or several values as the sound clip plays.

817

Chapter 14: Sound

Displaying Volume Envelope
The volume envelope is a graph representing the volume of a sound clip, w hich can be displayed over yoursound clips. By default, each sound clip has a straight, neutral volume envelope. You can add keyframes to thevolume envelope, each of w hich can be set to a different volume—see Adjusting Volume on page 819 andInterpolating the Volume of Sound Clips on page 822.

How to show or hide the volume envelope of sound clips
1. Do one of the follow ing:l

In the bottom-left corner of the Timeline view , click the Menu

button and select Show

Volume.

l

In the top menu, select Clips > Show Volume Envelopel

In the Timeline view , right-click anyw here on the audio track area and select Show Volume.

The volume envelope of each sound clip displays over the sound clips in the Timeline view . By
default the envelope is a straight line in the middle of the sound clip, w hich means the volume ofthe sound clip is neutral all throughout.

818

Storyboard Pro 22 User Guide

Adjusting Volume
T-SBANIM-002-010
You can change the volume of a sound clip by displaying its volume envelope, then moving the w holeenvelope up or dow n.

How to adjust the volume of a sound clip
1. Do one of the follow ing to display each clip's volume envelope in the Timeline view .
lIn the bottom-left corner of the Timeline view , click the Menu

button and select Show

Volume.

l

In the top menu, select Clips > Show Volume Envelopel

In the Timeline view , right-click anyw here on the audio track area and select Show Volume.

A blue line, indicating the sound level, is displayed for each sound sequence.

2. Do one of the follow ing to display each clip's w aveform. This is not required, but can be useful as it
gives you a visual indication of how loud your sound clip is.
l

In the bottom-left corner of the Timeline view , click the Menu

button and select ShowW aveform.

l

In the top menu, select Clips > Show W aveforml

In the Timeline view , right-click anyw here on the audio track area and select ShowW aveform.

3. If needed, increase the vertical size of the audio track so that you have enough space to properly
adjust the volume keyframes. To do this, right-click on the audio track and select Track Size >Medium or Large.

819

Chapter 14: Sound

4. Click and drag the volume envelope up or dow n to adjust the volume of the w hole sound clip. The
volume of the clip in decibels is displayed just right of the mouse cursor.

820

Storyboard Pro 22 User Guide

Changing Speed or Duration
T-SBANIM-002-010
You can change the speed or duration of audio clip.

How to change the speed or duration of audio clip
1. In the Timeline view , right click the audio clip and select speed/duration.
The Dialog box opens as show n below .

Speed: Sets the speed of the audio clip in percentage. This automatically changes the duration.
Duration: Sets the duration of the audio clip. This automatically changes the speed.
Current Duration: Displays the duration of the clip at 100% speed.
Preserve Audio Pitch: This option let you preserve the current audio pitch w hen changing the speed or
duration.
Ripple- Edit: Shifts all the audio clips that comes after the selected audio clip.

821

Chapter 14: Sound

Interpolating the Volume of Sound Clips
You can make the volume of sound clip increase or decrease progressively as it plays out by creating volume
keyframes on its volume envelope, then adjusting the volume of each of these keyframes.

How to animate the volume of a sound clip
1. Do one of the follow ing to display each clip's volume envelope in the Timeline view .
lIn the bottom-left corner of the Timeline view , click the Menu

button and select Show

Volume.

l

In the top menu, select Clips > Show Volume Envelopel

In the Timeline view , right-click anyw here on the audio track area and select Show Volume.

A blue line, indicating the sound level, is displayed for each sound sequence.

2. Do one of the follow ing to display each clip's w aveform. This is not required, but can be very usefulin helping you decide w here to position your volume keyframes.
l

In the bottom-left corner of the Timeline view , click the Menu

button and select ShowW aveform.

l

In the top menu, select Clips > Show W aveforml

In the Timeline view , right-click anyw here on the audio track area and select ShowW aveform.

3. If needed, zoom in on the Timeline view so that you have enough space to properly position yourvolume keyframes. To zoom in on the Timeline view , do one of the follow ing:l

Near the top-left corner of the Timeline view , click and drag the timeline zoom slider
tow ards the right.

822

Storyboard Pro 22 User Guidel

Click on the Timeline view to set the focus on it, then press 2.

lClick on the Timeline view to set the focus on it. Then, in the top menu, select View > Zoom
In Timeline.

4. If needed, increase the vertical size of the audio track so that you have enough space to properly
adjust the volume keyframes. To do this, right-click on the audio track and select Track Size >Medium or Large.

5. W hile holding the Alt key, click on the volume envelope at the point in time w here you w ant thevolume change to start.

6. W hile holding the Alt key still, click on the volume envelope to create another keyframe w here you
w ant the volume change to end.

7. Once all the needed volume keyframes are created, click and drag each keyframe up and dow n toadjust their volume. As you drag, the volume of the keyframe in decibels is displayed just right ofthe mouse cursor.

823

Chapter 14: Sound

The slope in the volume envelope betw een each keyframe indicates that the volume progressively
increases or decreases to go from the volume in one keyframe to the volume in the next keyframe.
8. To adjust the position of a keyframe in time, simply click and drag it left or right.

9. To adjust the position of tw o consecutive keyframes, w hether horizontally or vertically, click anddrag on the line segment betw een them.

10. To delete an existing volume keyframe, hold the Alt key and click on the keyframe.

824

Storyboard Pro 22 User Guide

Setting the Audio Gain for Sound Clips
It is possible to set the gain on one or several sound clips in your project. You can apply a specific gain value tothe selected sound clips, or add and subtract a set amount from their current gain value.

How to set the gain on one or several sound clips
1. Do one of the follow ing to display the w aveform for your sound clips. This is not required, but canbe useful as it gives you a visual indication of how loud your sound clips is.
l

In the bottom-left corner of the Timeline view , click the Menu

button and select ShowW aveform.

l

In the top menu, select Clips > Show W aveforml

In the Timeline view , right-click anyw here on the audio track area and select ShowW aveform.

2. In the Timeline view , select the clips for w hich you w ant to adjust the audio gain by doing one of
the follow ing:l

To select a single sound clip, click on it.

l

To select a series of sound clips, draw a rectangle around them by clicking just outside of theclips you w ant to select, then dragging the mouse cursor all the w ay to the last clip you
w ant to select:l

To select a series of sound clips, you can also click on the first clip you w ant to select, then,w hile holding the Shift key, click on the last clip you w ant to select. This w ill select all clips
betw een the tw o clips you clicked on, inclusively.

l

To select several sound clips, press and hold Ctrl (W indow s/Linux) or ⌘ (macOS), then clickon each clip you w ant to select.

3. Do one of the follow ing:lRight-click on the selection and select Audio Gain.

l

In the top menu, select Clips > Audio Gain.

The Audio Gain dialog box appears.

825

Chapter 14: Sound

4. Do one of the follow ing:l

If you w ant to set the gain to a specific value for all the selected sound clips, select Set Gainto:.

l

If you w ant to adjust the gain of the selected sound clips relative to their current gain, selectAdjust Gain by:.

5. In the input field right of the option you selected, type in the gain value, in decibels, to w hich you
w ant to set, or by w hich you w ant to adjust, the selected sound clips.
6. Click OK.

NOTE
Clips that have a non-zero gain value applied to them w ill display an fx symbol intheir top-left corner.

826

Storyboard Pro 22 User Guide

827

Chapter 15: Video and Image Clips

Chapter 15: Video and Image Clips
As you create a storyboard, its panels and their draw ing layers are all containing inside the storyboard track.
How ever, it is also possible to add video tracks to your animatic, in w hich you can add image and video clips
that w ill appear over or underneath the artw ork in your storyboard.
Video tracks can serve as multitude of purposes: For example, they allow you to use images and videos as
references for your artw ork or animation, add overlaying logos to the storyboard, import premade opening andcredit sequences, make backgrounds span over several panels or scenes and insert live action sequences.
The images and videos you add to video tracks are independent from your animatic. They are not bound to apanel or to a scene, and they are not affected by camera movements.

NOTE
Video tracks are exported w hen exporting to bitmap images, layouts, movie files, EDL/AAF/XML
sequences, PDF and Harmony scenes w ith rendered images. How ever, they are not taken inaccount w hen exporting or importing for conformation, w hen inserting or merging projects, w hen
exporting original Harmony scenes and w hen exporting to FBX.

828

Storyboard Pro 22 User Guide

About Video Clip Format
W hen it comes to importing images as video clips, you can import images of any type supported by Storyboard
Pro into your video tracks. How ever, if you w ant to import video files, some considerations must be taken in
regards to the format of the video.
Storyboard Pro is able to import movie files in QuickTime Movie (.mov), MPEG-4 (.mp4, .m4a) and W ebM(.w ebm) format on both W indow s and macOS. It is also able to import movie files in W indow s Media Video(.w mv) format, but on W indow s only. How ever, w hile the W ebM and W indow s Media Video formats use very
specific codecs, the QuickTime and MPEG-4 formats are versatile movie containers that support a w ide varietyof video and audio codecs. W hile Storyboard Pro is able to decode some of the most commonly used codecs, it
is not able to decode all of them.
To decode QuickTime Movie (.mov), MPEG-4 (.mp4, .m4a) and W indow s Media Video (.w mv) files, Storyboard
Pro uses the media foundation of your machine's operating system, w hich means it is only able to decode
movies using codecs that are supported by your operating system.
W hen you import a movie file w ith audio, you can also, optionally, import its audio track into your project.
How ever, this audio track w ill also be decoded using your operating system's media foundation, meaning it
also needs to be encoded using a codec that is supported by your operating system.
For reference, here is a list of video and audio codecs that are know n to w ork in Storyboard Pro, depending on
your operating system:
Operating
SystemContainer

Supported Video Codecsl

AVC (H.264)lMotion JPEGl

HECV (H.265)l

MPEG-4

QuickTime Movie (.mov)

Supported Audio Codecs

l

AAC

l

PCM (up to 32 bits)

l

MP3

l

ALAC

l

ADPCM IMA W AVl

ADPCM Microsoftl

AMR Narrow Bandl

AAC

W indowsl

AVC (H.264)l

AAC+ Version 1l

MPEG- 4l

AAC+ Version 2l

HECV (H.265)l

E- AC- 3lMotion JPEG

l

FLAC

l

MP3

MPEG- 4 (.mp4, .m4a)829

Chapter 15: Video and Image Clips

Operating
SystemContainer

Supported Video Codecs

l

VP8

l

VP9

l

W indow s MediaVideo (W MV)

W ebM (.webm)

W indow s Media Video(.w mv)

Supported Audio Codecsl

PCM (up to 32 bits)

l

Opus

l

W indow s Media
Audio (W MA)

l

AAC

l

AVC (H.264)l

PCM (up to 32 bits)lMotion JPEG

l

MP3

l

Apple ProRes

l

ALAC

l

Uncompressed RGB

l

l

H.263

ADPCM IMA
QuickTimel

DV Video

l

MP2

l

E-AC-3l

AAC

QuickTime Movie (.mov)

macOS

l

AVC (H.264)l

AAC+ Version 1l

MPEG- 4l

AAC+ Version 2l

E- AC- 3l

None

MPEG- 4 (.mp4, .m4v)

l

VP8

l

VP9

W ebM (.webm)

NOTEl

The containers and codecs in bold are supported on both operating systems. Exporting yourvideos in these settings w ill ensure intercompatibility.

lVideo codecs that are underlined support the alpha channel. It is recommended to use them if
you w ant to import videos w ith transparency.

l

You may also be able to import video clips in other formats if you have additional codecs
installed on your operating system.

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Storyboard Pro 22 User Guide

Since each platform supports different codec, a video that plays properly w hen the project is open on one
platform may not be playable if the project is opened on a different computer that uses a different platform. To
avoid this, it is recommended to create your video clips in formats that are supported by both operating
systems, such as:l

QuickTime Movie (.mov) or MPEG- 4 (.mp4, .m4v) w ith a video stream in AVC (H.264) and, if the video
has sound, an audio stream in AAC.

l

W ebM (.webm) w ith a video stream in VP8 or VP9 and no audio.

If the video stream of your movie file uses an unsupported format, you may be able to easily transcode it using
Apple QuickTime:l

On W indows: If Apple QuickTime is installed on your computer, Storyboard Pro w ill prompt you totranscode the video in W ebM (VP9) format so that it can import it.

l

On macOS: If you open a video w ith an unsupported video codec in QuickTime Player, it w ill prompt
you to convert it to Apple ProRes. Then, in QuickTime Player, you can select File > Save from the top
menu to save the converted video as a new file. You can import this file into your Storyboard Pro
project.

If you try to import the movie file's audio stream into your project, but that audio stream uses an unsupported
codec, only the video stream w ill be imported and the audio stream w ill be ignored. To remedy this, you can doeither of the follow ing:l

Export your video using a supported audio codec.

lExport the sound track of your video into an audio file in W aveform (.wav) or in Audio Interchange File
Format (.aiff) and import it into your project's audio track separately.

831

Chapter 15: Video and Image Clips

About Video Tracks
T-SBANIM-001-002
Video tracks are tracks in w hich you can insert still images or videos, w hich are referred to as video clips, andw hich w ill appear over your animatic. The clips in video tracks can be cued and clipped at any time in youranimatic, and they are independent from the scenes, panels and layers in your storyboard.
By default, a Storyboard Pro project does not have any video track. Video tracks can be added and managed
using the Timeline view .
Your project can have several video tracks. If more than one video track plays a clip at the same time, the orderof the video tracks in the Timeline view w ill determine the order in w hich they appear in the stage. Just likelayers in a panel, video tracks at the top are rendered over video tracks underneath them. Video tracks in yourproject can be reordered as needed.
W hen adding a video track to your project, it is added over the storyboard track, w hich contains your animatic.
How ever, it is also possible to move a video track underneath the storyboard track. This means all its clips w ill
appear behind the artw ork and objects in your panels. This can be useful, for example, if you w ant to use thesame background throughout several panels or scenes. Note how ever that video clips are not affected bycamera movements in your scenes.

832

Storyboard Pro 22 User Guide

Adding Video Tracks
T-SBANIM-001-003
By default, a Storyboard Pro project does not have any video track. If you w ant to add image or video clips toyour project.

How to add a video track
1. Do one of the follow ing:l

In the top menu, select Storyboard > New > New Video Track.

l

In the Timeline view , right-click on an existing video track or in the empty space below thetracks, and select New Video Track.

l

In the Clips and Tracks toolbar, click the New Video Trackbutton.

You can now import or move video clips to the new video track.

NOTE
W hen importing an image or video clip, you can also choose to add the clip into its ow n newvideo track—see Importing Image and Video Clips on page 847.

833

Chapter 15: Video and Image Clips

Renaming Video Tracks
By default, video tracks added to your project are named V follow ed by a number. If you prefer, you can assign
custom names to your video tracks to help keep your timeline organized.

NOTE
Track names can only contain alphanumeric characters as w ell as the follow ing characters: plus(+), minus (-), equal (=), underscore (_), comma (,) and period (.). Other characters w ill be replaced
w ith underscores.

How to rename video tracks
1. In the Timeline view , select the audio track you w ish to rename.
2. Do one of the follow ing:lRight-click anyw here on the audio track and select Rename Track.

l

In the top menu, select Storyboard > Tracks > Rename Track.

3. In the Rename Video Track dialog, type in the desired name for the selected video track.
4. Click OK.
The name of the selected video track is updated in the Timeline view .

834

Storyboard Pro 22 User Guide

Reordering Video Tracks
Just like layers in a panel, each video track renders over the video track below it in the Timeline view . You canchange the order of video tracks relative to each other.

NOTE
You can also move video tracks below the storyboard track, to make them appear behind theartw ork in your storyboard.

How to reorder video tracks
1. In the Timeline view , select the video track you w ant to move.
2. Do one of the follow ing:lRight-click anyw here on the video track and select Move Track Up or Move Track Down.

l

In the Clips and Tracks toolbar, click on the Move Track Up
button.

The track is moved up or dow n in the list of video tracks.

835

or the Move Track Dow nChapter 15: Video and Image Clips

Deleting Video Tracks
You can delete a video track from your project in the Timeline view . W hen a video track is deleted, all its clips
are also deleted from the project.

How to delete a video track
1. In the Timeline view , select the video track you w ant to delete.
2. Do one of the follow ing:lRight-click anyw here on the video track and select Delete Current Video Track.

l

In the top menu, select Storyboard > Tracks > Delete Current Track.

The selected video track is removed from the Timeline view and deleted from your project.

836

Storyboard Pro 22 User Guide

Hiding and Displaying Video Tracks
You can hide one or several video tracks in your project. This is useful if some video clips are cluttering thestage and you need to have them out of the w ay.

How to hide or unhide a video track
1. In the Timeline view , near the left edge of a video track, click on the Show / Hidebutton to hideit
The Show / Hide button for that track w ill display a "hidden"

icon, and the clips in the video

track w ill become invisible.

2. If you w ant to display the video track again, click on the Show / Hide
The Show / Hide button for that track w ill display a "visible"

button again to unhide it.

icon again, and the clips in thisvideo track w ill become visible again.
It is also possible to simultaneously hide or unhide all video tracks that appear over your storyboard and all
video tracks that appear behind your storyboard.
If you have video tracks in your project, you may notice the follow ing in the Layer panel of the Stage andCamera view and in the Layers view :l

If you have one or more video tracks above the storyboard track, a Top Video Tracks layer w ill be on
top of the list.

l

If you have one or more video tracks underneath the storyboard track, a Bottom Video Tracks layer w ill
be at the bottom of the list.

These are not actual layers, but merely shortcuts to control the visibility of video tracks that appear over andbehind the artw ork in your storyboard.

837

Chapter 15: Video and Image Clips

How to hide or unhide all video tracks that appear over your storyboard
1. In the Layer panel of the Stage or Camera view , or in the Layers view , click on the Show / Hidebutton near the left edge of the Top Video Tracks layer.
The Show / Hide button for the Top Video Track layer w ill display a "hidden"

icon, and thetracks that are above the storyboard track w ill instantly become hidden.

2. If you w ant to display the top video tracks again, click on the Show / Hidebutton of the Top

Video Tracks layer again to unhide them.
The Show / Hide button for the Top Video Track layer w ill display a "visible"

icon again, and thetracks that are above the storyboard track w ill instantly become visible.

How to hide or unhide all video tracks that appear behind your storyboard
1. In the Layer panel of the Stage or Camera view , or in the Layers view , click on the Show / Hidebutton near the left edge of the Bottom Video Tracks layer.
The Show / Hide button for the Borttom Video Track layer w ill display a "hidden"

icon, and thetracks that are underneath the storyboard track w ill instantly become hidden.

2. If you w ant to display the bottom video tracks again, click on the Show / Hidebutton of the

Bottom Video Tracks layer again to unhide them.
The Show / Hide button for the Bottom Video Track layer w ill display a "visible"
the tracks that are underneath the storyboard track w ill instantly become visible.

838

icon again, andStoryboard Pro 22 User Guide

Using Solo Mode with Video Tracks
If you have several video tracks and only w ant one of them to be visible, you can enable solo mode on it.
If solo mode is enabled on at least one video track, only the video tracks w ith solo mode enabled w ill bevisible. If solo mode is not enabled on any video track, then all video tracks w ill be visible.

NOTE
Hidden video tracks are never visible, even if solo mode is enabled on them.

How to use Solo Mode with video tracks
1. In the Timeline view , click the Solo Mode

The Solo Mode button w ill become active

button of a video track.

. From now on, only the clips in this video track w ill bevisible in the Stage and Camera view s.

2. If you w ant more than one video track to remain visible, you can activate the Solo Modebuttonon other video tracks. The clips in all the video tracks w ith Solo Mode enabled w ill remain visible
and the other clips w ill be hidden.
3. To remove a track from Solo Mode, click on its Solo Modebutton again to disable it for thattrack.
4. W hen you w ant to stop using solo mode, click on the Solo Modebutton of all video tracks on

w hich it is enabled, until Solo Mode is no longer enabled on any video track.

839

Chapter 15: Video and Image Clips

Locking Video Tracks
By default, the clips in your video tracks follow the timing changes made to your animatic. For example, if you
extend the duration of a panel, this moves all subsequent panels, and the video clips after this panel w ill also
be moved to follow the movement of subsequent panels.
If you w ant to prevent this from happening, you can lock your video tracks. Locking a track w ill also preventyou from making any unw anted changes to the clips in the tracks. W hen a track is locked, it is impossible tomove, delete, add or edit video clips in this track.

How to lock or unlock a video track
1. In the Timeline view , just right of the name of the video track you w ant to lock, click on the Lock /Unlockbutton.

The Lock / Unlock button w ill display a "locked"

icon, and the track w ill appear cross-hatched toindicate that you can't make changes to it.

2. If you w ant to unlock the video track, click on its Lock / Unlock
The Lock / Unlock button w ill display an "unlocked"

button again.

icon, and you w ill be able to edit the video

track again.
If none of your project's video tracks are locked, you can lock them all simultaneously.

How to lock all audio tracks
1. In the Timeline view , make sure that all video tracks are unlocked, or else, the Lock All Video Tracks
command w ill be unavailable.
2. In the top menu, select Storyboard > Tracks > Lock All Video Tracks.
If at least one video track is locked, you can unlock them all simultaneously.

840

Storyboard Pro 22 User Guide

How to unlock all audio tracks at once
1. In the Timeline view , make sure there is at least one locked video track. Otherw ise, the Unlock All
Video Tracks command w ill be unavailable.
2. In the top menu, select Storyboard > Tracks > Unlock All Video Tracks.

841

Chapter 15: Video and Image Clips

Enabling and Disabling Video Track Synchronization
By default, w hen you offset or move panels in your animatic, video clips that are cued during these panels w ill
be offset to remain synchronized w ith the action. You can disable this synchronization on some or all of yourvideotracks, so that video clips in these video tracks remain cued at the time you cued them w hile you makechanges to the timing in your animatic.

How to disable or re- enable synchronization on a single video track
1. In the Timeline view , click on the

Synced icon for the video trackfor w hich you w ant to disable

synchronization.

The icon w ill sw itch to

Unsynced, meaning that the video track is not synchronized w ith youranimatic.
2. If you w ant the video track to become synchronized w ith your animatic again, click on its
Unsynced icon.
The icon w ill sw itch back to

Synced, meaning that the video track is synchronized w ith youranimatic.

How to disable synchronization on all video tracks
1. In the top menu, select Storyboard > Tracks > Disable Sync on All Video Tracks.

How to enable synchronization on all video tracks
1. Make sure synchronization is disabled for all video tracks.
2. In the top menu, select Storyboard > Tracks > Enable Sync on All Video Tracks.

842

Storyboard Pro 22 User Guide

How to quickly disable synchronization for all but one video track
1. W hile holding the Alt key, click on the

Synced /Unsynced icon for the video track you w ant

to synchronize.
This w ill enable synchronization on this specific video track, and disable synchronization on allothers.

How to quickly disable synchronization for all video tracks
1. IW hile holding the Alt key, click on the

Synced /Unsynced icon for the video track you w ant

to synchronize.
This w ill enable synchronization on this specific video track, and disable synchronization on allothers.

2. Click on this specific video track's

Synced icon to disable synchronization on it as w ell.

How to quickly enable synchronization for all video tracks
1. Do one of the follow ing:l

If synchronization is disabled for all video tracks: Hold the Alt key and click on the
Unsynced icon for any video track.

843

Chapter 15: Video and Image Clipsl

If synchronization is disabled for all but one video track: Hold the Alt key and click on the
Synced icon for that video track.

l

If synchronization is enabled on several video tracks: Hold the Alt key then click tw ice on
theSynced /Unsynced icon for any audio track.

844

Storyboard Pro 22 User Guide

Changing the Video Track Height
There are four sizes in w hich you can display video tracks: Mini, Small, Medium and Large. The size of a video
track affects how much vertical space the video track takes in the Timeline view . You can adjust the display
size of each track individually. By default, all video tracks are displayed in small size.

Making video tracks smaller can be useful if you have many video tracks and w ant to see more video tracks in
the Timeline view at the same time, w ithout having to scroll up or dow n or to increase the amount of space theTimeline view takes in your w orkspace. Making video tracks Medium or Large allow s you to see a thumbnail
inside each video clip, making it easier to identify the clips visually as you w ork w ith them.

How to set the audio track size
1. In the Timeline view , right-click anyw here on the video track, then select Track Size > Mini, Small,
Medium or Large.
The height of the video track in the Timeline view is adjusted to the new setting.

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Chapter 15: Video and Image Clips

About Video Clips
Video clips are image and movie files that you can add to the video tracks of your project, to display them inyour animatic.
If you import an image file as a video clip, it w ill create a clip that displays the still image for a set amount oftime. If you import a movie file as a video clip, it w ill import the video and play it as is, over your animatic.
How ever, if the movie file contains an audio track, it w ill be ignored by Storyboard Pro.
Just like sound clips must be stored in audio tracks, video clips must be stored in video tracks. They can becued at any time in your animatic, and their beginning and ending can be trimmed off if needed.
Just like layers in a panel, video clips can be moved, resized and rotated, can have their opacity adjusted andcan even be animated. How ever, contrary to layers in a panel, video clips are not affected by camera
movements.
Video clips are completely independent from the structure of your animatic: They can span over several
panels, scenes or even over your entire animatic, and they can start and end in the middle of a panel.
Video clips are not subject to 3D transformations. Hence, they cannot be moved back and forth across thedepth of the stage. How ever, a video track can be put above or underneath the storyboard track. Clips in video
tracks that are above the storyboard track w ill alw ays appear over the artw ork and objects in the storyboard,and clips in video tracks that are underneath the storyboard track w ill alw ays appear behind them.

NOTE
Video clips are subject to certain limitations regarding their format. For more information, see
About Video Clip Format on page 829.

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Storyboard Pro 22 User Guide

Importing Image and Video Clips
T-SBANIM-001-004
To add video or image clips to your animatic, you must import image or video files into a video track. You cando this using the Impot Video/Images dialog or using drag and drop.

NOTE
For information on supported video formats, see About Video Clip Format on page 829.

How to import a video clip or an image clip using the Import Videos/Images dialog
1. If you w ant to import clips into an existing video track, select the video track in w hich you w ant toimport clips in the Timeline view .
2. Do one of the follow ing:l

In the top menu, select File > Import > Videos/Images as Clips.

lRight-click on the video track in w hich you w ant to import clips, then select Import
Videos/Images as Clips.

lRight-click on the empty space below or above the tracks in the Timeline view , then selectImport Videos/Images as Clips.

The Import Video Clips dialog box opens.

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Chapter 15: Video and Image Clips

3. Click on the Brow sebutton.

4. In the file brow ser, locate and select the image or video file that you w ant to add to your project,then click on Open.
5. In the Destination panel, select New Video Track if your project does not have a video track or if
you w ant to import the clip into a new video track, or Current Video Track if you w ant to import it
into the currently selected video track.
6. If you have selected an image, set the desired duration of the still image in the Still Images
Duration field. This determines the amount of frames the image clip w ill span over in the timeline.
For example, if the frame rate of your project is 24 frames per second, and you w ant the image tospan for 1 second, set the Clips Duration to 24.
7. If you have selected a movie file w ith transparency, select the proper alpha type for your movie filein the Alpha Type drop-dow n:This option allow s you to inform Storyboard Pro of how transparent and semi-transparent pixels inyour clip w ere encoded so that it blends these pixels properly w ith the other visual elements inyour animatic.
l

Ignore Alpha: Display every pixel in the video clip as opaque, w ithout demultiplying theircolour values or blending them w ith other visual elements in your animatic.

l

Premultiplied with Black: The colour values of semi-transparent pixels in the video havebeen encoded so that the more transparent they are, the closer to black they are. W hen avideo that is premultiplied w ith black is loaded in a softw are that does not support
transparency, it appears blended w ith a black background. Select this to make Storyboard
Pro reverse this premultiplication so that the video clip blends properly w ith other visualelements in your animatic.

l

Premultiplied with W hite: The colour values of semi-transparent pixels in the video havebeen encoded so that the more transparent they are, the closer to w hite they are. W hen avideo that is premultiplied w ith w hite is loaded in a softw are that does not support
transparency, it appears blended w ith a w hite background. Select this to make Storyboard
Pro reverse this premultiplication so that the video clip blends properly w ith other visualelements in your animatic.

lStraight: The colour of semi-transparent pixels in the image is encoded independently fromtheir transparency. W hen a video clip that is not premultiplied is loaded in a softw are that
does not support transparency, semi-transparent pixels simply appear fully opaque, making
its edges appear pixelated.

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Storyboard Pro 22 User Guide

TIP
If you are not sure about the alpha type of your movie file, select Straight. Then, once
your clips are imported, view them in the Stage view . If the semi-transparent pixels inyour movie appear too dark, change the clip's Alpha Type to Premultiplied with Black.
If the transparent pixels in your movie appear too light, change the Alpha Type of theclip to Premultiplied with W hite.
You can change the Alpha Type of a video clip by right-clicking on the clip in theTimeline view , then selecting Alpha Type in the context menu.

8. If your movie file has an audio track and you w ish to import it to your project, check the Import
Audio checkbox.

9. If you checked the Import Audio checkbox, do one of the follow ing:l

If you w ant to create a new audio track in your project in w hich to import the movie's audio
track, select New Audio Tracks.

l

If you w ant to import the movie's audio track into an existing audio track in your project,select Existing Audio Track. Then, in the drop-dow n below , select w hich audio track in yourproject to import the movie's audio track into.

10. If you selected the Current Video Track option, and if other video clips are present in the target
video track, specify w hat w ill happen if the imported clip is too long and spans over anotherexisting clips by selecting an Import Rule:l

Overwrite Existing Clips: If there are existing video clips w here the imported clips areinserted, the existing clips w ill be overw ritten.

lFill Next Available Frames: If there are existing video clips w here the new clips areinserted, the clips w ill be trimmed just before the existing clips.

11. Click OK.
The video file w ill be added to your project as a video clip, in the selected destination video track.

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Chapter 15: Video and Image Clips

How to import video clips or image clips using drag & drop
1. Open an Explorer (W indow s) or Finder (macOS) w indow .
2. Brow se to the location of the video or image files you w ant to import.
3. Select all the video or image files you w ant to import.

TIP
You can select multiple files by doing one of the follow ing:l

W hile pressing Ctrl (W indow s/Linux) or ⌘ (macOS), click on each file you w ant toselect.

l

W hile pressing Shift, click on the first file you w ant to select, then one the last file
you w ant to select to select every file in-betw een.

4. Make sure that both the Storyboard Pro w indow and the Explorer or Finder w indow are visible.

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Storyboard Pro 22 User Guide

5. In the upper half of the Timeline view , scroll vertically to the video track in w hich you w ant toimport your clips. Then, scroll horizontally to the point in time w here you w ant to insert these clips.
6. In the Explorer or Finder w indow , click and drag on one of the selected files, then drop them in theaudio track w here you w ant to import them, at the time w here you w ant them to be imported.

The selected files w ill be added as video clips to the target video track, at the point in the timeline
w here you dropped them.

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Chapter 15: Video and Image Clips

Creating an Image Clip and editing a Drawing
Although you cannot create an empty image clip and draw directly in it, it is possible to create editable image
clips in several w ays.
You can create a draw ing in one of your panel's layers, then drag and drop it into a video track to create animage clip from that layer. You can then edit/modify the draw ing and add multiple layers to the image clip on
the video track.
You can also drag an entire panel, including all its layers and keyframes, into a video track to create an image
clip. The image clip w ill retain all the layers and keyframes.
This can be useful if you w ant to use an element that you drew for a specific panel in several panels, like apanning background.
W hen you import a video clip into a video track, you can add layers to the video clip and create artw ork on
them, giving the appearance that you drew directly on the video footage.
Image clips and Movie clips on video tracks now have their ow n distinctive colours in the Timeline. Preferences
are available to change the default colours.

NOTE
You must have at least one video track in your project to do this—see Adding Video Tracks.

How to create an image clip from a layer
1. In the Thumbnails or Timeline view , select the panel containing the layer you w ant to use as animage clip.
2. In the Layer panel of the Stage or Camera view , or in the Layers view , select the layer you w ant touse as an image clip.
3. Click and drag on the layer, and drop it into a video track, at the point in time w here you w ant yourimage clip to be cued.

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Storyboard Pro 22 User Guide

An image clip is created. You can adjust its in-point and out-point as needed—see Adjusting the In
and Out Points of Video Clips.

NOTE
The layer you created the clip from is still in the curent panel. If you no longer need it, you candelete it—see Deleting Layers.

How to create empty clips on video tracks
1. In the Timeline view , position the red playhead to the desired location.
2. Right click on the desired video track and from the menu select New Empty Clip.

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Chapter 15: Video and Image Clips

How to create clips from an existing panel
1. Drag a panel from the Storyboard track to a video track in order to create a clip.
This creates an independent copy of all the layers that are in the panel.
2. In reverse, a clip can be dragged from a video track to the Storyboard track to create a panel.

How to draw and add layers to clips
1. Select the clip on the video track and drag the red playhead on the clip w here you w ant todraw /edit.
You can add multiple layers and draw or create artw ork on those additional layers.

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Storyboard Pro 22 User Guide

Linking Clips
You can link audio and video clips to a specific panel. Multiple clips can be linked to a single panel.

How to link clip to a panel
1. In the Timeline view , select a panel to w hich you w ant to link a clip.
2. Select clip and press CTRL on W indow s or CMD on macOS.
3. Right click on the selected clip and then select Link Clips to Panel.
Once linked, a clip w ill follow its linked panel, instead of the one that is located at the clip's first frame.

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Chapter 15: Video and Image Clips

Deleting Video Clips
You can delete video clips from a video track.

How to delete one or several video clips
1. In the Timeline view , select the clip or clips you w ant to delete by doing one of the follow ing:l

To select a single video clip, click on it.

l

To select a series of video clips, draw a rectangle around them by clicking just outside of theclips you w ant to select, then dragging the mouse cursor all the w ay to the last clip you
w ant to select:l

To select a series of video clips, you can also click on the first clip you w ant to select, then,w hile holding the Shift key, click on the last clip you w ant to select. This w ill select all clips
betw een the tw o clips you clicked on, inclusively.

l

To select several video clips, press and hold Ctrl (W indow s/Linux) or ⌘ (macOS), then clickon each clip you w ant to select.

2. Do one of the follow ing:lRight-click on the selection and select Delete Selected Clips.

lPress Del (W indow s) or ⌫ (macOS).

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Storyboard Pro 22 User Guide

Moving Video Clips
You can move one or several video clips, even if they're on different video tracks, at the same time. You canmove them horizontally to change their cue time in the animatic, or vertically to move them from one video
track to another video track.

How to move video clips
1. In the Timeline view , select the clip or clips you w ant to move by doing one of the follow ing:l

To select a single video clip, click on it.

l

To select a series of video clips, draw a rectangle around them by clicking just outside of theclips you w ant to select, then dragging the mouse cursor all the w ay to the last clip you
w ant to select:l

To select a series of video clips, you can also click on the first clip you w ant to select, then,w hile holding the Shift key, click on the last clip you w ant to select. This w ill select all clips
betw een the tw o clips you clicked on, inclusively.

l

To select several video clips, press and hold Ctrl (W indow s/Linux) or ⌘ (macOS), then clickon each clip you w ant to select.

2. Click on one of the selected clips and drag the selection to the position w here you w ant to movethem.
W hile dragging, a black text box displays the new starting time of the selected clip, along w ith theamount of seconds and frames by w hich you're moving the clip.

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Chapter 15: Video and Image Clips

Adjusting the In and Out Points of Video Clips
You can trim off the beginning and the end of video clips so as to only play a specific part of the clip in youranimatic. This is also referred to as changing the in and out points of a clip.
You can trim off parts of a clip in the Timeline view simply by dragging one of its left or right edges tow ards its
middle. If you trim off part of a video clip, the trimmed off part does not get deleted. At any time, you can
extend the edges of the clip back to their original position to restore the parts that w ere trimmed off.
Since you can import images as video clips, and that, contrary to movies, images do not have a set length, you
can use the same method to adjust the cue time and length of image clips in video tracks. W hile you cannot
extend a video clip's length beyond the movie file's original length, you can extend an image clip's length
indefinitely, since it an image clip simply displays the still image during its entire duration.

How to adjust the In and Out points of a video clip
1. Do one of the follow ing:lClick on the left edge of the video clip, then drag it tow ards the right to set the In point tolater w ithin the clip.
As you move the cursor, the beginning of the movie gets cut out from the clip. A black text
box indicates the new length of the clip, as w ell as the length of the part of the clip you are
cutting out.

NOTE
If you are adjusting an image clip, you can also drag the edge tow ards the leftand extend its length.

lClick on the right edge of the video clip, then drag it tow ards the left to set the Out point toearlier w ithin the clip.
As you move the cursor, the end of the original movie is cut out from the clip. A black text
box indicates the new length of the clip, as w ell as the length of the part of the clip you are
cutting out.

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Storyboard Pro 22 User Guide

NOTE
If you are adjusting an image clip, you can also drag the edge tow ards the rightand extend its length.

NOTE
Trimming a video clip does not delete the part of the video that is trimmed off. At any time,
you can click on the edge of the video clip and drag it back to its original position to restore thepart of the clip that you trimmed off.

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Chapter 15: Video and Image Clips

Snapping Video Clips
W hen the Snapping option is enabled, w hen you drag and drop a video clip, the beginning and end of the clip
w ill snap against the beginning and end of panels as w ell as against the timeline cursor.
Likew ise, w hen you adjust the in point or the out point of a video clip w hile snapping is enabled, it w ill also
snap against the beginning and end of panels and against the timeline cursor.

How to enable or disable snapping
1. Do one of the follow ing:l

At the bottom-left of the Timeline view , click on the Snappingl

Right-click the Timeline view and select Snapping.

button.

NOTE
W hile dragging a clip, you can temporarily override w hether snapping is enabled by holding
the Shift key.

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Storyboard Pro 22 User Guide

Copying and Pasting Video Clips
You can copy one or several clips from your project's video tracks and paste them somew here else in yourproject's video tracks.

How to copy sound clips
1. In Timeline view , select one or multiple video clips by doing one of the follow ing:l

To select a single video clip, click on it.

l

To select a series of video clips, draw a rectangle around them by clicking just outside of theclips you w ant to select, then dragging the mouse cursor all the w ay to the last clip you
w ant to select:l

To select a series of video clips, you can also click on the first clip you w ant to select, then,w hile holding the Shift key, click on the last clip you w ant to select. This w ill select all clips
betw een the tw o clips you clicked on, inclusively.

l

To select several video clips, press and hold Ctrl (W indow s/Linux) or ⌘ (macOS), then clickon each clip you w ant to select.

2. Do one of the follow ing to copy the selected clips:lIn the top menu, select Edit > Copy Clips.

lPress Ctrl + C (W indow s) or ⌘ + C (macOS).

3. In the Timeline view , select the video track in w hich you w ant the clips to be pasted.
4. Click and drag on the red timeline cursor to move it to the position in time w here you w ant the clips
to be pasted.
5. Do one of the follow ing to paste the copied clips:lIn the top menu, select Edit > Paste Clips.

lPress Ctrl + V (W indow s) or ⌘ + V (macOS).

The copied clips are pasted on the selected track, right after the timeline cursor.

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Chapter 15: Video and Image Clips

NOTES
l

If a video clip is already present on a destination video track, the pasted clip w ill overw rite
the video clip on the destination track.

l

If video clips are copied from multiple tracks, they w ill be pasted on multiple tracks as w ell.
If needed, Storyboard Pro w ill create additional video tracks to preserve the differences intracks betw een the copied video clips.

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Storyboard Pro 22 User Guide

Splitting a Video Clip
You can separate a video clip into tw o video clips, allow ing you to cue different parts of the video at different
points in the timeline.

How to split a video clip
1. In the Timeline view , select the video clip you w ant to split.
2. Move the timeline cursor to the frame at w hich you w ant to split the clip.

3. Do one of the follow ing:l

From the top menu, select Clips > Split Clip at Current Framel

In the Timeline view , right-click anyw here on the video track and select Split Clip at Current
Frame.

The video clip is split. You can now move both parts independently.

NOTE
W hen splitting a video clip w ith animation keyframes, the animation keyframes w ill be split
betw een the tw o resulting clips so that both parts preserve their respective part of theanimation.

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Chapter 15: Video and Image Clips

Displaying Thumbnails
You can display the thumbnails of your video clips by increasing the display size of their video track to Medium
or Large.

How to set the audio track size
1. In the Timeline view , right-click anyw here on the video track for w hich you w ant to display theclip's thumbnails, then select Track Size > Medium or Large.
Each clip in the selected video track w ill display a thumbnail near its left edge.

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Storyboard Pro 22 User Guide

Changing the Alpha Type of a Video Clip
If you imported a video clip w ith transparency using the Import Videos/Images as Clips dialog, you w ere
prompted to select the transparency type of your video clips in the Alpha Type drop-dow n.

The alpha type is used to indicate to Storyboard Pro how the colour values in the semi-transparent pixels inyour video w ere encoded relative to their alpha values, so that Storyboard Pro can properly blend them w ith
the other visual elements in your animatic. If you don't select the proper alpha type for your video clip, itssemi-transparent pixels may appear too dark, too light, opaque or even the w rong colour.
W hich alpha type w as used to encode the semi-transparent pixels in your video may not be obvious to figure
out, as it depends on the softw are you used to export your video. Hence, trial and error may be needed tofigure out w hich alpha type to apply to your video clips. If you selected the w rong alpha type for a video clip,
you can quickly change it by right-clicking on the clip in the Timeline view .
The follow ing Alpha Types are supported for video clips:
lIgnore Alpha: Display every pixel in the video clip as opaque, w ithout demultiplying their colour valuesor blending them w ith other visual elements in your animatic.

l

Premultiplied with Black: The colour values of semi-transparent pixels in the video have been encoded
so that the more transparent they are, the closer to black they are. W hen a video that is premultipliedw ith black is loaded in a softw are that does not support transparency, it appears blended w ith a black
background. Select this to make Storyboard Pro reverse this premultiplication so that the video clip
blends properly w ith other visual elements in your animatic.

l

Premultiplied with W hite: The colour values of semi-transparent pixels in the video have been
encoded so that the more transparent they are, the closer to w hite they are. W hen a video that ispremultiplied w ith w hite is loaded in a softw are that does not support transparency, it appears blended
w ith a w hite background. Select this to make Storyboard Pro reverse this premultiplication so that thevideo clip blends properly w ith other visual elements in your animatic.

865

Chapter 15: Video and Image ClipslStraight: The colour of semi-transparent pixels in the image is encoded independently from theirtransparency. W hen a video clip that is not premultiplied is loaded in a softw are that does not support
transparency, semi-transparent pixels simply appear fully opaque, making its edges appear pixelated.

NOTE
The Alpha Type for a video clip only affects movie files. If you imported an image w ith
transparency as a video clip, its alpha type is presumed to be straight.

How to change the Alpha Type for a video clip
1. In the Timeline view , right-click on the video clip.
2. In the contextual menu, select Alpha Type and, in the sub-menu, select the proper alpha type foryour clip.

How to figure out the proper alpha type for a video clip.
1. In the Timeline view , right-click on the video-clip.
2. In the contextual menu, select Alpha Type > Straight.
3. Move the timeline playhead over the video so that it is visible in the Stage or Camera view .
4. Look at the semi-transparent pixels in the video for inaccuracies, and do one of the follow ing:l

If the semi-transparent pixels in the video appear properly, leave it as is.

l

If the semi-transparent pixels in the video appear too dark, right-click on the video clip again
and select Alpha Type > Premultiplied with Black.

l

If the semi-transparent pixels in the video appear too light, right-click on the video clip again
and select Alpha Type > Premultiplied with W hite.

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Storyboard Pro 22 User Guide

Transforming Video Clips
Just like w ith draw ing layers, you can apply geometric transformations to video clips by selecting them andmanipulating them in the Stage view using the Layer Transform tool.

NOTE
Even if you are w orking on a 3D scene, video clips can only be subjected to 2D transformations
and cannot be positioned on the Z-axis. How ever, you can make video clips appear over orunderneath the artw ork in your storyboard by changing their order in the Timeline view —seeReordering Video Tracks on page 835.

How to make transformations on a video clip
1. In Tools toolbar, select the Layer Transform

tool.

2. In the Timeline view , select on the clip you w ant to transform.
In the Stage or Camera view , the controls of the Transform tool appear over the video clip.

NOTE
You cannot transform more than one clip at a time.

3. Do one of the follow ing:l

To move the clip, position the cursor over the clip. W hen the moveappears, click and drag on the clip to move it.

867

mouse cursor

Chapter 15: Video and Image Clips

TIPSl

You can also nudge the selection by using the arrow keys on your keyboard.

l

You can also enter specific coordinates in the Horizontal Offset
Vertical Offsetlandfields in the Tool Properties view .

To resize the clip, position the cursor over one of the square points

at the corners or in the

middle of the edges of the bounding box. W hen you see the scalecursor appear, click

and drag to resize the clip.

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Storyboard Pro 22 User Guide

TIPSl

You can preserve the horizontal and vertical proportions of the selection byholding the Shift key.

ll

You can also enter specific scale percentages in the
Vertical Scale fields in the Tool Properties view .

Horizontal Scale andTo rotate the clip, position the cursor just outside of one of the corners of the bounding box.
W hen you see the rotate

cursor appear, click and drag to rotate the clip.

TIPSl

You can rotate the artw ork in 15° increments by hold the Shift key.

l

You can also enter a specific angle in degrees in theAngle field of theTool Properties view .
lYou can also rotate the clip in 90° increments by clicking on the

Rotate 90

CW button in the Tool Properties view to rotate it 90° clockw ise, or on the
Rotate 90 CCW button to rotate it 90° counterclockw ise.

l

By default, the pivot point around w hich the clip is rotated and scaled is at the center of theclip. To temporarily move the pivot point elsew here, move the mouse cursor over the roundshaped pivot

in the middle of the clip. W hen the mouse cursor becomesthe pivot to move it.

869, click and dragChapter 15: Video and Image Clipsl

To flip the clip horizontally, click on the Flip Horizontally

button in the Tool Properties

view .
l

To flip the clip vertically, click on the Flip Vertically870

button in the Tool Properties view .

Storyboard Pro 22 User Guide

Change the Opacity of Video Clips
You can set the opacity of individual video clips. This allow s you to make some clips appear semi-transparent
over the storyboard, so that they do not completely obstruct the artw ork in your panels.

How to change the opacity of a video clip
1. In Timeline view , select the clips for w hich you w ant to set the opacity by doing one of thefollow ing:l

To select a single video clip, click on it.

l

To select a series of video clips, draw a rectangle around them by clicking just outside of theclips you w ant to select, then dragging the mouse cursor all the w ay to the last clip you
w ant to select:l

To select a series of video clips, you can also click on the first clip you w ant to select, then,w hile holding the Shift key, click on the last clip you w ant to select. This w ill select all clips
betw een the tw o clips you clicked on, inclusively.

l

To select several video clips, press and hold Ctrl (W indow s/Linux) or ⌘ (macOS), then clickon each clip you w ant to select.

2. Right-click on the video track and select Change Clips Opacity.
The Clips Opacity dialog appears.
3. In the Clips Opacity dialog, type in a value betw een 0 and 100, w here 0 is completely transparent
and 100 is completely opaque.
4. Click OK.
The opacity of the selected clips is changed to the selected value.

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Chapter 15: Video and Image Clips

About Video Clip Animation
It is possible to animate image and video clips. Just like w ith layers in a panel, video clips can move, rotate andchange in size as the animatic plays out. You can also taper the timing of the animation to make it speed up or
slow dow n w ith time.

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Storyboard Pro 22 User Guide

Animating Video Clips
To animate a video clip, you must create at least tw o keyframes on the clip. Then, you can change the position,
angle and size of the clip on each keyframe, and Storyboard Pro w ill interpolate the clip's position, angle andsize betw een keyframes.

How to animate a video clip
1. In Tools toolbar, select the Layer Transform

tool.

2. In the Timeline view , select on the clip you w ant to transform.

NOTE
You cannot transform more than one clip at a time.

3. In the Timeline view , move the timeline cursor to the frame w here you w ant to create the first
keyframe of your animation.
4. In the Tool Properties view , click on the Add Keyframe

button.

A keyframe is added on the clip, at the current frame.

5. In the Stage or Camera view , manipulate the clip so that it is in the position, angle and scale you
w ant it to be at the beginning of your animation—see Transforming Video Clips on page 867.
6. In the Timeline view , move the timeline cursor to the point w here you w ant to have your second
keyframe.
7. In the Tool Properties view , click on the Add Keyframe

button.

A second keyframe is created on the video clip. A line going from the first keyframe to the second
keyframe indicates that the clip is animated from the first to the second keyframe.

8. In the Stage or Camera view , position the clip w here you w ant it to be in the second keyframe.
9. Create keyframes and position your video clip in each keyframe until your animation is completed.

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Chapter 15: Video and Image Clips

10. If you need to move a keyframe to another position in time, simply click and drag it to the desired
position.
11. To add ease-in and ease-out to the timing of the animation, see Adding Ease-In and Ease-Out to a
Video Clip Animation on page 875.
12. If you w ant to delete a keyframe, move the Timeline cursor to the exact position of the keyframe.
Then, in the Tool Properties view , click on Delete Keyframe.

13. If you w ant to reset the clip to its original position on a keyframe, move the timeline cursor to theposition of the keyframe. Then, in the Tool Properties view , click on Reset Keyframe.

14. To test your animation, move the timeline cursor at the beginning of the clip. Then, in the Playback
toolbar, click on the Playbutton.

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Adding Ease- In and Ease- Out to a Video Clip Animation
By default, w hen you animate a video clip, it w ill move from its position in one keyframe to its position in thenext keyframe by progressing tow ards it at a constant pace, then stop moving abruptly. If you w ant it to speed
up as it starts moving and to slow dow n before it stops, you can do this by adding ease-in and ease-out to its
animation. Adding ease-in to an animation w ill make it start slow ly and gain in speed as it goes. Adding easeout to an animation w ill make it slow dow n before it stops.

You can set the ease-in and ease-out for an animation in the Tool Properties view .

How to add ease- in and ease- out to a clip animation
1. In the Tools toolbar, select the Layer Transform

tool.

2. In the Timeline view , select the clip for w hich you w ant to add ease-in and ease-out
The motion path for the selected clip's animation w ill appear in the Stage and Camera view s.

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Chapter 15: Video and Image Clips

3. In the Timeline view , move the timeline cursor betw een the first and last keyframe of the clip
animation to w hich you w ant to add ease.

4. In the Tool Properties view , enter the desired length of the ease-in in the Ease In field in the
H:MM:SS:FF format, w here H means hours, MM means minutes, SS means seconds and FF means
frames. The longer the length of the ease-in, the smoother it w ill be.
5. Enter the desired length of the ease-out in the Ease Out field, in the same format. The longer thelength of the ease-out, the smoother it w ill be.
As you make adjustments to the ease-in and ease-out of the animation, the notches in the motion
path change place, giving you an idea of how the ease is affecting the timing of the movement.

6. To test your animation, move the timeline cursor to a point just before the start of the animation.
Then, in the Playback toolbar, click on the Play876

button.

Storyboard Pro 22 User Guide

Moving Video Clip Keyframes
After you have created keyframes in a video clip, you can change their position in time so as to adjust thestarting time, length and pace of the clip animation.

How to move video clip keyframes
1. In the Timeline view , select one or multiple keyframes in a clip by doing one of the follow ing:l

To select a single keyframe, click on it.

l

To select a sequence of several keyframes from the same clip, click on the first keyframe inthe sequence you w ant to select. Then, w hile holding the Shift key, click on the last
keyframe in the sequence you w ant to select. Both keyframes you clicked on as w ell as every
keyframe betw een them w ill be selected.

l

To select all keyframes in the clip, double click on the clip's animation keyframes track.

Each selected keyframe w ill be highlighted in blue.

2. Click and drag the selected keyframes tow ards the left to move the animation earlier in the clip, or
tow ards the right to move the animation later in the clip.

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Chapter 15: Video and Image Clips

Copying and Pasting Video Clip Animation Keyframes
Just like you can copy video clips, you can also copy specific keyframes inside video clips. You can copy aselection of one or several keyframes and paste it at a different time on the same clip or on a different clip.
W hen copying and pasting a single keyframe, the position, angle and size of the clip, is copied. W hen copying
and pasting several keyframes, the position, angle and size of the clip in each keyframe as w ell as theanimation betw een those keyframes is copied.

How to copy and paste video clip keyframes
1. In the Timeline view , select one or multiple keyframes in a clip by doing one of the follow ing:l

To select a single keyframe, click on it.

l

To select a sequence of several keyframes from the same clip, click on the first keyframe inthe sequence you w ant to select. Then, w hile holding the Shift key, click on the last
keyframe in the sequence you w ant to select. Both keyframes you clicked on as w ell as every
keyframe betw een them w ill be selected.

l

To select all keyframes in the clip, double click on the clip's animation keyframes track.

Each selected keyframe w ill be highlighted in blue.

2. Do one of the follow ing to copy the selected keyframes:l

In the top menu, select Edit > Copy Clips.

lPress Ctrl + C (W indow s) or ⌘ + C (macOS)

3. Click and drag on the red timeline cursor to move it to the position in time w here you w ant the
keyframes to be pasted. Make sure the timeline cursor is inside the clip in w hich you w ant to paste
the keyframes.

4. Click on the clip in w hich you w ant to paste the keyframes.

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Storyboard Pro 22 User Guide

5. Do one of the follow ing to paste the copied keyframes:l

In the top menu, select Edit > Paste Clips.

lPress Ctrl + V.

The keyframes are pasted in the selected clip, at the position w here the timeline cursor is.

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Chapter 16: Transitions

Chapter 16: Transitions
T-SBANIM-005-002
By default, transitions betw een scenes are defined as cuts; the action in the panel at the end of a shot finishes
and immediately displays the next scene. In Storyboard Pro, you can add one of tw o custom transitions
betw een scenes: W ipe or Dissolve.

Dissolve
The Dissolve transition is the typical cross-dissolve transition effect. The images gradually fade in and out to asmooth scene transition.

Edge W ipe
By default, the Edge W ipe w ill pass from one scene to the other w ith a w iping motion from left to right. It is
possible to customize the effect to change the direction of the w iping motion.

Clock W ipe
By default, the Clock w ipe w ill pass from one scene to the other w ith a circular clockw ise w iping motion. It is
possible to customize the direction of the w ipe as w ell as the starting angle.

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Storyboard Pro 22 User Guide

Slide
By default, the Slide transition w ill pass from one scene to the other by translating the next scene panel fromthe right side of the camera frame. It is possible to customize the angle and direction.

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Chapter 16: Transitions

Adding Transitions
T-SBANIM-005-003
A transition is inserted betw een scenes (shots).

How to add a transition
1. In the Thumbnails or Timeline view , select the first of the tw o scenes betw een w hich you w ant to
add a transition. For example, if you w ant to add a transition betw een scenes 2 and 3, select any
panel from scene 2.

2. Do one of the follow ing:l

From the Storyboard toolbar, click the New Transition

button.

l

Select Storyboard > Add Transition.

l

Right-click the scene thumbnails and select Add Transition.

3. Click on the transition to select it.
4. Open the Panel view . W hen a transition is selected, the Panel view displays its properties andallow s you to change them.
5. In the Type drop-dow n, select w hich type of transition you w ant to use:lDissolve: Fades the first scene out to black, then fades the second scene in from black.

l

Edge W ipe: W ipes the first scene out w ith the second scene, w ith a straight line going all
the w ay across the screen. The angle of the line can be customized.

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Storyboard Pro 22 User Guidel

Clock W ipe: W ipes the first scene out w ith the second scene, w ith a line going from thecentre of the screen to its edge, w hich rotates 360 degrees to cover the w hole screen. The
initial angle and direction of the line can be customized.

lSlide: W hen set to Slide In, this makes the second scene slide from the edge of the screenover the first scene. W hen set to Slide Out, this makes the first scene slide tow ards the edgeof the screen, leaving the second scene on the screen as if it had alw ays been behind it. The
angle at w hich the scene slides in or out can be customized.

6. Determine the length of the transition by doing one of the follow ing:l

In the Timeline view , click and drag the right edge of the transition tow ards the right toextend it, or tow ards the left to shorten it.

l

In the Panel view , right of the duration field, click on the Up
by 1 frame, or on the Dow nlarrow to extend the transition

arrow to shorten the transition by one frame.

In the duration field of the Panel view , type in the duration of the transition.

NOTE
The format of the duration is H:MM:SS:FF, w here H means hours, M means
minutes, S means seconds and F means frames.

NOTE
W hen you extend a transition, the ensuing scenes are rippled backw ards, and w hen
you shorten a transition, the ensuing scenes are rippled forw ard. This is because thescenes before and after the transition overlap during the transition. This means that thescene after the transition starts w hile the scene before the transition has not ended yet,w hich shortens the length of the project.

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Chapter 16: Transitions

Deleting Transitions
T-SBANIM-005-004

How to delete a transition
1. Select a transition to remove.
2. Do one of the follow ing:‣

In the Storyboard toolbar, click the Delete Transition‣

Right-click the transition and select Delete Transition.

‣

Select Storyboard > Delete Transition.

‣

Press Delete.

884

button.

Storyboard Pro 22 User Guide

Changing the Transition Type
T-SBANIM-005-005
By default, the transition is a dissolve, but you can easily change it to an edge or clock w ipe by selecting thetransition, and either double-clicking it or changing it in the Panel view .

How to change the transition type
1. In the Timeline or Thumbnails view , select the transition.
2. Do one of the follow ing:l

In the Panel view , select Edge W ipe, Clock W ipe or Dissolve from the Type menu.

l

In the Timeline view , double-click the selected transition in the Timeline view to change thetransition type betw een Dissolve, Edge W ipe, and Clock W ipe.

How to change the starting angle of a Clock W ipe transition
1. In the Timeline or Thumbnails view , select the Clock W ipe transition.
2. In the Panel view , set the starting angle by doing one of the follow ing:lClick the Direction knob.

lType in a value in the text field.

3. In the Direction menu, select the w ipe direction: Clockwise or Counterclockwise.

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Chapter 16: Transitions

Changing the Transition Duration
T-SBANIM-005-006
You can also use the Panel view to change the duration of the transition.

How to change the transition duration
1. In the Timeline view , select a transition.
2. Do one of the follow ing:lPosition the cursor on the left or right side of the transition and drag to lengthen or shorten.

l

In the Panel view , use the duration field to set the desired value.

l

Select Storyboard > Change Transition Duration and enter a new duration in frames.

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Chapter 17: Libraries

Chapter 17: Libraries
T-SBADV-010-001
Using libraries, you can share and reuse any elements you create in Storyboard Pro. W ith the library view , you
can store several different elements such as characters, sets, props, layers, panels, audio files, video files, 3Dmodels, animations and camera movements.
Libraries are stored on your hard drive and the same library can be used in several projects. Hence, you can use
libraries to share assets betw een your projects.
You can create templates simply by selecting assets in your project, such as layers, panels and clips, thendragging them into a library in the Library view . Likew ise, you can import a template's content by dragging itfrom a library into its intended destination in your project.

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Storyboard Pro 22 User Guide

About Library Folders
T-SBADV-010-002
By default, there are four libraries available in the Library view :l

3D Models: The library in w hich all 3D models used by your projects are stored. This library is exclusive
to the current project—see About 3D Objects on page 724.

lShared: The library in w hich all shared draw ings in your project are stored. This library is exclusive tothe current project—see Sharing Draw ings on page 567.

lGlobal: The default library to use for sharing assets betw een projects. This library is stored in the Toon
Boom Storyboard Pro Library sub-folder of your Documents folder.

lTemplates: A library of sample draw ings bundled w ith Storyboard Pro.

Hence, the go-to library for creating templates is the Global library. How ever, as you w ill probably create alarge number of templates, you might eventually need to organize the assets into different libraries. For
example, you may w ant to create libraries for characters, props, backgrounds, panels, sound clips, and anyother type of asset your project needs to re-use. You can add as many libraries as you w ish to the Library view ,each of w hich can store different types of templates.
Each library in the Library view corresponds to a folder in your w orkstation's file system. Since those folders
can contain sub-folders, and the Library view allow s you to brow se sub-folders in a library, you can alsoorganize the templates inside your libraries by storing them in different sub-folders.

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Chapter 17: Libraries

Creating Libraries
T-SBADV-010-003
There are tw o w ays to create Library folders.
lUsing Storyboard Pro’s interfacelDirectly through your operating system

To create a library using your operating system, create a new folder w ith a relevant name in the location
w here you w ant the library to be stored. This can be opened in Storyboard Pro w hen you require it—see
Adding Libraries on page 892Adding Libraries on page 892.
Template libraries need to be organized. You can create different subfolders on your hard drive or directly in
the Library view so that you can gain easy access to your assets.

How to create a library from Storyboard Pro
1. In the Library view , right-click in the Library List section and select Open Library.
The Brow ser w indow opens.
2. Brow se for the location w here you w ant to store your new library in your computer.
3. Click New Folder.
4. Name the new library w ith a relevant name and click Select Folder.
The new library appears in the Library List section.

How to create a folder
1. In the Library view ’s left side, select the library folder in w hich you w ant to create subfolders.
2. Right-click on the selected library and select New Folder.
The new subfolder is added to the Library (although not immediately visible as it is collapsed in its
parent folder). Click the root library folder containing the new folder and then click the plus (+) sign
to expand it. The new subfolder appears.

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Chapter 17: Libraries

Adding Libraries
T-SBADV-010-004
You can open any folder on your hard drive or netw ork as a library. Opening a library means linking the folder
to your Library view . You only need to open the library once. The library folder is available every time you open
the application until you decide to close the library and unlink it.

TIP
You can add a folder that contains images, sound files or video files to your libraries. This w ill
allow you to quickly import those assets into your project. You can drag and drop images directly
into the Stage or Camera view , and you can drag and drop sound files and video files into audio orvideo tracks in the Timeline view .

How to open a library
1. In the Library view , right-click in the Library List section and select Open Library.
The Brow ser w indow opens.
2. Brow se to the location of the library folder.
3. Select the folder and click OK.
The new library appears in the Library List section.

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Storyboard Pro 22 User Guide

Renaming Folders
T-SBADV-010-005
Once you add a folder, you can rename it. This also renames the folder on your hard drive.

How to rename a folder
1. In the Library view ’s left side, select the folder to rename.

2. Right-click on the selected library and select Rename Folder.
3. Rename the selected folder.
4. Press Enter/Return to validate the operation.

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Chapter 17: Libraries

Closing Libraries and Deleting Folders
T-SBADV-010-006
If you w ant to remove a folder from your libraries, you must first understand the difference betw een a library
and a sub-folder in a library. A library is a folder added at the root of your libraries list, and it is indicated by aicon. A sub-folder is inside one of the libraries in the libraries list, and it is indicated by aicon.
You can close a library, w hich w ill remove it from the Library view , but not from your hard drive. How ever,you cannot close a sub-folder. All the sub-folders in a library are alw ays available in the Library view .

How ever, you can delete sub-folder. This however will delete it from your hard drive permanently.

Hence, in summary:l

You can close a library, w hich w ill remove it from the Library view but not from your hard drive, but

you cannot outright delete a library from Storyboard Pro.
l

You can delete a library sub-folder, w hich w ill permanently remove it from your hard drive, but you

cannot simply close a library sub-folder.
Hence, if you find that some sub-folders are incumbering your library, but you don't w ant to lose their content,
it w ould be best to open this library in a file brow ser, and move those folders somew here else w here you canretrieve them later.

NOTE
You cannot close the follow ing default libraries: 3D Models, Shared and Global.

IMPORTANTYou can undo deleting a library sub-folder up until you close the project or exit the application.
After that, the deleted files w ill be gone permanently and you w ill not be able to retrieve them.

How to close a library
1. In the left pane of the Library view , select the library folderthat you w ant to remove.

2. Right-click on the library and select Close.

How to delete a library sub- folder
1. In the left pane of the Library view , brow se to and select the library sub-folder
delete.

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that you w ant toStoryboard Pro 22 User Guide

2. Do one of the follow ing:lRight-click the selected library and select Delete Folder.

lPress Del.

A confirmation prompt w ill appear.
If you are sure you w ant to permanently delete all the content of the selected folder from your hard
drive, click Yes. Otherw ise, click No.

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Chapter 17: Libraries

Refreshing Libraries
T-SBADV-010-007
If you update the content of your libraries through your operating system, you must refresh the library folders
in the Library view .

How to refresh a library
1. In the Library view ’s left pane, right-click and select Refresh or press F5.

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Storyboard Pro 22 User Guide

About Templates
T-SBADV-010-009
If you w ant to reuse artw ork, layers, panels or camera motions from your project in the same or other projects,
you can create a template out of it. A template is a package containing a copy of the assets you stored in it, andw hich can easily be copied into any project as many times as needed.
Storyboard Pro templates can be made w ith the follow ing types of assets:
Template Type

Content

Layer

The artw ork, 3D models, layer animation, opacity of the layer or layers.

Panel

The length of the panel, its camera movements, all of its layers and 3D models, their layer
animation and their opacity

Video clip

The video file, its In and Out points, its animation and its opacity

Sound clip

The sound file, its In and Out points and its volume envelope

Cameramovement

Camera animation keyframes

Layer animation

The layer's artw ork and its animation keyframes

NOTE
W hen you create a template, it is not linked to the original project. A copy of the assets are created
for the template, and you can modify the original project w ithout affecting your template. Likew ise,w hen you import a template into your project, it is copied into your project. Making changes to thetemplate w ill not affect its imported copies, and you can make changes to the imported assets
w ithout affecting the template.

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Chapter 17: Libraries

Creating Templates
T-SBADV-010-010
You can create a template out of many assets in your project. You can create a template out of one or several
panels, one or several layers in a panel, a sound clip, a video clip and even animation keyframes.
Creating a template is as simple as selecting the assets you w ant to store in the template, then dragging anddropping them into a library in the Library view .

How to create a template from one or several layers using the Stage or Camera view
1. In the Library view , select a folder in w hich you w ant to store your template.
2. In the Layer panel of the Stage or Camera view , select one or several layers. To select several
layers, do one of the follow ing:l

W hile holding Shift, click on the first layer you w ant to add to your selection, then on the lastlayer you w ant to add to your selection. All layers in-betw een w ill be part of the selection,
inclusively.

l

W hile holding Ctrl (W indow s) or ⌘ (macOS), click on each layer you w ant to add to yourselection.

3. Drag and drop the selection into the right pane of the Library view .

4. In the Rename dialog box, enter the name for your new template.

NOTE
You can also rename a template after it is created by right-clicking on it and selecting
Rename.

How to create a template of one or several panels using the Thumbnails view
1. In the Library view , select a folder in w hich you w ant to store your template.

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Storyboard Pro 22 User Guide

2. In the Thumbnails view , select one or several panels. To select several panels, do one of thefollow ing:l

W hile holding Ctrl (W indow s) or ⌘ (macOS), click on each panel you w ant to add to yourselection.

l

W hile holding Shift, click on the first panel you w ant to add to your selection, then on thelast panel you w ant to add to your selection. Both panels you clicked on and every panel inbetw een w ill be added to the selection.

3. Click and drag on the drag and drop handle

of one of the selected panels, then drop the selection

into the right pane of the Library view .

4. In the Rename dialog box, rename the new template.

NOTE
You can also rename a template after it is created by right-clicking on it and selecting
Rename.

How to create a template of one or several panels using the Timeline view
1. In the Library view , select a folder in w hich you w ant to store your template.
2. In the Timeline view , select one or several panels. To select several panels, do one of the follow ing:l

W hile holding Ctrl (W indow s) or ⌘ (macOS), click on each panel you w ant to add to yourselection.

899

Chapter 17: LibrarieslW hile holding Shift, click on the first panel you w ant to add to your selection, then on thelast panel you w ant to add to your selection. Both panels you clicked on and every panel inbetw een w ill be added to the selection.

3. Drag and drop the selected panels into the right pane of the Library view .

4. In the Rename dialog box, enter the name for your new template.

NOTE
You can also rename a template after it is created by right-clicking on it and selecting
Rename.

How to create a template from a video or sound clip
1. In the Library view , select a folder in w hich you w ant to store your template.
2. In the Timeline view , select a video or sound clip.

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Storyboard Pro 22 User Guide

3. Drag and drop the selected clip into the right pane of the Library view .

4. In the Rename dialog box, enter the name for your new template.

NOTE
You can also rename a template after it is created by right-clicking on it and selecting
Rename.

How to create a camera movement template
1. In the Timeline view , select the scene containing the camera movement.
The camera's animation keyframes w ill appear in the Camera track of the Timeline view .

2. In the Camera track of the Timeline view , select the animation keyframes you w ant to store in yourtemplate:l

To select all the keyframes in the animation, double-click on one of the keyframes or on thespace betw een one of the keyframes.

l

To select a series of keyframe, click on the first keyframe in the series then, w hile holding
Shift, click on the last keyframe in the series.

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Chapter 17: Librariesl

To select each keyframe individually, click on the first keyframe you w ant to select then,w hile holding Ctrl, click on each keyframe you w ish to select.

3. Do one of the follow ing to copy the keyframes to the clipboard.
l

In the top menu, select Edit > Copy Camera Keyframes.

lPress Ctrl + C (W indow s) or ⌘ + C (macOS).

4. In the Library view , select the folder in w hich you w ant to store your template.
5. Do one of the follow ing to paste the keyframes into a new template:l

In the top menu, select Edit > Paste.

lPress Ctrl + V (W indow s) or ⌘ + V (macOS).

6. In the Rename dialog box, enter the name for your new template.

NOTE
You can also rename a template after it is created by right-clicking on it and selecting
Rename.

How to create a layer animation template
1. In the Timeline view , select the panel containing the animation.
2. In the Layer list of the Stage or Camera view , select the layer containing the animation.
The layer's animation keyframes w ill appear in the Layer track of the Timeline view .

3. In the Layer track of the Timeline view , select the animation keyframes you w ant to store in yourtemplate:l

To select all the keyframes in the animation, double-click on one of the keyframes or on thespace betw een one of the keyframes.

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Storyboard Pro 22 User Guidel

To select a series of keyframe, click on the first keyframe in the series then, w hile holding
Shift, click on the last keyframe in the series.

l

To select each keyframe individually, click on the first keyframe you w ant to select then,w hile holding Ctrl, click on each keyframe you w ish to select.

4. Do one of the follow ing to copy the keyframes to the clipboard.
l

In the top menu, select Edit > Copy Layer Keyframes.

lPress Ctrl + C (W indow s) or ⌘ + C (macOS).

5. In the Library view , select the folder in w hich you w ant to store your template.
6. Do one of the follow ing to paste the keyframes into a new template:l

In the top menu, select Edit > Paste.

lPress Ctrl + V (W indow s) or ⌘ + V (macOS).

7. In the Rename dialog box, enter the name for your new template.

NOTE
You can also rename a template after it is created by right-clicking on it and selecting
Rename.

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Chapter 17: Libraries

Importing Templates
T-SBADV-010-012
There are several w ays you can import templates in your project. You can insert a panel template betw een tw oexisting panels in the Thumbnails and Timeline view . You can import a template's layers into a panel bydragging it into the Stage or Camera view or over a panel's thumbnail in the Thumbnails or Timeline view .

How to import a template's layers into a panel
1. In the Thumbnails or Timeline view , select the panel in w hich you w ant to insert the template.
2. In the Library view , select the template you w ant to import.
3. Drag and drop the template into the Stage or Camera view :lTo insert it betw een tw o specific layers, drop it betw een those layers in the Layer panel ofthe Stage or Camera view .

l

If you w ant to insert it over all the other layers, you can drop it directly into the Stage or
Camera view .

NOTES
l

You can also drag and drop a template over the thumbnail of any panel in the Thumbnails
or Timeline view . W hen you do this, the template's layers are added to that panel.

l

You can also import a template made of a single panel into the Stage or Camera view .
W hen you do this, all of the template's layers are added to the current panel. How ever,you cannot import a template made of multiple panels into the Stage or Camera view .

How to insert a panel template between two panels in the Thumbnails view
1. In the Library view , select the template you w ant to import.
2. Drag and drop the selected template into the Thumbnails view , betw een the tw o panels w here you
w ant it to be inserted.

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NOTE
If you are inserting the template betw een tw o scenes, you are able to choose w hether thepanel w ill beattached to the previous scene or the next scene, or w hether it w ill be inserted
into its ow n scene. This w ill depend on how close to either scene or to the gap betw een them
you drop the template. As you move the panel around in the gap, a red line w ill indicate w here
the panel w ill end up.

How to insert a panel template between two panels in the Timeline view
1. In the Library view , select the template you w ant to import.
2. Drag the selected template into the Timeline view , betw een the tw o panels w here you w ant it to
be inserted.

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NOTE
If you are inserting the template betw een tw o scenes, you are able to choose w hether thepanel w ill be attached to the previous scene or the next scene, or w hether it w ill be inserted
into its ow n scene. This w ill depend on how close to either scene you drop the template. As
you move the panel around the seam betw een the scenes, a green bracket w ill indicate w here
the panel w ill end up.

How to import a video or sound clip template
1. In the Library view , select a video clip template or a sound clip template.
2. Drag the selected template into the Timeline view , onto the track and at the exact frame w here you
w ant the clip to be cued.

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How to import a camera movement template
1. In the Library view , select a camera movement template.
2. Do one of the follow ing:lRight-click on the template and select Copy.

l

In the top menu, select Edit > Copy.

l

Press Ctrl + C (W indow s) or ⌘ + C (macOS).

3. In the Timeline view , select the scene w here you w ant to import the camera movement.
4. Click on the Camera track.

5. Move the timeline playhead w here you w ant the camera movement to begin.
6. Do one of the follow ing:l

In the top menu, select Edit > Paste Camera Keyframes.

lPress Ctrl + V (W indow s) or ⌘ + V (macOS).

The camera keyframes are pasted at the position of the timeline playhead onto the Camera track.

907

Chapter 17: Libraries

How to import a layer animation template
1. In the Library view , select a layer animation template.
2. Do one of the follow ing:lRight-click on the template and select Copy.

l

In the top menu, select Edit > Copy.

l

Press Ctrl + C (W indow s) or ⌘ + C (macOS).

3. In the Timeline view , select the panel containing the layer on w hich you w ant to import animation.
4. In the Layer panel of the Stage or Camera view , select the layer on w hich you w ant to importanimation.
5. In the Timeline view , click on the Layer track.

6. Move the timeline playhead w here you w ant the camera movement to begin.
7. Do one of the follow ing:l

In the top menu, select Edit > Paste Layer Keyframes.

lPress Ctrl + V (W indow s) or ⌘ + V (macOS).

The animation keyframes are pasted at the position of the timeline playhead, onto the layer's
animation track.

908

Storyboard Pro 22 User Guide

Deleting Templates
T-SBADV-010-011
You can delete a template directly from the Library view .

NOTE
It is possible to undo deleting a template up until the point w here you close your project or exit theapplication.

IMPORTANT
If you delete a template via your operating system's file brow ser, you might not be able to undo it
unless the template is moved to your w orkstation's recycle bin / trash bin and you do not empty it.

How to delete a template
1. In the Library view , select the template to delete.
2. Do one of the follow ing:lRight-click and select DeletelPress Del.

909

Chapter 17: Libraries

Browsing a Template's Content
A template created in Storyboard Pro is a folder w ith a file structure, in w hich you can find its assets. If you
w ant to import a specific asset from a template, such as a draw ing or a 3D model, you can brow se thetemplate's file structure in the library view by opening it as a folder instead of as a template.

How to open a template as a folder
1. In the Library view , select the template to open.

2. Right-click the selection and select Open As Folder.
The template w ill appear as a subfolder in the current library, w ith the subfolder

3. Click on the Expand

icon.

button of the subfolder to explore it. If you are familiar w ith Harmony, you

w ill find that the template has a file structure similar to a Harmony scene, w hich contains thefollow ing folders:laudio: The audio clips that w ere included w ith the template, if any.

lelements: Contains the folders in w hich the draw ings and 3D models used by the template
are stored.

lenvironment: If the template w as created in Harmony Server, this directory w ill containthe assets used by this template that w ere sourced from its environment. Otherw ise, it w ill
be empty.

lframes: A directory typically used for the rendered frames of a Harmony scene. Usuallyempty for templates.

910

Storyboard Pro 22 User Guideljobs: If the template w as created in Harmony Server, this directory w ill contain the assets
used by this template that w ere sourced from its job. Otherw ise, it w ill be empty.

lpalette-library: The palettes used by the template.

As you brow se the template's folders, if you select a folder that contains assets that can beimported in Storyboard Pro, they w ill appear in the assets list to the right.

NOTE
Even if the template is opened as a folder, it is still also available as a template in your library.
You can undo opening the template as a folder by right-clicking on the template and selecting
Open As Folder again.

911Chapter 17: Libraries

Generating Thumbnails
T-SBADV-010-013
W hen you display thumbnails in the Library view , Storyboard Pro generates a series of small images(thumbnails) for you. How ever, it is possible to generate template thumbnails manually.
By default the automatic option is enabled, w hich means the thumbnails in the Library view w ill be
automatically generated. You can disable this option to prevent the thumbnails from being automaticallygenerated.
You can delete the thumbnails files from the Library view .

How to generate thumbnails
1. In the Library view ’s right side, select a template.

2. Right-click and select Generate Thumbnails.

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Storyboard Pro 22 User Guide

How to disable the automatically Generate Thumbnails preference
1. Do one of the follow ing to open the Preferences dialog:ll

W indows:l

In the top menu, select Edit > Preferences.

l

Press Ctrl + U.

macOS:l

In the top menu, select Storyboard Pro 22 > Preferences.

l

Press ⌘ + U.

2. Select the General tab.
3. In the General section, select the Automatically Generate Thumbnails in Library option.

NOTE
W hen you deselect the Automatically Generate Thumbnails in Library option, you canmanually generate them.

913

Chapter 17: Libraries

How to delete thumbnailsl

In the Library view , right-click in the left section and select Delete Thumbnails.

914

Storyboard Pro 22 User Guide

Searching Libraries
You can use the Quick Search field to rapidly locate a particular template using a keyw ord contained in thetemplate’s name.

How to search for a template
1. In the Quick Search

field, type a w ord or part of a w ord contained in the template’s name. You

can select a folder in the Library’s List to limit the search to this specific library.

2. Press Enter/Return to validate.
The first template found is selected and displayed along w ith the other templates contained in thesame folder.

3. Click the Right Arrow
Arrow

button to find the next template containing the keyw ord, or on the Left

button to see the previous result.

915

Chapter 17: Libraries

916

Storyboard Pro 22 User Guide

About Importing Files
Using the Library view , you can import several types of files and store them in a library folder as a template.
Once you have these new templates, you can use them throughout your storyboard projects just like theregular ones.
You can import all sorts of files using the Library view . You can import bitmaps as w ell as vector-based
images, audio files, Adobe Flash movie file (.sw f), and templates (.tpl) files made in Harmony 9.2 or highe. Thiscan be useful for importing backgrounds created in Harmony directly into your storyboard.
You can alsoimport four types of 3D files. W hen you import a 3D model, it is automatically added to the
Library in the 3D Models folder according to its format.

917

Chapter 17: Libraries

Importing Images
T-SBFND-008-012
You can import all sorts of image files and reuse them throughout your project as templates. You can import
bitmap as w ell as vector-based images, w hich can be really handy. The supported image formats include: .ai,
.pdf, .tvg, .pal, .scan, .sgi, . tga, .yuv, .omf, .psd, .png, .jpg, .jpeg, .bmp and .tif.

How to import an image file
1. In the Library view , right-click a library folder and select Import Files.

The brow ser w indow opens.
2. Find and select an image file and click Open.
The selected file appears in the Library view as a .tpl file inside the selected library folder.

918

Storyboard Pro 22 User Guide

Importing Audio Files
You can import three types of audio files, w hich you can drag in the Timeline view w hen creating your animatic
project. The supported audio file formats are: .w av, .aif and .mp3.

How to import an audio file
1. In the Library view , right-click a library folder and select Import Files.
The brow ser w indow opens.
2. Find and select your audio file and click Open.
The selected audio appears in the Library view as a .tpl file inside the selected library folder.

919

Chapter 17: Libraries

Importing Flash Movies (SW F)
You can import an Adobe Flash movie file (.sw f) into the Library view . The movie file w ill become a single layer
template that contains the animation. Only the first 20 first frames of the animation w ill be imported in thetemplate.

How to import an Adobe Flash movie file
1. In the Library view , right-click a library folder and select Import Files.
The brow ser w indow opens.
2. Find and select your Adobe Flash Move file (.sw f) and click Open.
The selected .sw f files appears in the Library view as a .tpl file inside the selected library folder.

NOTE
You can preview the animation contained in the new template by using the preview section of
the Library view —see Library View in the Reference Guide.

920

Storyboard Pro 22 User Guide

Importing Harmony Templates
You can import template (.tpl) files made in Harmony 9.2 or higher into the Library. This can be useful for
importing backgrounds created in Harmony directly into your storyboard.

NOTE
Because Harmony is an animation softw are and Storyboard Pro is not, animated templates andtemplates of rigged puppets created in Harmony may not import properly. Templates w ith
multiple layers w ill retain their layer structure, but cut-out puppets may be rendered as flat
objects w ith stationary parts.

How to import a template created in Harmony
1. In the Library view , right-click on the left side of the Library view , under all the existing folders andselect Open Library.
A brow ser w indow opens.
2. Search for the folder w ith the .tpl file to import. That folder is considered the “Library” that you
choose to open. Note that the .tpl file itself is also a folder. Select the Library folder and not theTemplate folder. For example, the library may be the Toon Boom Stage Library (found in the My
Documents folder on W indow s) and the name of the template inside Enchanted_Forest.tpl.
An orange book icon appears on the left side of the Library view w ith the name of the folder thatyou selected.
3. Click the folder to display the templates on the right side of the Library view . The template
thumbnails may take a moment to generate.
If there w ere any subfolders in the root library folder, they w ill appear as grey books w ithin the root
library. You may need to expand the root library to see them. Click on one of these grey booksubfolders to display its templates on the right side of the Library view .

921

Chapter 17: Libraries

922

Storyboard Pro 22 User Guide

Importing 3D Objects
Before adding 3D objects to panels in your storyboard, you must first import them to your library. W hen you
import a 3D model, it is automatically added to the 3D Models library of your project, in the Library view . You
can then drag and drop that 3D model to each panel in w hich you w ant to use it, w ithout having to import itover and over again.
Storyboard Pro supports the follow ing types of 3D models:lFilmbox (.fbx)l

3DS Max (.3ds)l

W avefront OBJ (.obj)lAllembic (.abc)lCollada (.dae)

In addition to importing 3D objects into the 3D Models folder in the Library view , you can also open a folder
containing 3D models as a library in the Library view . The models can then be dragged and dropped into thescene directly from that library.

NOTE
W hen a model is added to a panel from a library other than the 3D Models library, it is also added
to the 3D Models library at the same time.

How to import a 3D object into your project
1. In the Library view , right-click on the 3D Models library folder, then select Import Files.
2. In the file brow ser, locate and select your 3D model, then click on Open.
The follow ing prompt appears.

If you w ant, you can choose to import your model in its original format. Converting it to FBX w ill
how ever make sure its textures are consolidated w ith the model in your project.
3. Click on OK.
The selected model appears in the 3D Models folder of the Library view .

923

Chapter 17: Libraries

NOTE
If you delete a 3D model from the library, every instance of that model in the project w ill bedeleted.

How to add a folder containing 3D models as a Library
1. In the Library view , right-click in the list of libraries and select Open Library.
A file brow ser w indow opens.
2. In the file brow ser, brow se for the folder that contains the 3D models that you w ant to use in yourproject. Those files should be .fbx, .abc, .osb, .3ds, or .obj files.
3. Click on Select Folder.
The selected folder w ill appear in the list of libraries.
4. Select the folder you just added to the list of libraries.
Any files that can be imported into Storyboard Pro, including 3D models, templates and draw ings
that are located w ithin this folder are listed in the list of items to the right.

924

Storyboard Pro 22 User Guide

925

Chapter 18: Pitching the Storyboard

Chapter 18: Pitching the Storyboard
Storyboard Pro has a Pitch Mode w orkspace that w as is created specifically for pitching a storyboard orconcept to a group of people.
You can use the Pitch Mode w orkspace to add comments based on the given feedback. A special Comments
layer can automatically be added to your draw ing for making notes and corrections.

NOTE
The Camera view displays your draw ings, camera moves and transitions. You do not have accessto your layer list in this mode. All layers that are enabled are show n.

926

Storyboard Pro 22 User Guide

Accessing and Exiting the Pitch Mode W orkspace
The Pitch Mode w orkspace can be accessed in the same w ay as other default w orkspaces, but you must exit
the mode in a different w ay.
You can easily exit by using the Exit Pitch Mode button at the bottom of the screen. This is useful w hen in fullscreen mode and you can no longer access the menus at the top of the interface.

How to access the Pitch Mode workspace
Do one of the follow ing:l

In the View toolbar, click on the Pitch Modebutton.

l

From the W orkspace toolbar, select Pitch Mode .

l

In the top menu, select W indows > W orkspace > W orkspace > Pitch Mode.

How to exit the Pitch Mode workspacel

In the Control Panel view , click the Exit Pitch Modebutton.

NOTE
To exit the w orkspace, you can also sw itch to another w orkspace using the top menu.

927

Chapter 18: Pitching the Storyboard

Displaying Captions
As you play back your storyboard, your audience may w ant to see the dialogue or action notes as subtitles. For
that reason, the Pitch Mode w orkspace lets you select one of the caption fields available in your storyboard
and display it at the bottom of the Camera view . By default, the Dialogue caption is selected.
In the Control Panel view , you w ill find a drop-dow n menu that w ill allow you to select the captions in yourstoryboard. Note that you cannot select a sketch caption. Only text captions can be selected.

If you w ant to make the selected caption field larger, you can hide the Caption tools area.

How to select a caption‣

From the Caption menu, select a caption to display below the Camera view .

How to hide the Caption Tools area‣

In the Caption Tools area, click the Arrow button to hide the settings.

How to show the Caption Tools area‣

Hover the cursor at the edge of the caption, w hen you see a splitter cursor, drag left to reveal
the Caption Tools area.

928

Storyboard Pro 22 User Guide

Customizing Captions
By default, the selected caption field has a black background and a gray font. You can change the colours andthe font.

How to customize the look of captions
In the Caption Tools area, do any of the follow ing:‣

Font: Click Font. In the Select Font dialog box, set the font parameters.

‣

Font Colour: Double-click the font colour sw atch. In the Colour Picker w indow , select a newcolour.

‣Background Colour: Double-click the background colour sw atch. In the Colour Picker w indow ,select a new colour.

929

Chapter 18: Pitching the Storyboard

Navigating the Storyboard
Navigating through your storyboard lets you see how your project is progressing. You can scrub through ascene, view a specific point in the scene, see it in slow motion, or check a particular section.
The slider lets you scrub through all the panels in a scene. You w ill see the camera motions and the transitions
at the speed you w ant by sliding left or right. Sliding left brings you to the beginning of the scene and sliding
right brings you to the end. Transitions, camera moves, and all panels w ill be displayed.
As you select or scrub through panels and scenes, the name and number of the current scene and panel are
displayed.

As you navigate through the panels of your storyboard by either using shortcuts, clicking on panels or using
the navigation buttons, you can automatically play the camera moves.

NOTE
W hen you select a panel that contains a camera move, it w ill automatically play. If you do not
w ant to see the transitions or camera motions, deselect the Camera Mode
Panel view .

How to navigate through your storyboard
Do one of the follow ing:lPress A and Fl

Select panels in the Thumbnails viewl

Use the Previous Paneland Next Panelbuttons

How to automatically play camera moves‣

In the Control Panel, select the Auto- play Camera Moves option.

930

button in the Control

Storyboard Pro 22 User Guide

Drawing Revisions
W hen presenting a storyboard, you w ill most likely receive comments and feedback. The Pitch Modew orkspace allow s you to easily draw comments and corrections over your panels.
In Pitch Mode, you do not have access to the draw ing layers in your panels, so w hen you draw corrections on
your panel, a new Comments layer is automatically added for you on top of the panel. You can use this new
Comments layer the same w ay as any other draw ing layer in your scene.
Adding comments and corrections in Pitch Mode is easy. As soon as you start draw ing w ith the Brush tool, theComments layer is added.
If you no longer require a Comments layer, you can delete it w hile you are still in the Pitch Mode w orkspace.

NOTE
In the Pitch Mode w orkspace, you can use the Onion Skin feature to see your previous and next
panels—see About Onion Skin on page 478. To see the onion skinning, deselect the Camera Modebutton in the Control Panel view .

How to add comments and corrections
1. In the Comments section of the Control Panel view , select the Brush

tool or press Alt + B.

2. Click a colour sw atch to select a colour for your brush.
3. To change the colour, double-click the colour sw atch to open the Select Colour dialog box. Select a
new colour—see Colour on page 568.

931

Chapter 18: Pitching the Storyboard

4. Set the brush size and click OK.
5. In the Stage view , add your comments and corrections.
6. In the Camera view , draw your correction.

A Comments layer is added on top of your layers.
7. To access the Comments layer, click the Exit Pitch Modebutton.

The Pitch Mode w orkspace is closed.

How to erase a correction‣

In the Comments section of the Control Panel, click Eraser

932

tool or press Alt + E.

Storyboard Pro 22 User Guide

How to delete a comment‣

In the Comments section of the Control Panel, click the Erase Layer
The Comments layer is deleted. You cannot delete any other layers.

933

button.

Chapter 18: Pitching the Storyboard

Recording Voice Annotations
Since the Pitch Mode w orkspace is all about review ing and approving your storyboard, you can also record
voice annotations—see About Voice Annotations on page 944.
The Voice Annotation tools are not displayed by default. You must enable the sound tools in the Preferences
dialog box.

How to enable the sound tools
1. Do one of the follow ing:‣

Select Edit > Preferences (W indow s) or Storyboard Pro 22 > Preferences (macOS).

‣

Press Ctrl + U (W indow s) or ⌘ + , (macOS).

2. In the Preferences dialog box, select the Pitch Mode tab.
3. In the Control Panel section, select the Display Sound Tools option.

The voice annotation tools appear in the Control Panel.

How to record voice annotations
1. Verify that you have a w orking voice recording device and that it is correctly connected to yourcomputer.
2. In the Thumbnails view , select the panel on w hich you w ant to record a voice annotation.
3. Display the Panel view .
lIf the Panel view is not part of your current w orkspace, select W indows > Panel.

4. In the Voice Annotations section, click the Record Voice Annotation
The Record a Voice Annotation dialog box opens.
lClick the Record

button to begin recording.

l

Click the Stop

button to stop the recording.

934

button.

Storyboard Pro 22 User Guidel

Click the Playbutton to preview your recording.

NOTE
If you try to record your voice and the voice recording device is improperly connected or
malfunctioning, a w arning message w ill appear. If this happens, check the voice recording
device.

935

Chapter 18: Pitching the Storyboard

Navigating the Storyboard
Navigating through your storyboard lets you see how your project is progressing. You can scrub through ascene, view a specific point in the scene, see it in slow motion, or check a particular section.
The slider lets you scrub through all the panels in a scene. You w ill see the camera motions and the transitions
at the speed you w ant by sliding left or right. Sliding left brings you to the beginning of the scene and sliding
right brings you to the end. Transitions, camera moves, and all panels w ill be displayed.
As you select or scrub through panels and scenes, the name and number of the current scene and panel are
displayed.

As you navigate through the panels of your storyboard by either using shortcuts, clicking on panels or using
the navigation buttons, you can automatically play the camera moves.

NOTE
W hen you select a panel that contains a camera move, it w ill automatically play. If you do not
w ant to see the transitions or camera motions, deselect the Camera Mode
Panel view .

How to navigate through your storyboard
Do one of the follow ing:lPress A and Fl

Select panels in the Thumbnails viewl

Use the Previous Paneland Next Panelbuttons

How to automatically play camera moves‣

In the Control Panel, select the Auto- play Camera Moves option.

936

button in the Control

Storyboard Pro 22 User Guide

937

Chapter 19: Storyboard Supervision

Chapter 19: Storyboard Supervision
Storyboard Pro goes beyond the storyboard and animatic creation tasks by providing pow erful tools for thesupervision of a storyboarding project.
Project managers, storyboard supervisors and artistic directors now have an efficient supervision tool to help
them track the changes and communicate their feedback, corrections and such to the storyboard artists.

938

Storyboard Pro 22 User Guide

About Track Changes
T-SBADV-008-001
In Storyboard Pro, you can track changes in the storyboard’s panels. This allow s the storyboard artist to
integrate any comments the supervisor has made, and the supervisor can easily track any changes andvalidate or comment on them.
Modified panels are outlined in yellow . You also have the possibility to w rite revision notes about the changes.
This visual indicator allow s the supervisor to rapidly locate any panels w hich have changed. A new temporary
caption field is added to the tracked panel's Panel view .

939

Chapter 19: Storyboard Supervision

Tracking Changes
T-SBADV-008-002
Storyboard Pro lets you automatically detect any changes in your project, and adds a visual indication in theThumbnails and Timeline view s.
You can also track changes by date. If a storyboard becomes very large, it may be easier to track changes madeon a specific date.
You can add notes to the Revision Notes caption. The caption only appears once the panel is marked aschanged. Note that the text you type here w ill also be displayed in the Track Changes dialog box during thevalidation process—see Tracking Changes on page 940.

How to enable auto tracking
1. Select Storyboard > Track Changes > Auto Tracking Mode.
Once the Auto Tracking Mode is enabled and you edit a panel, a yellow rectangle appears aroundthe panel in the Thumbnails and Timeline view s.
2. Edit your panels either by draw ing or modifying caption text. If applicable, add comments in the
Revision Notes caption.

How to track changes by date
1. Select Storyboard > Track Changes > Track Changes by Date.
The Search by Date dialog box opens.

940

Storyboard Pro 22 User Guide

2. Use the From and To fields to define a particular time range in w hich to track changes. If you w ant
to track changes done on one specific day, place that day’s date in both the From and To fields.
Click the From button and select the first date. Only the dates at w hich a change occurred w ill beavailable. The other dates w ill appear dimmed.

3. Select the first date and click OK.
4. Repeat these steps to select the To date.

5. Once your dates are set, the information is updated.

The first line displays the number of panels found in the storyboard that have been modified during
the defined time range, and the panel that is currently selected.The second line displays
information about the currently selected panel, such as w hich scene it is part of, the name of thepanel, and the date it w as last modified.
6. Use the Next and Previous buttons to jump from one modified panel to the next.
7. Use the menu in the bottom-left corner to modify the status of the selected panel.

lMark as Changed: Marks the currently selected panel as being edited on the current
date; this is the default option. Click the button to activate it.

lMark Scene as Changed: Marks the scene of the currently selected panel as beingedited on the current date.

lMark All as Changed: Marks all the storyboard panels as being edited on the current
date.

941

Chapter 19: Storyboard Supervision

Validating Changes
T-SBADV-008-003
W hen you use the Auto Tracking Mode feature, you can use the Validate Changes option to follow up on thesechanges.

How to validate changes
1. Select Storyboard > Track Changes > Validate Changes.
The Track Changes dialog box opens.

‣

Useful information is displayed on the top part of the dialog box:‣

The first line displays the number of panels found in the storyboard that w ere modified w hile
the Auto Tracking Mode w as enabled, as w ell as w hich of the panels that fits the description iscurrently selected.

‣

The second line displays information about the currently selected panel, such as w hich scene itis part of, the name of the panel, and the date it w as modified.

2. Use the Notes field to enter text about the selected panel. This information w ill be available in the
tracked panel Panel view in the Revision caption. If notes w ere added in the Revision Notes caption
field, they w ill be displayed in the Revision Notes field of the Track Changes dialog box.

NOTE
This caption is temporary; it w ill be removed w hen the change is validated.

942

Storyboard Pro 22 User Guide

3. Use the Validate menu to select a validation option:‣

Validate: Validates the currently selected panel. This is the default option, simply click on the
button to activate it, there is no need to use the drop-dow n menu.

‣

Validate All: Validates all of the panels in the storyboard. Click on the arrow button to display
the drop-dow n menu and activate the command.

‣

Validate Scene: Validates the scene that the currently selected panel is part of. Click on thearrow button to display the drop-dow n menu and activate the command.

4. Use the Next and Previous buttons to navigate from one tracked panel to the other.

943

Chapter 19: Storyboard Supervision

About Voice Annotations
T-SBADV-008-004
In Storyboard Pro, you can provide the storyboard artists w ith voice annotations as w ell as w ritten notes.
After the voice annotation has been recorded, the Voice Annotations section indicates the total number ofannotations, displaying the order of the current voice annotation in the sequence and the total number of voice
annotations associated w ith the panel. As you record voice annotations, they accumulate in sequence w ithout
being overw ritten. You can select and play back any of the annotations.

944

Storyboard Pro 22 User Guide

Recording Voice Annotations
T-SBADV-008-005
Recording a voice annotation is quite simple. All you need is a microphone correctly connected to yourcomputer and Storyboard Pro.

How to record voice annotations
1. Verify that you have a w orking voice recording device and that it is correctly connected to yourcomputer.
2. In the Thumbnails view , select the panel on w hich you w ant to record a voice annotation.
3. Display the Panel view .
lIf the Panel view is not part of your current w orkspace, select W indows > Panel.

4. In the Voice Annotations section, click the Record Voice Annotation

button.

The Record a Voice Annotation dialog box opens.
lClick the Record

button to begin recording.

l

Click the Stop

button to stop the recording.

l

Click the Playbutton to preview your recording.

NOTE
If you try to record your voice and the voice recording device is improperly connected or
malfunctioning, a w arning message w ill appear. If this happens, check the voice recording
device.

945

Chapter 19: Storyboard Supervision

Playing Voice Annotations
T-SBADV-008-006
Once a voice annotation has been added to a panel, you can play it back using the playback controls.

How to listen to voice annotations
1. In the Thumbnails view , select the panel w ith the voice annotation w hich you w ant to listen to.
2. In the Panel view , do any of the follow ing in the Voice Annotations section:lClick the Next Voice Annotation

and Previous Voice Annotation

buttons to

select the annotation you w ant to listen to. Use the order display in the Voice
Annotation section to see w hich annotation is selected.
lClick the Play Voice Annotation

button to play back the selected voice annotation.

lClick the Stop Voice Annotation

button to stop playback.

946

Storyboard Pro 22 User Guide

Deleting Voice Annotations
T-SBADV-008-007
W hen a voice annotation is no longer required, you can delete it.

How to delete a voice annotation
1. In the Thumbnails view , select the panel w ith the voice annotation you w ant to delete.
2. In the Panel view , do any of the follow ing in the Voice Annotations section:lClick the Next Voice Annotation

and Previous Voice Annotation

buttons to

select the annotation to delete. Use the order display in the Voice Annotation section
to see w hich annotation is selected.
lClick the Delete Voice Annotation

button.

947

Chapter 19: Storyboard Supervision

About Project Management
T-SBADV-002-001
The project management functionalities of Storyboard Pro allow you to split your storyboard into several
small projects so that several contributors can w ork on parts of the project simultaneously. You can thenmerge the separated projects back into a single project.
There are tw o approaches to separating your storyboard into smaller projects:lSplitting: Separates the current project into tw o projects. You can create tw o new projects, each of
w hich make half of the current project, and keep the current project as the master project, or you cantake out half of the scenes of the current project into another project, making the current project theother half.

lExtracting: Exports selected parts of the current project into one or several smaller projects. This
allow s you to split your project into more than tw o smaller projects. Like w ith splitting, you can choose
to extract the w hole storyboard into smaller projects and keep the current project as the master project,or you can remove the extracted chunks from the current project, making the current project one of the
chunks that are part of the w hole project.

There are three approaches to merging parts of a storyboard into a single project:l

Inserting: Simply adds a single project's scenes into the current project.

l

Merging: Allow s you to add the scenes from one or several projects to the current project. You candecide in w hich order each project is added to the current project, and w hether they are added before orafter the current project's scenes.

l

Merging and Replacing: Allow s you to replace the scenes in the current project w ith scenes fromextracted projects. This is the method to use if you w ant to import changes made in extracted projects
into the master project, as it w ill replace the master project's original scenes w ith the updated scenes.
This method allow s you to select w hich scenes to import from the smaller projects. If some scenes in
the projects being imported cannot be matched w ith a scene in the current project, they w ill be added at
the end of the current project.

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Splitting your Project into Two Projects
T-SBADV-002-002
Using the Split Storyboard dialog, you can divide your storyboard into tw o separate projects so that tw oproject collaborators can w ork on their half of the project simultaneously. Later, you can assemble both halvesof the project back into a single project.
There are tw o approaches to splitting your project:l

You can choose to export one half of the project into a different project and keep the other half in thecurrent project. If you do this, you can assemble the project back into a single project by inserting thesecond half at the end of the first half, or by merging both projects together—see Inserting a Project's
Scenes into the Current Project on page 966 and Merging Storyboard Projects on page 963.

l

You can choose to split the current project into tw o new projects and keep the current project as amaster project. Later, you can assemble the split projects back into the master project using the Merge
and Replace dialog—see Merging Projects and Replacing Scenes in the Current Project on page 967.

IMPORTANT
If you intend to split your project into tw o new projects, then import the changes made in the tw o
new projects into the original project using the Merge and Replace dialog, it is highly
recommended to lock you project's scene and panel numbers before splitting your project. To dothis, in the top menu, select Storyboard > Lock Scene and Panel Names.

How to split a storyboard project into two projects
1. In the Timeline, move the timeline playhead to the panel w here you w ant to split your project.

NOTE
You can choose in w hich one of the tw o projects the current panel w ill go in the Split
Storyboard dialog.

2. Do one of the follow ing:l

In the top menu, select File > Project Management > Split.

l

In the Project Management view , click on

The Split Storyboard dialog box appears.

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Chapter 19: Storyboard Supervision

3. If you w ant to extract every panel before the current panel into a project, do the follow ing:
a. Check the Export before selected panel checkbox.
b. Click on the

Brow se button for this half of the project.

c. In the Save dialog that appears, brow se to the location w here you w ant to save this half ofthe project.
d. Type in a name for this half of the project and click on Save.
e. If you w ant the current panel to be go in this project, check the Include selected panel
checkbox.
4. If you w ant to extract every panel after the current panel into a project, do the follow ing:
a. Check the Export after selected panel checkbox.
b. Click on the

Brow se button for this half of the project.

c. In the Save dialog that appears, brow se to the location w here you w ant to save this half ofthe project.
d. Type in a name for this half of the project and click on Save.
e. If you w ant the current panel to go in this project, check the Include selected panel
checkbox.

NOTE
If you are extracting both halves of the project and neither Include selected panel
checkbox is checked, the current panel w ill not be extracted to either project.

5. If you chose to only extract one half of the project into a new project, and only w ant to keep theremaining half in the current project, check the Remove exported panels from current project
option. If you prefer to keep a copy of the scenes being extracted in the current project, make sure950

Storyboard Pro 22 User Guide

this option is unchecked.

NOTE
This option w ill be greyed out if you are extracting every panel in your project including
the selected panel, as that w ould leave the project empty.

6. If you w ant to add the extracted projects to the list of linked projects in the Project Management
view , check the Link extracted project checkbox—see About Linked Projects on page 955.
7. Click on OK.
Project folders containing the split projects w ill be created in their selected destinations, w ith theirchosen project names.

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Extracting Parts of your Project into Other Projects
T-SBADV-002-003
Using the Extract Storyboard dialog, you can extract parts of your storyboard into their ow nprojects. This
allow s you separate your project into smaller projects, each one representing a chunk of the original
storyboard. You can then share these extracted projects w ith project collaborators so that several artists canw ork on their assigned part of the project simultaneously.
There are tw o approaches to separating your projects into smaller projects:l

You can extract all but one part of the project into smaller projects, and keep the remaining part in thecurrent project. Later, you can assemble the extracted projects back w ith the current project using theMerge dialog—see Merging Storyboard Projects on page 963.

l

You can every part of your project into smaller projects and keep the current project as a master project.
Later, you can assemble the extracted projects back into the master project using the Merge andReplace dialog—see Merging Projects and Replacing Scenes in the Current Project on page 967.

IMPORTANT
If you w ant to keep the extracted scenes in the original project, and later import the changes madeto the extracted projects back into the original project using the Merge and Replace dialog, it ishighly recommended to lock you project's scene and panel numbers before splitting your project.
To do this, in the top menu, select Storyboard > Lock Scene and Panel Names.

How to extract scenes in your storyboard into different projects
1. Do one of the follow ing:l

In the top menu, select File > Project Management > Extract.

l

In the Project Management view , click on

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Menu and select Extract.

Storyboard Pro 22 User Guide

The Extract Storyboard dialog box appears.
2. For each chunk of the project that you w ant to extract into a different project, do the follow ing:
a. In the scenes list, select one or multiple scenes. You can select multiple scenes by doing oneof the follow ing:lClick and hold on the first scene that you w ant to select, then drag the mouse cursor
dow n to the last scene you w ant to select.

l

Select the first scene that you w ant to select. Then, w hile holding Shift or Ctrl, click on
the last scene you w ant to select.

b. Click on Extract Selected Scenes.
c. In the file brow ser dialog that appears, brow se to the location w here you w ant to extract the
selected scenes.
d. Type in a name for the project in w hich you w ant to extract the selected scenes.
e. Click Save.
3. If you w ant to change the w ay you separated your project, you can select one of the projects to
extract from the Projects list and click on Remove Selected Project until all the chunks you w ish tochange are removed, then separate these chunks again the w ay you w ant them to be separated.
4. If you w ant the scenes that you are extracting from the current project to be removed from thecurrent project, check the Remove extracted scenes from current project option. Otherw ise, if you

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w ant to keep the current project intact so that it is a master project, leave this option unchecked.

NOTE
This option w ill be greyed out if you are extracting every scene in your project, as thatw ould leave the project empty.

5. If you w ant to add the extracted projects to the list of linked projects in the Project Management
view , check the Link extracted project checkbox—see About Linked Projects on page 955.
6. Click on OK.
Project folders containing the extracted projects w ill be created in their selected destinations, w ith
their chosen project names.

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About Linked Projects
Using the Project Management view , it is possible to keep a list of all the smaller projects you extracted fromyour main project, to check if they have been updated and to instantly merge the changes from those project toyour main project.

W hen you split your main project into tw o projects, or w hen you extract one or several projects from your main
project, you have the option of linking the extracted projects to your current project. This adds the extracted
projects to the list of linked projects in the Project Management view . You can also manually add projects thatyou've already extracted from your main project to the list of linked projects.
The Project Management view also allow s you to check if any of your linked projects have been changed since
they have been extracted from, or merged into your main project, and to instantly merge those changes into
the main project to keep it up to date.

How to access the Project Management view
1. Do one of the follow ing:l

In the top-right corner of any view , click onl

In the top menu, select W indows > Project Management.

955

Add View and select Project Management.

Chapter 19: Storyboard Supervision

NOTE
For more information on the Project Management view , refer to the Reference guide.

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Storyboard Pro 22 User Guide

Adding a Linked Project
W hen you split a project into smaller projects or w hen you extract smaller projects from your main project, youhave the option to add the extracted projects to your main project's list of linked projects. To do this, simply
check the Link extracted project checkbox at the bottom of the Split Storyboard or Extract Storyboard dialog,
and every project that is extracted from your main project w ill be automatically added to the list in the ProjectManagement view .
If you need to add an already existing project to your list of linked projects, you can do so in the ProjectManagement view .

How to add an existing project to the list of linked projects
1. Do one of the follow ing to add the Project Management view to your w orkspace:l

In the top-right corner of any view , click onl

In the top menu, select W indows > Project Management.

2. In the Project Management view , click on the

Add View and select Project Management.

Add Project to List button.

The Open Storyboard Project dialog appears.
3. Brow se to the location of the extracted project and select it.
4. Click Open.
The selected project is added to the Project Management view .

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Checking and Updating the Status of Linked Projects
The Project Management view allow s you to check on the status of each linked project. This status isdisplayed in the list of linked project using a colour-coded bullet in the left-most column. The possible coloursof this bullet and their meaning are as follow :lGray: The project does not have any modifications to merge.

lOrange: The project has modifications to merge.

lRed: The project cannot be found in the location indicated in the Path column.

The status of each linked project is updated w hen you open your project. How ever, by default, it does not
automatically check for changes to the status of your linked projects. You can manually refresh to status of all
your linked project, or you can configure the Project Management view to automatically refresh at a specificinterval.

NOTESl

If you select a project in the list, its status w ill be described textually at the bottom of the
Project Management view .

lSelecting a linked project in the Project Management view w ill not update its status. Hence, if
its status colour is not up to date, neither w ill its textual status at the bottom of the ProjectManagement view .

How to manually refresh the status of linked projects in the Project Management view
1. In the bottom-right corner of the Project Management view , click on the

Refresh Project Status

button.
The status of every linked project in the list w ill be updated.

How to automatically refresh the status of linked projects in the Project Managementview
1. In the bottom-right corner of the Project Management view , check the Refresh Every checkbox.
2. In the number input field just right of the checkbox, type in the interval at w hich you w ant the
Project Management view to automatically refresh, in minutes.

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Storyboard Pro 22 User Guide

Merging Changes from a Linked Project
Using the Project Management view , you can instantly merge the changes made to a project that w as
extracted from your master project into your master project. All you need to do is to select the project in thelist of linked projects, then click on the

Merge Modified Panels from Selected Project button.

How ever, before you can merge your linked projects, you must select your merge settings in the Merge
Settings dialog. You only need to select your merge settings once, and then those settings w ill be used every
time you merge your linked projects. You can also change those settings at any time thereafter.

NOTE
W hen merging modified panels from a project into the current project, the follow ing changes are
not merged:lDeleted panelslChanges to camera position and camera movements

If you need to merge such changes, you need to use the Advanced Merge Storyboard dialog box
instead—see Merging Projects and Replacing Scenes in the Current Project.

How to configure your merge settings
1. In the Project Management view , click on the

Merge Settings button.

The Merge Settings dialog box appears.

TIP
If you have never selected your merge settings before, clicking on the

Merge

Modified Panels from Selected Project button w ill also open the Merge Settings dialog,
and w ill then merge the changes from the selected project.

2. In the drop-dow n at the top of the dialog box, select the w ay panels to merge into the current
project should be selected:l

Merge Most Recent: Merges every panel in the selected project that has been modified later
than its corresponding panel in the current project.
To do this, it checks the date and time of the last modification made on each panel in theselected project. If this date and time is later than that of the last modification date on thecorresponding panel in the current project, the panel w ill be merged.

lMerge Tracked Panels: If you have tracked your changes in the selected project, you canselect this option to merge every panel in the selected project that is marked as changed.

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Chapter 19: Storyboard Supervision

3. If you only w ant to merge changes to scenes that are present in the current project, check the
Merge Existing Scenes Only option. Otherw ise, scenes that are present in the selected project, but
not in the current project w ill be imported into the current project.
4. If any changes w ere made to the timing of the panels in the selected project, sound clips that are
cued during those panels w ill be offset to remain synchronized w ith the action. By default, thishappens even for sound clips that are inside locked audio tracks. If you don't w ant sound clips inlocked audio tracks to be offset, check the Respect Locked Audio Tracks checkbox.
5. If you don't w ant changes made to the captions in the selected project to be imported into thecurrent project, check the Preserve Captions in Current Project checkbox.
6. If you don't w ant changes to the length and order of the panels to be imported, check the Replace
Artwork Only checkbox.
7. If you don't w ant changes to the position, size, angle and animation of layers in the panels to beimported, check the Preserver Layer Transformations in Current Project checkbox.
8. Click OK.
From this point on, if you click on the

Merge Modified Panels from Selected Project button, thesettings you just selected w ill be used w hen merging modifications from the selected project.

How to merge modifications from a linked project
1. In the Project Management view , select the project you w ant to merge changes from.
2. Just above the list of linked projects, click on the
button.

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Merge Modified Panels from Selected ProjectStoryboard Pro 22 User Guide

Relinking a Missing Linked Project
If a project in the Project Management view appears to be missing because it w as moved to a different
location, or if you need to change the location of a linked project because an updated version is in a different
location, you can edit its location in the Project Management view .

How to edit the location of a linked project
1. In the Project Management view , select the project for w hich you need to update the location.
2. Click on the

Edit Project Location button above the list of linked projects.

The Open Storyboard Project dialog appears.
3. Brow se to the new location of your project and select it.
4. Click Open.
The project's location w ill be updated in the Project Management view , and its status w ill reflect
w hether or not it's up to date or if it has changes to merge.

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Removing a Linked Project
If you accidentally added the w rong project to the list of linked projects, or if you no longer need a specificproject to be linked to your master project, you can remove it from the list of linked projects.

How to remove a linked project from the Project Management view
1. In the Project Management view , select the linked project you w ish to remove.
2. Click on the

Remove Project from List button just above the list of linked projects.

The selected project is removed from the list of linked projects.

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Merging Storyboard Projects
T-SBADV-002-004
Using the Merge Storyboard dialog, you can merge several small projects and make a big project. This isuseful if you have split or extracted your project into several projects in the past, and now you w ant toassemble those small projects back together.

How to merge different projects into a single project
1. Do one of the follow ing:l

In the top menu, select File > Project Management > Merge.

l

In the Project Management view , click on

Menu and select Merge.

The Merge Storyboard w indow opens.

2. For each project that you w ant to insert to your current project:a. Click on Import Project.
b. In the file brow ser dialog that appears, brow se for and select the project file that you w ant
to add to the current project, then click on Open.
The project is added to the list of projects at the top.
c. If you w ant to change the order of the project relative to the other projects being assembled
together, select it and click on Move Up or Move Down. In the end, the scenes of each963

Chapter 19: Storyboard Supervisionproject being merged together w ill be assembled in the order in w hich they appear in the
list.

NOTE
You can move projects above the current project. Their scenes w ill be inserted
before the scenes in the current project.

3. In the Captions list, you can see your current project's caption fields alongside the caption fields ofeach project that you are merging. Do the follow ing to ensure each project's caption fields areproperly merged:a. If the caption fields of any project being imported are not horizontally aligned w ith theircorresponding caption field for the current project, select these fields and use the Move Up
and Move Down button until they are aligned.
b. If there are new caption fields in the projects being imported that you w ant to add to thecurrent project, move them dow n to the bottom of the list, below the current project's
caption fields. This w ill make it so these captions get added as new fields instead of theircontent getting inserted in existing fields.
c. If you w ant any caption field of one of the projects being imported to be left out, so that they
are not added to the current project, move them dow n to the bottom of the list, below thecurrent project's caption fields, then click on Remove Caption.
Refer to the follow ing example:

4. By default, the scene numbers in the projects being merged w ill be have a suffix letter added tothem if any other scene in the current project or in other projects being merged have the same
scene number. If w ould prefer that all scenes in the project are numbered in series regardless ofw hat their previous scene number w as:a. Enable the Force scenes numbering option. This w ill make it so every scene in the projectw ill be numbered in a series after all the projects have been merged together.

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Storyboard Pro 22 User Guide

b. In the Start scene base name field, type in the number that you w ant the first scene in the
resulting project to have.
5. If you are not re-numbering the scenes, you can add the name of each project getting merged into
the current project to the name of their scenes, so that you can easily identify w hich scene camefrom w hich project. To do this, check the Use project name as scene's prefix option.
6. If you w ant to have the audio tracks from each merged project to be imported into separate audio
tracks in the resulting project, check the Create new audio tracks option . Otherw ise, the audio
clips from the merged projects w ill be inserted in the existing audio tracks of the current project,w hen possible, and new audio tracks w ill only be created if needed.
7. Click on OK.

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Inserting a Project's Scenes into the Current Project
T-SBADV-002-005
You can quickly and easily insert a project in your current project. The inserted project's scenes w ill be added
right after the current scene.

NOTE
If you need to insert a project before every scene in the current project, you must use the Merge
Projects dialog—see Merging Storyboard Projects on page 963.

How to insert the scenes from a different project into your current project
1. In your current project, in the Timeline view , move the timeline playhead over the scene after w hich
you w ant the project to be inserted.
2. From the top menu, select File > Project Management > Insert.
The Open Storyboard Project w indow appears.
3. Brow se to and select the *.sboard or *.sbpz file of the project you w ant to select and click on Open.
1. You w ill be prompted w ith a dialog stating w hether the inserted project's caption fields match w ith
the current project's caption fields and w hat it intends to do w ith the inserted project's caption
fields. If you agree w ith w hat it intends to do, click on OK. Otherw ise, click on Customize. Then, in
the Customize Captions dialog, do the follow ing:
a. If the caption fields of any project being imported are not horizontally aligned w ith theircorresponding caption field for the current project, select these fields and use the Move Up
and Move Down button until they are aligned.
b. If there are new caption fields in the projects being imported that you w ant to add to thecurrent project, move them dow n to the bottom of the list, below the current project's
caption fields. This w ill make it so these captions get added as new fields instead of theircontent getting inserted in existing fields.
c. If you w ant any caption field of one of the projects being imported to be left out, so that they
are not added to the current project, move them dow n to the bottom of the list, below thecurrent project's caption fields, then click on Remove Caption.
d. Click OK.
All scenes from the selected project are inserted after the current scene in your current project.

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Merging Projects and Replacing Scenes in the Current Project
T-SBADV-002-006
If you have extracted one or several smaller projects from your master project so that several project
collaborators can w ork on different parts of your animatic simultaneously, you can replace the scenes in yourmaster prroject w ith the updated scenes in the modified projects using the Advanced Merge Storyboard dialog
box.

NOTE
W hen merging projects, the video and sound clips in the master project w ill remain synchronized
w ith the cue time of their respective panels. Clips that extend beyond the boundaries of a panel
w ill be synchronized w ith the panel in w hich they are cued, not the panel in w hich they end.

How to replace scenes in your project with the updated scenes in projects that wereextracted from it
1. Open your master project.
2. Do one of the follow ing:l

In the top menu, select File > Project Management > Merge and Replace.

l

In the Project Management view , click on

Menu and select Merge and Replace.

The Advanced Merge Storyboard dialog box appears.

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3. For each project that you w ant to merge into the current project:a. Click Import Project.
b. Brow se to and locate the .sboard or .sbpz file of the project you w ant to merge into thecurrent project.
4. For each project that you added to the list of imported projects, do one of the follow ing:l

If you w ant to merge every scene from the project you are importing, check the checkbox leftof the project in the project list at the top. This w ill select every scene in that project forimport.

NOTE
You can also select the scene, then click on the Select All button right of thescenes list.

l

If you w ant to merge only some scenes from the project into the current project, select thatproject in the list of projects at the top. Then, in the list of scenes at the bottom, check every
scene that you w ant to merge.

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NOTE
If the project contains sequences, the list of scenes w ill contain sequences, andscenes w ill be listed under their respective sequence. You can check thecheckbox next to a sequence to select every scene in that sequence.

l

If you need to reorder one of the projects you imported, select it, then click on Move Up orMove Down to change its order in the list.

NOTE
If you are merging projects that w ere originally extracted from the current
project, their order in the list does not matter as these projects' scenes w ill
replace the original scenes in the current project.

5. If you w ant to preserve a copy of the original scenes along w ith their updated version, check the
Keep and move original scenes to the end option. A backup of each scene that gets replaced w ill
be added at the end of the storyboard.
6. If you w ant audio tracks that you previously locked to remain exactly as they are, check the Respectlocked audio tracks option. Otherw ise, clips in locked audio tracks w ill be moved to remain
synchronized w ith the panels in w hich they are cued.
7. If you w ant changes made to the audio in the projects getting merged to be imported into thecurrent project, check the Import audio changes from source project option.
8. If you only w ant to import panels that have been marked as tracked for changes in the imported
projects, check the Only Merge Modified Panels (Track Changes) option.
9. If you don't w ant the adjustments to the length of panels and scenes made in the imported projects
to be merged into the current project, check the Replace Artwork Only option.
10. If you don't w ant the adjustments to the layer transformations and animations in the imported
projects to be merged into the current project, check the Preserver Layer Transformations in
Master Project option.
11. Click on Merge.

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Merging Modified Panels from an Extracted Project
If you have extracted one or several smaller projects from your master project so that several project
collaborators can w ork on different parts of your animatic simultaneously, you can replace the panels in yourmaster prroject w ith the updated panels in one of the modified projects using the Merge Modified Panels
dialog box.
This method is different from the Merge and Replace command in the follow ing w ays:l

You can only merge one sub-project at a time.

l

It w ill automatically detect panels that need to merged into your master project based on theirmodification date, or w hether or not they are tracked.

l

It replaces individual panels instead of entire scenes.

NOTE
W hen merging modified panels from a project into the current project, the follow ing changes are
not merged:lDeleted panelslChanges to camera position and camera movements

If you need to merge such changes, you need to use the Advanced Merge Storyboard dialog box
instead—see Merging Projects and Replacing Scenes in the Current Project.

How to merge the modified panels from an extracted project
1. Do one of the follow ing:l

In the top menu, select File > Project Management > Merge Modified Panels.

l

In the Project Management view , click on

The Merge Modified Panels dialog box appears.

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Menu and select Merge Modified Panels.

Storyboard Pro 22 User Guide

2. Click on the

Brow se button right of the text field at the top of the dialog.

The Open Storyboard Project dialog box appears.
3. Brow se to and select the project that you w ant to merge into the current project.
4. Click Open.
5. In the drop-dow n at the top of the Options section, select the w ay panels to merge into the current
project should be selected:l

Merge Most Recent: Merges every panel in the selected project that has been modified later
than its corresponding panel in the current project.
To do this, it checks the date and time of the last modification made on each panel in theselected project. If this date and time is later than that of the last modification date on thecorresponding panel in the current project, the panel w ill be merged.

lMerge Tracked Panels: If you have tracked your changes in the selected project, you canselect this option to merge every panel in the selected project that is marked as changed.

6. If you only w ant to merge changes to scenes that are present in the current project, check the
Merge Existing Scenes Only option. Otherw ise, scenes that are present in the selected project, but
not in the current project w ill be imported into the current project.
7. If any changes w ere made to the timing of the panels in the selected project, sound clips that are
cued during those panels w ill be offset to remain synchronized w ith the action. By default, this971

Chapter 19: Storyboard Supervision

happens even for sound clips that are inside locked audio tracks. If you don't w ant sound clips inlocked audio tracks to be offset, check the Respect Locked Audio Tracks checkbox.
8. If you don't w ant changes made to the captions in the selected project to be imported into thecurrent project, check the Preserve Captions in Current Project checkbox.
9. If you don't w ant changes to the length and order of the panels to be imported, check the Replace
Artwork Only checkbox.
10. If you don't w ant changes to the position, size, angle and animation of layers in the panels to beimported, check the Preserver Layer Transformations in Current Project checkbox.
11. If the selected project is not in the list of linked projects in the Project Management view , and you
w ant to add it to that list, check the Add Project to List checkbox.
12. Click Merge.
The changes in the selected project w ill be imported into the current project. Each modification w ill
be listed in the Report section.

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Chapter 20: Exporting

Chapter 20: Exporting
Now that you have finished your storyboard or animatic, it is time to export it as images, PDF, or a movie file.
Depending on w hether or not you plan to edit your movie in a third party softw are or export snapshots,
Storyboard Pro supports several export formats.

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Storyboard Pro 22 User Guide

About Exporting to Portable Document Format (.pdf)
You can export your storyboard project as a PDF file w hich you can print or share digitally. This is w here you
can set up your visuals to represent a classic storyboard on paper, or any other format you desire.

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Setting Up the PDF Export
T-SBFND-010-002
You can set up the PDF export settings for a selected panel. This panel w ill be exported w ith all the others,
but w ill follow its ow n rules.

How to specify independent PDF options for selected panels
1. Display the Panel PDF Options view by doing one of the follow ing:l

In the W orkspace toolbar, click the PDF View

button to sw itch to the PDF View

w orkspace.
lSelect W indows > Panel PDF Options to display the view in your current w orkspace.

2. In the Thumbnails view , select one or more panels.
3. In the Panel PDF Options, set the export options to apply to the selected panels:

Parameter

Description

Options

Export to PDF

Exports the selected panel. This option is enabled by default. Deselectthis option if you do not w ant to export this particular panel.

Force New Page

Starts panel on a new page.

Full Page

Prints panel on a full page.

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Image

Maximum Height for Full
Page

ExpandZoom Level (%)

Lets you set the maximum image height for a full page panel. Applies
to landscape orientation only. 0 = No Limit.

Displays camera motion (such as pan, tilt, or zoom) in the image

across several panels.

Size, in percentage, that the panel w ill appear w ithin its frame.

Caption & Sketch

Export All Captions

This option is enabled by default. All captions from this panel w ill be
exported to PDF. If you w ant to select specific captions to export,
deselect this option and use the Caption List option to make yourselections.

Caption List

This option is unavailable w hen the Export All Captions option isenabled. W hen available, click the Brow se button to open the List
Picker for selecting specific captions to export.

Adapts the box to the text and spreads it across the next panel ifnecessary.
Spread Captions
W hen this option is deselected, caption text is cut if it is too long or big
for the space available in the box.

Caption Font Scale(%)

Select the scale, in percentage, the text w ill appear in the captions of
this panel.

Shrink Text to Fit

Shrinks captions if they do not fit in the panel.

Export Sketch

Exports the sketch caption field of this panel.

Preview

Creates a quick PDF of the page containing the selected panel(s),using the current default PDF export profile for the other panels.

Restore All from Profile

Returns the options to the current default PDF export profile.

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4. Click Preview to create a quick pdf preview of the page containing the selected panel(s), using thecurrent default pdf export profile for the other panels.
5. Click Restore All from Profile to reset the options to the current default pdf export profile.

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Exporting to PDF
T-SBFND-012-001
Using the PDF Export view , you can set up your PDF export and run an analysis on the result before printing it
to a PDF file. This can be useful in preventing overset text resulting from the selected profile and PDF layout
options.

How to export a PDF
1. In the top menu, select File > Export > PDF.
The Export to PDF dialog box opens.

2. In the Destination Path section, click theBrow se button.

3. In the Save dialog, brow se to the location in w hich you w ant to export your PDF document. In theFile name field, type in the desired name for the document and click on Save.
4. In the PDF Export Parameters section, select a layout for the PDF file.

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3 Panels Horizontal: This is a classic layout of a printed storyboard. It consists ofthree panels per page, including captions, in an horizontal arrangement.

l

3 Panels Vertical: This is a classic layout of a printed storyboard. It consists of threepanels per page, including captions, in a vertical arrangement.

lFull Page: This layout consists of one large panel per page, including captions.

lOverview 2x4 Panels: This layout consists of a total of eight panels per page,organized on tw o row s of four, w ith captions in the middle.

lOverview 4x3: This layout consists of a total of 12 panels per page, organized inthree row s of four. No caption is included.

lOverview 8x10: This layout consists of a total of 80 panels per page, organized in ten
row s of four. No caption is included.

lTypical Japanese Format: This layout consists of a total of five panels by page,aligned on the left side of the page. Captions and duration are aligned in tw oconsecutive row s on the right side. Note that your PDF reader and system may
require an additional font package in order to display the PDF file properly.

l

Alternate Vertical Layout: This layout consists of a total of 5 panels per page,aligned on the left side of the page. Captions are organized on the right size of eachpanel. This export also includes a cut and a duration column, and displays theduration of each scene at the beginning of every new one.

l

Alternate Japanese Layout: This layout consists of a total of 5 panels per page,aligned on the left side of the page. This export includes vertical columns for the
dialog, action, sluggin, notes, and time (duration) column w hich is displayed near theend of each scene (optionally). The scene name appears near the top of the first panelof a scene. The caption titles appear at the top and do not repeat at each panel. The
total duration appears at the bottom of the page.

5. In the Export Range section, select w hether you w ant to export the entire project, or only specificparts of it:lAll: Exports the entire storyboard.

lSelected Scenes: Select this option to export a specific selection of scenes. Then, click on
the Select button to open the Scenes Picker dialog box, in w hich you can:lType the number of a sequence or of a scene in the Sequence or Scene fields in theFilter section, to only show matching sequences or matching scenes in the list.

lClick and drag to select a range of scenes.

lHold the Ctrl key and click on each scene you w ant to add to your selection.

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Storyboard Pro 22 User Guidel

Hold the Shift key, then click on the first scene and the last scene you w ant to add toyour selection, to select every scene betw een those tw o scenes inclusively.

l

If your project has sequences, click on a sequence to select every scene in thatsequence.

l

Current Scene: Exports only the currently selected scene.

lCurrent Panel: Exports only the currently selected panel.

lTracked Panels:Exports panels on w hich tracking changes is enabled.

6. If you w ant to view the storyboard after it is exported, check the Open document after export
option.
7. Click on Export button.

How to analyse and export with the PDF Export view
1. Done of the follow ing:l

In the W orkspace toolbar, click the PDF Viewl

Select W indows > PDF Export.

2. In the PDF Export view or w indow , do the follow ing:

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button.

Chapter 20: Exportingl

In the Profile section, use the drop-dow n menu to select a profile for your export.
Click Edit to modify the current options of the layout if needed—see Creating Custom
PDF Layout Profiles on page 984.

3. Click the Expandlbutton to display the Export Range section:

By default, the export range is set to All, w hich means your entire storyboard projectw ill be exported.

l

Selected Scenes: Select this option and click Select to open the Scenes Picker dialog
box in w hich you can select specific scenes to export.

lCurrent Scene: Exports only the currently selected scene to PDF.

l

Current Panel: Exports only the selected panels to PDF.

l

Tracked Panels: Exports panels that are marked as tracked. The number of tracked
panels w ill appear beside the option.

4. In the Analysis section:lClick Filters and select the issue types you w ant the analysis to display. Options
include: Text Overflow , Text Overlap, and Camera Pan issues.

lClick Analyse to start the analysis of your PDF options.
If no issue is encountered, the list w ill remain empty and the w ord Done! w ill appear
beside the Analyse button.
If issues are encountered, they w ill appear in the list area. The scene, panel, and page
numbers w ill be indicated, as w ell as a description of the problem found.
You can select an issue and click Ignore to remove it from the list as you verify thecritical level these elements have on your PDF export.
In the Filters menu, you can show ignored issues by selecting the Show Ignored
option. Instead of being removed from the list, a red X w ill appear beside the issue.
You can reset an ignored issue by clicking Restore Ignored to remove the red X.

5. Click Preview to generate a PDF preview of the selected issue.
6. Click Export to export your PDF file.
The Export to PDF dialog box opens.
l

In the Destination Path field, specify the location and name of the file that w ill containthe PDF. Either type in the path directly or click the Browse button to display aw indow to select a file. Refer to the Exporting to PDF on page 979 section to learn
how to set up passw ord protected security rules.

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Storyboard Pro 22 User Guidel

Select the Open document after export option to automatically open your PDF filew hen it is ready.

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Creating Custom PDF Layout Profiles
T-SBFND-010-003B
W hen exporting your storyboard project to a PDF file, various page layouts are available depending on yourdocument standards. You can also define some preferences and create a personalized layout.
You can create your ow n custom PDF profiles. The information is stored in an XML file, pdfoptions.xml, thatcan be found here:l

W indows: C:\Users\[user_name]\AppData\Roaming\Toon Boom Animation\Toon Boom Storyboard Pro\full-20100-pref\pdfoptions.xmllmacOS: /Users/[user_name]/Library/Preferences/Toon Boom Animation/Toon Boom Storyboard Pro
Premium/full-20100-pref/pdfoptions.xml

NOTE
On macOS, the Library folder is a hidden folder. To display the display the folder, holddow n the Alt key w hen displaying Finder's Go menu.

How to create a custom PDF Profile
1. Select File > Export > PDF.
The Export to PDF dialog box opens.
2. In the PDF Export Parameters section, click one of the follow ing buttons:l

New Profile: Creates a completely new layout.

lDuplicate Profile: Makes a copy of the selected layout from the list.

lEdit Profile: Lets you edit the selected layout from the list.

lDelete Profile: Deletes the selected layout from the list.

3. In the PDF Profile dialog box, adjust the parameters for your PDF profile. For information on how to
set the parameters for a custom profile, see the PDF Profile Dialog Box topic in the Reference
Guide.

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Storyboard Pro 22 User Guide

Exporting Custom PDF Profiles
If you created custom PDF profiles, you can export them and share them w ith other artists, w ho can them
import your exported profiles into their preferences and use them to export their PDF documents.

How to export a Custom PDF Profile
1. Select File > Export > PDF.
The Export to PDF dialog box opens.

2. Click the Menu

button.

3. Click Export Profile.
The Export PDF Profiles dialog box opens.

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Chapter 20: Exporting

4. By default, all PDF Profiles are selected. De-select the profiles you do not require.
5. Click Export.
6. In the Export PDF Profiles dialog box that displays, enter a file name and select a location for yourPDF Profiles.
7. Click Save.

NOTE
A single .sbpdf file w ill be exported. If multiple PDF Profiles have been selected
and exported, they w ill be contained in the same .sbpdf file. If you w ant to havea .sbpdf file for each of your PDF Profiles, export them separately.

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Storyboard Pro 22 User Guide

Importing PDF Profiles
If someone has shared their PDF layout profiles w ith you, you can import them into your preferences and use
them to export PDF documents.

How to import a Custom PDF Profile
1. Select File > Export > PDF.
The Export to PDF dialog box opens.

2. Click the Menu

button.

3. Click Import Profile.
4. In the Import PDF Profiles dialog box that displays, enter the profile's file name or select the PDF
Profile.

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Chapter 20: ExportingNOTE
PDF Profiles have a file extension .sbpdf

5. Click Open.

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Storyboard Pro 22 User Guide

About Exporting Movie Files
Once you have created your storyboard and animatic, you can export it as a movie file to share it w ith project
collaborators or import it in third party softw are. You can export a single file for your w hole animatic, or one
movie file for each scene or each sequence.
You can export movies in the follow ing formats:l

QuickTime Movie (.mov)l

W indow s Media Video (.w mv) (W indow s only)lFlash Movie (.sw f)lImage sequence in Jpeg (.jpg), Portable Netw ork Graphics (.png) or Targa (.tga) format.

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Exporting a Movie
T-SBFND-010-004
You can export your project into one or several movie files.
On W indow s, you can export in W indow s Media Video (.w mv) by default, and you can also export in
QuickTime Movie (.mov) format if you have Apple QuickTime installed. On macOS, you can only export in
QuickTime Movie (.mov) format. In either case, exporting in QuickTime Movie (.mov) format gives you access to
a w ider selection of video codecs and compression settings.

How to export a movie
1. In the top menu, select File > Export > Movie.
The Export to Movie dialog box opens.

2. In the Destination Path section, click theBrow se button and choose a folder in w hich to savethe exported files.

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3. In the File Pattern field, type in a prefix or a file naming pattern for the exported files if you plan toexport an image sequence—see About File Naming Patterns on page 1066.
4. In the Export Movie Format section, configure the follow ing options:a. In the Movie Format drop-dow n, select an export format:lQuickTime ProRes Movie (*.mov): The Apple QuickTime format. This is the default
export format and is recommended for its portability, and also because it allow s you
to choose among several video codecs.

NOTES
l

On W indow s, Apple QuickTime must be installed to allow Storyboard
Pro to export QuickTime movies. You can configure the export of
QuickTime movies to use any codec that is compatible w ith QuickTime,
including H.264, MPEG-4 and Animation.

l

On macOS, Storyboard Pro uses Apple AVFoundation to export
QuickTime movies, w hich allow s you to export using codecs such as
H.264, Apple ProRes 422 and Apple ProRes 4444, among others.

l

If you are looking to export a QuickTime movie w ith transparency, besure to choose a codec that supports encoding w ith an alpha channel.

l

H.264/MPEG- 4 (*.mov) : A simple movie format that uses the H.264 codec, w hich is
supported by most w eb brow sers.

NOTES
l

Using this format does not require additional softw are. How ever, if
this is the first time you export a movie in H.264/MPEG-4 format, you
w ill be prompted to dow nload the OpenH264 library from Cisco.
Simply click Yes w hen prompted, and Storyboard Pro w ill
automatically dow nload the library, then export the movie.

lThere are no encoding options for this format.

lThis format supports resolutions of up to 4096×2304. Each dimension
must be a multiple of 16 pixels.

l

Audio exported in this format is encoded in PCM 16-bit stereo, 22.05
kHz.

l

W indows Media Video (*.wmv): The native format for W indow s Media Player.

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NOTES
l

W indow s Media Video (.wmv) files can only be exported on W indow s.

lVideo players and editors on non-W indow s systems can generally notopen W indow s Media Video (.wmv) files.

b. The Transparent Background option is only available for QuickTime Movie (.mov), Targa(.tga) and Portable Netw ork Graphic (.png) formats. Check this box if you w ant to export
your movie or image sequence w ith a transparent background.
c. Click on Movie Options if you w ant to customize the video and audio encoding settings foryour movie file:

NOTES
l

If you are exporting in QuickTime Movie (.mov) format on W indow s, see
Configuring Movie Settings for QuickTime Movies on W indow s on page 996.

l

If you are exporting in QuickTime Movie (.mov) format on macOS, see
Configuring Movie Settings for QuickTime Movies on macOS on page 1000.

l

If you are exporting in W indow s Media Video (.w mv) format, see Configuring
Movie Settings for W indow s Media Video on page 1005.

l

If you are exporting in H.264/MPEG-4 (.mov) format, there are no encoding
options available. Movies exported in this format used standard AVC
compression for the video stream and uncompressed PCM for the audio
stream.

d. In the Resolution drop-dow n, select w hether you w ant the exported movie to be in FullSize, Half Size or Quarter Size, relative to the resolution of your project. It is recommended
to export your animatic in full size unless you w ant to quickly export a test video.
e. In the Colour Space drop-dow n menu, select a colour space to use, or stay w ith the default
Project W orking Colour Space.
If you plan to create an export for use in a different softw are, you may w ant to match colour
spaces to keep all your colours consistent. The default setting is the current Storyboard Pro
project colour space, w hich w as selected on creation of the project.
f. In the One Clip drop-dow n, select how you w ant your video clips to be separated:l

Per Scene: Create one movie file for each scene in your project.

l

Per Sequence: Create one movie file for each sequence in your project, if any.

l

Per Project: Export your w hole animatic into a single video file.

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5. In the Export Range section, select w hether you w ant to export the entire project, or only specificparts of it:lAll: Exports the entire storyboard.

lSelected Scenes: Select this option to export a specific selection of scenes. Then, click on
the Select button to open the Scenes Picker dialog box, in w hich you can:lType the number of a sequence or of a scene in the Sequence or Scene fields in theFilter section, to only show matching sequences or matching scenes in the list.

lClick and drag to select a range of scenes.

lHold the Ctrl key and click on each scene you w ant to add to your selection.

lHold the Shift key, then click on the first scene and the last scene you w ant to add toyour selection, to select every scene betw een those tw o scenes inclusively.

l

If your project has sequences, click on a sequence to select every scene in thatsequence.

l

Current Scene: Exports only the currently selected scene.

lCurrent Panel: Exports only the currently selected panel.

lTracked Panels:Exports panels on w hich tracking changes is enabled.

6. In the Burn- In tab, choose w hat kind of information you w ant to have printed into the exported
files:

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Chapter 20: ExportinglPrint Time Code: Prints the global timecode on each rendered image.

lPrint Scene Names and Panel Numbers: Prints the scene names and panel numbers as anoverlay on your video.

lPrint Additional Duration: Prints another time code counting the time for the current panel,
scene or sequence, depending on w hat is selected in the Repeat drop-dow n.
lUnits: W hether to print the additional duration in time units (seconds, minutes, etc.)
or in frames.

lRepeat: Decide w hat to count the time of for the additional duration. For example, if
set to per Panel, the time elapsed since the beginning of the current panel w ill be
printed.

7. In the Camera Grids tab, using these options, decides w hether you w ant any kind of camera frame
to be printed into the exported files:l

Title Safe Area: Prints the Title Safe Area over the picture. By default, this area is 20%
smaller than the camera frame. It is used as a guideline of the area that CRT displays mightcrop out of the picture. Visual elements such as text and logos should be placed w ithin this
area.

l

Action Safe Area: Prints the Action Safe Area over the picture. By default, this area is 10%
smaller than the camera frame. It is used as a guideline of the area that CRT displays mightcrop out of the picture. Characters and action should be placed w ithin this area.

l

4:3 Safety: Prints the title safe area and the action safe area for the 4:3 camera frame overthe exported image. They can be used to position elements in projects that are meant to be
displayed in both w idescreen and 4:3 proportions.

l

4:3 Reference: Prints the 4:3 camera frame over the exported image. This frame
corresponds to the camera frame if the aspect ratio of the picture w as 4:3. It can be used toposition elements in projects that are meant to be displayed in both w idescreen and 4:3
proportions.

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8. In the Captions tab, you can choose to print any of your storyboard’s captions into the exported
movies using the follow ing options—see Script and Captions on page 170.

lPrint Captions: Choose w hether to not print captions (None) or select one of your project’s
captions to print into the exported movies. By default, a Storyboard Pro project has Action
Notes, Dialog, Slugging and Notes captions, but you can also choose to print custom
captions if your project has any.

l

Font: Select w hich font the captions w ill be printed in. By default, they w ill be printed in
Arial.

l

Height %: Sets the size of caption lines relative to the height of the exported movies. For
example, if exporting a movie at 1080p w ith 3% Height captions, each caption line w ill be
32 pixels in height.

lPosition: Prints the captions at either the Top Left, Top Centre, Top Right, Bottom Left,
Bottom Centre or Bottom Right of the movie. By default, captions are printed to the Bottom
Centre.

l

Max Lines: Sets the maximum amount of caption lines to print on each panel. If a caption
being printed requires more than the maximum amount of lines, it w ill be cut off w ith anellipsis (...) at the end. Note that even if captions are printed at the bottom, they w ill bealigned to the top of the space reserved for them, w hich is calculated by the amount of Max
Lines x the Height %. Therefore, if this setting is too high and captions are printed at thebottom, they may appear closer to the middle of the picture than to the bottom.

lText Colour: Select the font colour in w hich to print the captions.

l

Bg Colour: Select the background colour on w hich to print the captions. If the checkbox isunchecked, the captions w ill be printed directly into the rendered picture. Otherw ise, theyw ill be printed in rectangular boxes of the chosen colour.

9. If you w ant to automatically play the video or view the exported files once the export is done, checkthe Open document/folder after export option.
10. Click on the Export button.

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Configuring Movie Settings for QuickTime Movies on W indows
On W indow s, it is possible to export QuickTime Movie (.mov) files using the libraries provided w ith Apple
QuickTime.
Storyboard Pro allow s you to customize the video and audio compression settings for your QuickTime movies
via QuickTime's ow n configuration interface. This makes it possible to export movies using any codec that iscompatible w ith the QuickTime framew ork.

NOTE
To export QuickTime Movies on W indow s, Apple QuickTime must be installed on your machine.

How to configure video and sound settings for QuickTime movies on W indows
1. Proceed to the Movie Settings dialog—see Exporting a Movie on page 990.

2. In the Movie Settings dialog:l

Make sure the Video checkbox is checked.

l

If you w ant your movie file to have an audio stream, make sure Sound is checked.

3. In the Video section, click Settings.
The Standard Video Compression Settings dialog box opens.

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4. In the Compression Type drop-dow n, select a video compression codec. It is recommended to use
one of the follow ing codecs, depending on your usage scenario:l

H.264: A very effective lossy compression algorithm that is commonly supported by w eb
brow sers and most media players.

l

MPEG- 4 Video: A very effective lossy compression algorithm that is commonly supported
by media players, but less so by w eb brow sers.

lAnimation: A high quality compression algorithm that is commonly used for media
interchange and video editing.

NOTE
The availability of certain of the compression settings described below w ill depend on
the selected compression type.

5. In the Motion section, make sure the Frame Rate drop-dow n is set to Current. This w ill ensure thatthe video's frame rate matches the frame rate of your Storyboard Pro project.
6. If you set the Compression Type to H.264, make sure the Key Frames option is set to All.
7. In the Quality section, if you set the Compression Type to Animation, select the desired colour
depth for your video in the Depth drop-dow n.
8. In the Quality section, use the slider to choose a quality setting.

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Chapter 20: ExportingNOTE
The selected quality setting w ill impact the movie's file size.

9. If you set the Compression Type to H.264, in the Quality section, select the encoding method:lBest quality (Multi- pass): This w ill extend the time required for the export, but optimize thequality of the video.

lFaster encoding (Single- pass): This w ill shorten the time required for the export, but may
sacrifice some video quality.

10. In the Data Rate section, select Automatic to let QuickTime determine the best bit rate for yourmovie, or Restrict to to set a maximum bit rate for your movie and limit its file size.
11. If you set the Data Rate to Restrict to, enter the maximum bit rate, in kilobits per second, in the text
field to the right.
12. If you set the Data Rate to Restrict to, in the Optimized For drop-dow n, select the intended
distribution method for your movie.
13. Click OK.
14. From the Movie Settings dialog box, click Sound Settings.
The Sound Settings dialog box opens.

15. From the Compressor menu, select the algorithm to use to compress the movie's audio track.

NOTE
It is recommended to leave this setting to None, as other formats are likely to sacrificeaudio quality for negligible savings in disk space.

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16. In the Rate field, select the desired sample rate for the movie's audio track

NOTE
Storyboard Pro cannot export audio at a higher sample rate than 22.050 kHz. If you
select a higher sample rate, your project's audio w ill be upsampled, w hich means it w ill
take more disc space w ithout increasing in quality.

17. Right of Size, select the desired bit depth for the audio track. This determines the amount ofprecision used to record each w avelength in the audio track.

NOTE
The standard bit depth is 16- bit. If you choose 8- bit, the amount of disk space theaudio track of your movie file requires w ill be halved, but the audio quality w ill besignificantly low er.

18. Right of Use, select w hether you w ant to export audio in the Mono or Stereo channel mode.

NOTE
Stereo sound has a separate track for the left and right speakers, w hereas mono soundonly has a single audio track for all speakers.

19. Click OK.
20. In the Movie Settings dialog, click OK.

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Configuring Movie Settings for QuickTime Movies on macOSOn macOS, Storyboard Pro allow s you to export QuickTime Movie files (.mov) using the Apple AVFoundation
framew ork, w hich is pre-installed w ith macOS.
Contrary to W indow s, Storyboard Pro uses its ow n user interface to let you configure the compression
settings for QuickTime Movies on macOS. Using this interface, you can choose to export your movie using
either the H.264, the Apple ProRes 422 or the Apple ProRes 4444 video codec. You can also configure thequality of the audio track, but the audio w ill alw ays be exported in uncompressed PCM format.

How to configure the video and sound settings for QuickTime movies on macOS
1. Proceed to the Movie Options dialog—see Exporting a Movie on page 990.
2. In the Movie Options dialog box, click on the Codec drop-dow n and select one of the follow ing
video compression codecs:

NOTE
The list of codecs available depends on the version of macOS being used.

l

H.264 Legacy: A very effective lossy compression algorithm that is commonly supported by w eb
brow sers and media players.

lH.265 Legacy: Same compression quality as H.264, but w ith a smaller compression size. This isuseful for videos intended for the w eb and mobile devices. Not supported on all major brow sers or
operating systems.

lApple ProRes 422 Legacy: A nearly lossless compression algorithm commonly used for video
editing on Apple systems. This codec is optimized for preserving video quality, but not for
publishing or streaming.

lApple ProRes 422 HQ Legacy: Preserves visual quality at the same high level as Apple ProRes
4444 but for 4:2:2 image sources (cleaner footage for things like green screening). Heavier thanApple ProRes 422 for real-time editing performance.

lApple ProRes 422 LT Legacy: A more highly compressed codec than Apple ProRes 422, w ith
roughly 70 percent of the data rate and 30 percent smaller file sizes. This codec is perfect forenvironments w ith limited storage capacity and data rates.

lApple ProRes 422 Proxy Legacy: An even more highly compressed codec than Apple ProRes 422
LT, intended for use in offline w orkflow s that require low data rates but full-resolution video.

lApple ProRes 4444 Legacy: A nearly lossless compression algorithm commonly used for video
editing on Apple systems. Compared to Apple ProRes 422, this codec preserves more colour detailand supports transparency. How ever, it results in heavier file sizes.

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3. If you w ant to export a video w ith transparency, check the Alpha option.

NOTE
This option is only available w hen exporting w ith the Apple ProRes 4444 codec. Other
codecs do not support transparency.

4. If you w ant your movie file to have an audio track, make sure the Sound checkbox is checked.
5. In the Rate drop-dow n, select the desired sample rate for the movie's audio track. The higher the
sample rate, the better the quality.

NOTE
Storyboard Pro cannot export audio at a higher sample rate than 22.050 kHz. If
you select a higher sample rate, your project's audio w ill be upsampled, w hichmeans it w ill take more disc space w ithout increasing in quality.

6. Right of Use, select w hether you w ant to export audio using the Mono or Stereo channel mode.

NOTE
Stereo sound has a separate track for the left and right speakers, w hereas monosound only has a single audio track for all speakers.

7. Click OK.

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Configuring Movie Settings for QuickTime ProRes Movies
Storyboard Pro allow s you to export QuickTime ProRes Movie files (.mov).
In Storyboard Pro, you can configure the compression settings for QuickTime ProRes Movies in the Movie
Options dialog, w here you may export your movie using either the Apple ProRes 422 or the Apple ProRes
4444 video codec. You can also configure the quality of the audio track, but the audio w ill alw ays be exported
in uncompressed PCM format.

NOTE
Apple ProRes codecs are supported on both MacOS and W indow s.

How to configure the video and sound settings for QuickTime movies on macOS
1. Proceed to the Movie Options dialog—see Exporting a Movie on page 990.

2. In the Movie Options dialog box, click on the Codec drop-dow n and select one of the follow ing
video compression codecs:

NOTE
The list of codecs available depends on the version of macOS being used.

lApple ProRes 422: A nearly lossless compression algorithm commonly used for video
editing on Apple systems. This codec is optimized for preserving video quality, but not for
publishing or streaming.

1002

Storyboard Pro 22 User GuidelApple ProRes 422 HQ: Preserves visual quality at the same high level as Apple ProRes
4444 but for 4:2:2 image sources (cleaner footage for things like green screening). Heavier
than Apple ProRes 422 for real-time editing performance.

lApple ProRes 422 LT: A more highly compressed codec than Apple ProRes 422, w ith
roughly 70 percent of the data rate and 30 percent smaller file sizes. This codec is perfect forenvironments w ith limited storage capacity and data rates.

lApple ProRes 422 Proxy: An even more highly compressed codec than Apple ProRes 422
LT, intended for use in offline w orkflow s that require low data rates but full-resolution
video.

lApple ProRes 4444: A nearly lossless compression algorithm commonly used for video
editing on Apple systems. Compared to Apple ProRes 422, this codec preserves more colour
detail and supports transparency. How ever, it results in heavier file sizes.

lApple ProRes 4444 XQ: It is the highest quality version of Apple ProRes. It preserves thedetail in high-dynamic-range imagery for 4:4:4:4 image source and preserves greater
dynamic ranges. It features a target data rate of approximately 500 Mbps.

3. If you w ant to export a video w ith transparency, check the Transparent Background option in the
Export to Movie dialog.

NOTE
This option is only available w hen exporting w ith the Apple ProRes 4444 andApple ProRes 4444 XQ codec. Other codecs do not support transparency.

4. If you w ant your movie file to have an audio track, make sure the Audio checkbox is checked.
5. In the Rate drop-dow n, select the desired sample rate for the movie's audio track. The higher the
sample rate, the better the quality.

NOTE
Storyboard Pro cannot export audio at a higher sample rate than 22.050
kHz. If you select a higher sample rate, your project's audio w ill be
upsampled, w hich means it w ill take more disc space w ithout increasing
in quality.

6. Select w hether you w ant to export audio using the Mono or Stereo channel mode.

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NOTE
Stereo sound has a separate track for the left and right speakers, w hereas
mono sound only has a single audio track for all speakers.

7. Click OK.

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Storyboard Pro 22 User Guide

Configuring Movie Settings for W indows Media VideoOn W indow s, it is possible to export in W indow s Media Video format. This format is natively supported by
W indow s, and is offered in Storyboard Pro as an alternative for exporting in QuickTime Movie format, as thelatter requires installing QuickTime on W indow s.
W hen exporting in W indow s Media Video format, Storyboard Pro allow s you to select the video compression
quality as w ell as one of the preset sound compression profiles.

How to configure video and sound settings for W indows Media Video
1. Proceed to the W MV Options dialog—see Exporting a Movie on page 990.

1. In the Video section, select the desired Variable Bit Rate Quality for your video. A higher setting
w ill ensure a better image quality, w hereas a low er setting w ill reduce the size of your movie file.
2. If you w ant your movie file to have an audio track, make sure the Sound checkbox is checked.
3. Using the Profile drop-dow n menu, select the preferred compression settings for your movie's
soundtrack. Each profile has a combination of audio sample rate, sample size and channel mode,
w hich cover the follow ing options:lSample rate: Available sample rates are 8000 Hz, 16000 Hz, 22050 Hz and 44100 Hz. The
higher the sample rate, the better the audio quality.

NOTE
Storyboard Pro cannot export audio at a higher sample rate than 22.050 kHz. If
you select a higher sample rate, your project's audio w ill be upsampled, w hichmeans it w ill take more disc space w ithout increasing in quality.

lSample size: Also know n as bit depth, this determines the amount of precision used torecord each w avelength in the audio track. The standard size is 16- bit. If you choose 8- bit,the amount of disk space the audio track of your movie file requires is halved, but the audio
quality w ill be significantly low er.

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Chapter 20: Exporting

NOTE
Exporting in 8-bit audio requires Apple QuickTime to be installed.

l

Channel mode: Available channel modes are Stereo and Mono. Stereo sound has aseparate audio track for the left and the right speakers, w hereas mono sound uses a single
track for all speakers.

4. Click OK.

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Storyboard Pro 22 User Guide

Exporting an Image Sequence
The Export Movie dialog also allow s you to export your project in sequences of images, each one representing
a single frame in your animatic.

How to export an image sequence
1. Select File > Export > Movie.
The Export To Movie dialog box opens.

2. In the Destination Path section, click theBrow se button and choose a folder in w hich to savethe exported files.
3. In the File Pattern field, type in a prefix or a file naming pattern for the exported files if you plan toexport an image sequence—see About File Naming Patterns on page 1066.
4. In the Export Movie Format section:

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Chapter 20: Exportingl

From the Movie Format menu, select the image format in w hich to export the frames:l

Jpeg (*.jpg): An image format w ith lossy compression optimized for the W eb.
Only use this format if export speed is more important than quality.

l

Targa (*.tga): An image format w ith basic lossless compression.

lPortable Network Graphics (*.png): An image format w ith a more effective
lossless compression than Targa (.tga). Exporting in this format is slow er, but
saves a lot of disk space. PNG files are supported by w eb brow sers, mostoperating systems and image editing softw are.

l

In the Resolution drop-dow n, select w hether you w ant the exported movie to be in
Full Size, Half Size or Quarter Size, relative to the resolution of your project. It is
recommended to export your animatic in full size unless you w ant to quickly export atest video.

5. In the Export Range section, select w hether you w ant to export the entire project, or only specificparts of it:lAll: Exports the entire storyboard.

lSelected Scenes: Select this option to export a specific selection of scenes. Then, click on
the Select button to open the Scenes Picker dialog box, in w hich you can:lType the number of a sequence or of a scene in the Sequence or Scene fields in theFilter section, to only show matching sequences or matching scenes in the list.

lClick and drag to select a range of scenes.

lHold the Ctrl key and click on each scene you w ant to add to your selection.

lHold the Shift key, then click on the first scene and the last scene you w ant to add toyour selection, to select every scene betw een those tw o scenes inclusively.

l

If your project has sequences, click on a sequence to select every scene in thatsequence.

l

Current Scene: Exports only the currently selected scene.

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Storyboard Pro 22 User Guidel

Current Panel: Exports only the currently selected panel.

lTracked Panels:Exports panels on w hich tracking changes is enabled.

6. In the Burn- In tab, choose w hat kind of information you w ant to have printed into the exported
files:

lPrint Time Code: Prints the global timecode on each rendered image.

lPrint Scene Names and Panel Numbers: Prints the scene names and panel numbers as anoverlay on your video.

lPrint Additional Duration: Prints another time code counting the time for the current panel,
scene or sequence, depending on w hat is selected in the Repeat drop-dow n.
lUnits: W hether to print the additional duration in time units (seconds, minutes, etc.)
or in frames.

lRepeat: Decide w hat to count the time of for the additional duration. For example, if
set to per Panel, the time elapsed since the beginning of the current panel w ill be
printed.

7. In the Camera Grids tab, using these options, decides w hether you w ant any kind of camera frame
to be printed into the exported files:l

Title Safe Area: Prints the Title Safe Area over the picture. By default, this area is 20%
smaller than the camera frame. It is used as a guideline of the area that CRT displays might

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Chapter 20: Exporting

crop out of the picture. Visual elements such as text and logos should be placed w ithin thisarea.
lAction Safe Area: Prints the Action Safe Area over the picture. By default, this area is 10%
smaller than the camera frame. It is used as a guideline of the area that CRT displays mightcrop out of the picture. Characters and action should be placed w ithin this area.

l

4:3 Safety: Prints the title safe area and the action safe area for the 4:3 camera frame overthe exported image. They can be used to position elements in projects that are meant to be
displayed in both w idescreen and 4:3 proportions.

l

4:3 Reference: Prints the 4:3 camera frame over the exported image. This frame
corresponds to the camera frame if the aspect ratio of the picture w as 4:3. It can be used toposition elements in projects that are meant to be displayed in both w idescreen and 4:3
proportions.

8. In the Captions tab, you can choose to print any of your storyboard’s captions into the exported
movies using the follow ing options—see Script and Captions on page 170.

lPrint Captions: Choose w hether to not print captions (None) or select one of your project’s
captions to print into the exported movies. By default, a Storyboard Pro project has Action
Notes, Dialog, Slugging and Notes captions, but you can also choose to print custom
captions if your project has any.

l

Font: Select w hich font the captions w ill be printed in. By default, they w ill be printed in
Arial.

l

Height %: Sets the size of caption lines relative to the height of the exported movies. For
example, if exporting a movie at 1080p w ith 3% Height captions, each caption line w ill be
32 pixels in height.

lPosition: Prints the captions at either the Top Left, Top Centre, Top Right, Bottom Left,
Bottom Centre or Bottom Right of the movie. By default, captions are printed to the Bottom
Centre.

l

Max Lines: Sets the maximum amount of caption lines to print on each panel. If a caption
being printed requires more than the maximum amount of lines, it w ill be cut off w ith an

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Storyboard Pro 22 User Guide

ellipsis (...) at the end. Note that even if captions are printed at the bottom, they w ill bealigned to the top of the space reserved for them, w hich is calculated by the amount of Max
Lines x the Height %. Therefore, if this setting is too high and captions are printed at thebottom, they may appear closer to the middle of the picture than to the bottom.
lText Colour: Select the font colour in w hich to print the captions.

l

Bg Colour: Select the background colour on w hich to print the captions. If the checkbox isunchecked, the captions w ill be printed directly into the rendered picture. Otherw ise, theyw ill be printed in rectangular boxes of the chosen colour.

9. If you w ant to automatically play the video or view the exported files once the export is done, checkthe Open document/folder after export option.
10. Click on the Export button.

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Exporting a Flash Movie (.swf)
Once you have completed your storyboard and animatic, you can export as Flash Movie (.sw f) file w hich you
can share and play back.

How to export a Flash movie
1. Select File > Export > Movie.
The Export to Movie w indow opens.

2. In the Destination Path section, click theBrow se button and choose a folder in w hich to savethe exported files.
3. In the File Pattern field, type in a prefix or a file naming pattern for the exported files if you plan toexport an image sequence—see About File Naming Patterns on page 1066.
4. In the Movie Format drop-dow n, select Flash (*.swf).

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5. In the Resolution drop-dow n, select w hether you w ant the exported movie to be in Full Size, Half
Size or Quarter Size, relative to the resolution of your project. It is recommended to export youranimatic in full size unless you w ant to quickly export a test video.
6. In the One Clip drop-dow n, select how you w ant your video clips to be separated:l

Per Scene: Create one movie file for each scene in your project.

l

Per Sequence: Create one movie file for each sequence in your project, if any.

l

Per Project: Export your w hole animatic into a single video file.

7. Click Options.
The Flash Export Settings dialog box opens.

a. To protect your movie from being imported in another application, select the Protect from
Import option.
b. To optimize the size of the exported Flash file, select the Compress option.
c. If your project includes any bitmap images or video clips, set the JPEG Quality to thepreferred setting. A low er setting w ill save disk space but w ill affect the quality of all bitmap
images in the exported file. A higher setting w ill preserve the quality of bitmap images.
d. Click OK.
8. In the Export Range section, select w hether you w ant to export the entire project, or only specificparts of it:lAll: Exports the entire storyboard.

lSelected Scenes: Select this option to export a specific selection of scenes. Then, click on
the Select button to open the Scenes Picker dialog box, in w hich you can:1013

Chapter 20: ExportinglType the number of a sequence or of a scene in the Sequence or Scene fields in theFilter section, to only show matching sequences or matching scenes in the list.

lClick and drag to select a range of scenes.

lHold the Ctrl key and click on each scene you w ant to add to your selection.

lHold the Shift key, then click on the first scene and the last scene you w ant to add toyour selection, to select every scene betw een those tw o scenes inclusively.

l

If your project has sequences, click on a sequence to select every scene in thatsequence.

l

Current Scene: Exports only the currently selected scene.

lCurrent Panel: Exports only the currently selected panel.

lTracked Panels:Exports panels on w hich tracking changes is enabled.

9. In the Burn- In tab, choose w hat kind of information you w ant to have printed into the exported
files:

lPrint Time Code: Prints the global timecode on each rendered image.

lPrint Scene Names and Panel Numbers: Prints the scene names and panel numbers as anoverlay on your video.

lPrint Additional Duration: Prints another time code counting the time for the current panel,
scene or sequence, depending on w hat is selected in the Repeat drop-dow n.
lUnits: W hether to print the additional duration in time units (seconds, minutes, etc.)
or in frames.

lRepeat: Decide w hat to count the time of for the additional duration. For example, if
set to per Panel, the time elapsed since the beginning of the current panel w ill be
printed.

10. In the Camera Grids tab, using these options, decides w hether you w ant any kind of camera frame
to be printed into the exported files:

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Storyboard Pro 22 User Guidel

Title Safe Area: Prints the Title Safe Area over the picture. By default, this area is 20%
smaller than the camera frame. It is used as a guideline of the area that CRT displays mightcrop out of the picture. Visual elements such as text and logos should be placed w ithin this
area.

l

Action Safe Area: Prints the Action Safe Area over the picture. By default, this area is 10%
smaller than the camera frame. It is used as a guideline of the area that CRT displays mightcrop out of the picture. Characters and action should be placed w ithin this area.

l

4:3 Safety: Prints the title safe area and the action safe area for the 4:3 camera frame overthe exported image. They can be used to position elements in projects that are meant to be
displayed in both w idescreen and 4:3 proportions.

l

4:3 Reference: Prints the 4:3 camera frame over the exported image. This frame
corresponds to the camera frame if the aspect ratio of the picture w as 4:3. It can be used toposition elements in projects that are meant to be displayed in both w idescreen and 4:3
proportions.

11. In the Captions tab, you can choose to print any of your storyboard’s captions into the exported
movies using the follow ing options—see Script and Captions on page 170.

lPrint Captions: Choose w hether to not print captions (None) or select one of your project’s
captions to print into the exported movies. By default, a Storyboard Pro project has Action
Notes, Dialog, Slugging and Notes captions, but you can also choose to print custom
captions if your project has any.

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Chapter 20: Exportingl

Font: Select w hich font the captions w ill be printed in. By default, they w ill be printed in
Arial.

l

Height %: Sets the size of caption lines relative to the height of the exported movies. For
example, if exporting a movie at 1080p w ith 3% Height captions, each caption line w ill be
32 pixels in height.

lPosition: Prints the captions at either the Top Left, Top Centre, Top Right, Bottom Left,
Bottom Centre or Bottom Right of the movie. By default, captions are printed to the Bottom
Centre.

l

Max Lines: Sets the maximum amount of caption lines to print on each panel. If a caption
being printed requires more than the maximum amount of lines, it w ill be cut off w ith anellipsis (...) at the end. Note that even if captions are printed at the bottom, they w ill bealigned to the top of the space reserved for them, w hich is calculated by the amount of Max
Lines x the Height %. Therefore, if this setting is too high and captions are printed at thebottom, they may appear closer to the middle of the picture than to the bottom.

lText Colour: Select the font colour in w hich to print the captions.

l

Bg Colour: Select the background colour on w hich to print the captions. If the checkbox isunchecked, the captions w ill be printed directly into the rendered picture. Otherw ise, theyw ill be printed in rectangular boxes of the chosen colour.

12. If you w ant to automatically play the video or view the exported files once the export is done, checkthe Open document/folder after export option.
13. Click on the Export button.

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Storyboard Pro 22 User Guide

Exporting Harmony Scenes
T-SBANIM-008-002
Storyboard Pro can automatically export each scene in your project into a scene that can be opened inHarmony, w here you can use the animatic to create and time your animation. The resulting Harmony scenes
w ill be the same length as the scenes in your Storyboard Pro project, they w ill contain each of their panels sothat you may animate over them, and they w ill contain their respective part of the animatic's soundtrack.
You can choose to export your animatic in rendered frames, w hich w ill not be editable in Harmony and can
only be used as reference, or to export the draw ings, 3D objects, images, videos and camera movements ofeach scene in your project directly into the Harmony scenes, allow ing you to reuse its elements in Harmony. If
you are rendering your animatic, you can choose w hether you w ant to export one scene for the w hole project,for each sequence or for each act, w hereas if you w ant to export original scenes, you can only export one
Harmony scene for each scene in your animatic.

NOTES
l

Transitions in your project are not exported to Harmony.

How to export Harmony scenes
1. In the top menu, select File > Export > Export to Harmony.

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Chapter 20: Exporting

The Export to Harmony dialog box opens.

2. In the Destination Path section, click theBrow se button and choose a folder in w hich to savethe exported files.
3. In the File Pattern field, type in a prefix or a file naming pattern for the exported files if you plan toexport an image sequence—see About File Naming Patterns on page 1066.
4. In the Format drop-dow n, select one of the follow ing options:lHarmony Offline: This w ill create scenes that can be opened in Harmony Stand Alone.

lHarmony Database: This w ill create a package of scenes that can be imported into a
Harmony Server database.

5. Select one of the follow ing export types, depending on w hat you prefer to w ork w ith, then selectthe desired settings for that export type.
l

Rendered Animatic: Renders the animatic into a sequence of bitmap images that areassembled into the exported Harmony scenes. This ensures that the content of youranimatic is accurately rendered in Harmony, especially if you intend to use an older version.

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Storyboard Pro 22 User Guidel

Resolution: Allow s you to select the resolution of rendered frames relative to theproject resolution betw een the follow ing options: Full Size, Half Size or Quarter Size.

l

Generate One Scene: Allow s you to select how to separate the project into Harmony
scenes:ll

Per Scene: Generates one scene for each scene in your project.

l

Per Sequence: Generates one scene for each sequence in your project.

l

Per Act: Generates one scene for each act in your project.

Optimize Still Images: W hen there is no animation or camera movement for a certain
time span, a single draw ing is rendered and its exposure is rendered until there is
movement. If this option is disabled, one frame is rendered for every frame in youranimatic, regardless of if there is movement or not.

l

Animatic on Top: If you generate scenes based on sequences or acts, this option
becomes available. W hen enabled, the animatic is rendered and placed as the top
layer and column in Harmony or Animate.

lOriginal Scene: Exports the animatic directly into Harmony scenes w ithout rendering it. This
preserves the layers, draw ings, 3D objects, images, videos and camera movements so thatthey can be used in Harmony. One scene w ill be generated for each scene in the project.
l

Nest Panels in Symbols: Upon export to Harmony or Animate, the panel's content
w ill be nested inside symbols. Instead of having several layers in your root timeline,
you w ill have a single one. You w ill need to enter the symbol to edit its content.

l

Add a Camera Reference Layer: Adds a layer containing the different camera frames
on top of the other layers to use as a reference in Harmony and Animate.

l

Apply Transformation on Drawings: Applies transformation on the first and last
position of each panel. The in-betw een animation w ill be lost.

6. In the Export Range section, select w hether you w ant to export the entire project, or only specificparts of it:

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Chapter 20: Exportingl

All: Exports the entire storyboard.

lSelected Scenes: Select this option to export a specific selection of scenes. Then, click on
the Select button to open the Scenes Picker dialog box, in w hich you can:lType the number of a sequence or of a scene in the Sequence or Scene fields in theFilter section, to only show matching sequences or matching scenes in the list.

lClick and drag to select a range of scenes.

lHold the Ctrl key and click on each scene you w ant to add to your selection.

lHold the Shift key, then click on the first scene and the last scene you w ant to add toyour selection, to select every scene betw een those tw o scenes inclusively.

l

If your project has sequences, click on a sequence to select every scene in thatsequence.

l

Current Scene: Exports only the currently selected scene.

7. In the Sounds tab, decide how you w ant the audio in the storyboard project to be exported into thescenes.

l

Keep Original Files: Copies the sound clips from your project into the exported scenes,
w ithout mixing them.

lProcess Audio Tracks Individually: Creates a mixed sound file for each audio track andstores each sound file into its ow n sound layer in the exported scene.

lMerge All Audio Tracks: Creates a single sound file w ith all the audio tracks merged andstores it into a single sound layer in the exported scene.

l

Process Audio Tracks Individually and Merged: Creates a single sound file for each audio
track and stores each sound file into its ow n sound layer, then adds an extra sound layer
w ith all the audio tracks merged together. .

lFile Pattern: Allow s you to type a prefix or a pattern for the names of the exported audio
files—see About File Naming Patterns on page 1066.

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Storyboard Pro 22 User Guidel

Sample Rate: Sets the frequency rate of the exported audio files. It is recommended toexport sound files at the rate at w hich they w ere originally created. For reference, thestandard sample rate is 48.0 kHz for broadcasting and DVD.

l

Bit Depth: Sets the precision level of each w avelength in the sound file. The standard bit
depth is 16 bit. Setting this to 8 bit w ill cut the size of audio files in half, but w ill significantly
impact sound quality.

NOTE
On W indow s, audio can only be exported in 16 bit unless QuickTime Player isinstalled.

l

Channels: Allow s you to select w hether to export sound in Mono or Stereo. Stereo sounduses a separate track for the left and right speakers, w hich allow s to simulate a realistic
sound environment. Mono uses a single track for both speakers, w hich saves disk space.

8. In the Burn- In tab, w hen exporting rendered animatics, you can choose to print information about
the panels and their position in the Timeline, into the exported scenes.

lPrint Time Code: Prints the global timecode on each rendered image.

lPrint Scene Names and Panel Numbers: Prints the scene names and panel numbers as anoverlay on your video.

lPrint Additional Duration: Prints another time code counting the time for the current panel,
scene or sequence, depending on w hat is selected in the Repeat drop-dow n.
lUnits: W hether to print the additional duration in time units (seconds, minutes, etc.)
or in frames.

lRepeat: Decide w hat to count the time of for the additional duration. For example, if
set to per Panel, the time elapsed since the beginning of the current panel w ill be
printed.

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Chapter 20: Exporting

9. In the Camera Grids tab, using these options, you can add boundaries to the picture that indicatesw hat the Camera includes or excludes.

lTitle Safe Area: Prints the Title Safe Area over the picture. By default, this area is 20%
smaller than the camera frame. It is used as a guideline of the area that CRT displays mightcrop out of the picture. Visual elements such as text and logos should be placed w ithin this
area.

l

Action Safe Area: Prints the Action Safe Area over the picture. By default, this area is 10%
smaller than the camera frame. It is used as a guideline of the area that CRT displays mightcrop out of the picture. Characters and action should be placed w ithin this area.

l

4:3 Safety: Prints the title safe area and the action safe area for the 4:3 camera frame overthe exported image. They can be used to position elements in projects that are meant to be
displayed in both w idescreen and 4:3 proportions.

l

4:3 Reference: Prints the 4:3 camera frame over the exported image. This frame
corresponds to the camera frame if the aspect ratio of the picture w as 4:3. It can be used toposition elements in projects that are meant to be displayed in both w idescreen and 4:3
proportions.

10. In the Scene Options tab, you can configure some of the settings for all of the exported Harmony
scenes, so that you do not have to change these settings in each scene individually later:lCustom W rite Node Parameters: Enable this option to be able to customize theparameters for the W rite nodes of the exported Harmony scenes. By doing this, you canensure that the scenes w ill render their frames in the preferred location and format, and w ith

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Storyboard Pro 22 User Guide

the preferred file name, w ithout having to configure the W rite node for each exported scene
in Harmony.
lImage Render Path: The path to the folder in w hich to save the rendered frames. This pathcan be absolute or relative to the scene's folder. For example, the default path for renderedframes is frames, w hich means the images are saved in the frames subfolder of the scenefolder. If you w ant to select an absolute path, you can click on the Brow sebutton at theright of the text field and select the folder in w hich your scenes should export their frames.

NOTE
You can also use variables to make the image render path follow a pattern that
can include the scene, sequence and act numbers, so that the image render path
is different for each scene—see About File Naming Patterns on page 1066.

l

Image Filename: The prefix for the file name of each exported frame. Frames w ill be named
w ith this value, follow ed by the frame number and their image type extension. It is
recommended to leave the hyphen (-) at the end of the prefix to separate the prefix from theframe number.

NOTE
You can also use variables to make the image prefix follow a pattern that can
include the scene, sequence and act numbers, so that the image prefix isdifferent for each scene—see About File Naming Patterns on page 1066.

l

Image Format: The image format in w hich the exported frames w ill be saved.

NOTE
For information on the supported export formats, refer to the Reference Guide

11. If you w ant to view the exported files once the export is done, check the Open document/folder
after export checkbox.
12. Click on Export.

NOTE
If you exported Harmony Database scenes, see Importing Harmony Scenes to a Harmony
Database on page 1024.

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Chapter 20: Exporting

Importing Harmony Scenes to a Harmony Database
If you have exported scenes from Storyboard Pro w ith the option Harmony Database, you w ill need to import
the exported scene package into your Harmony Server database before you can start w orking in them.

How to import Harmony scenes exported from Storyboard Pro into your Harmony
database
1. Launch Control Center.
2. In the log-in dialog, log into your Storyboard Pro database using an account w ith high privileges.
The main application w indow appears.

3. In the top menu, select Environment > Create .

4. In the Create Environment dialog, type in the name for the environment in w hich you w ish to importyour scenes. An environment is often used to separate different series or projects, so you can nameyour environment accordingly.
5. Click on OK.
6. In the Environments list, select the environment you just created.

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Storyboard Pro 22 User Guide

7. In the top menu, select Jobs > Create.

8. In the Create Job dialog:
a. In the Job Name field, type in the name for the job in w hich you w ant to import your scenes.
Jobs are often used to separate episodes in a series, so you can name your job accordingly.
b. In the TD drop-dow n, select the user w ho should supervise the animation pipeline.
c. In the ATD drop-dow n, select the user w ho should assist in supervising the animation
pipeline.
d. In the Approvals field, select w hether you w ant the approvals to be automatic or manual.
e. Click OK.
Your new job is added to the Jobs list, as part of the jobs in your new environment.

9. In the top menu, select Admin > Import.
The Import Scene(s) dialog appears.

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10. Next to the Package Directory field, click on the Brow sebutton.

11. In the Open dialog, brow se to and select the IEContent.dat file that w as exported w ith yourscenes package.
12. Next to the Destination section, click on the Brow sebutton.

13. In the File System Selector dialog box:
a. In the Environments list, select the environment you created for importing your scenes.
b. In the Jobs list, select the job you created for importing your scenes.
c. In the File System list, select the database file system w here you w ant your scenes to beimported.

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14. By default, all the available options in the Data Options section w ill be checked. It is recommended
to leave them all enabled so as to import all the assets and information exported by Storyboard
Pro.
l

Audio: Imports the sound files exported from your project's audio tracks into the Harmony
scenes.

l

Database: Imports the metadata exported w ith the scenes for use by Control Center.

lElements: Imports the draw ing files exported w ith the scenes.

lStage (xsheet & network): Imports the structure of the scene: Its draw ing layers,
composites, w rite nodes and the exposure of each draw ing.

15. Click on Import.
The imported scenes w ill be available in the job in w hich they w ere imported.

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Exporting Layout Images
T-SBADV-012-003
The Export Layout w indow lets you export some or all of the scenes in your project to layout images. This canbe used to properly position scene elements w hen w orking on different aspects of the scene throughout
production. For example, a layout can be imported in Harmony to accelerate its set up and properly position
the elements and camera keyframes of the scene. Also, a layout exported to .psd format can serve as the baseto create the background art for the scene so that it is properly adapted to the scene’s layout, action andcamera movements.
Layout images can be rendered w ith all layers combined or w ith one image per layer, and can optionally
include camera keyframes and movements. Layouts can be exported in .psd (w ith separate layers), .tga, .jpg or.png format.

How to export a Layout
1. Select File > Export > Layout.
The Export Layout dialog box opens.

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2. In the Destination Path section, click theBrow se button and choose a folder in w hich to savethe exported files.
3. In the File Pattern field, type in a prefix or a file naming pattern for the exported files if you plan toexport an image sequence—see About File Naming Patterns on page 1066.
4. In the Options panel, select the options you w ant to use for the exported layout images:lFile Format: Allow s you to select an image format in w hich to save the layout images:lJpeg (*.jpg): An image format w ith lossy compression optimized for the W eb.
Only use this format if export speed is more important than quality.

l

Targa (*.tga): An image format w ith basic lossless compression.

lPhotoshop (*.psd): The format used for Adobe Photoshop projects. It is
uncompressed.

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NOTE
W hen you export layouts in this format, each layer in the first panelof the scene is exported as a separate layer in the PDF file. If you
choose to export camera frames, they w ill also be on a separate
layer over other layers.

lPortable Network Graphics (*.png): An image format w ith a more effective
lossless compression than Targa (.tga). Exporting in this format is slow er, but
saves a lot of disk space. PNG files are supported by w eb brow sers, mostoperating systems and image editing softw are.

lTransparent Background: This option only appears if the file format selected is
Photoshop (*.psd). W hen exporting in Photoshop (*.psd) format, by default, a w hitebackground layer is added behind every other layer. Enable this option to have nobackground layer.

lBase Image Size: Allow s you to select w hether you export at the same size as yourproject's resolution, at half its dimensions or at a quarter of its dimensions.

lColour Space: Allow s you to select a range of colour spaces from the drop-dow nmenu.
If you plan to create an export for use in a different softw are, you may w ant to matchcolour spaces to keep all your colours consistent. The default setting is the current
Storyboard Pro project colour space, w hich w as selected on creation of the project.

lExpand Render Area: Expands the area to render into the layouts. By default, only
the area of the scene that is covered by the camera is rendered, and exported layout
images are cropped at the edges of the camera frames. If enabled, this option adds
space around the render area and captures extra details outside the camera frames.
By default, the render area is expanded by 10%. You can use the input field to theright of the option to change this ratio.

l

Scale Image Up to Smallest Camera Frame:Ensures that w hen a camera close-up isincluded in a scene, the exported image is larger so that the closest camera frame isat least the size of the chosen image size. This w ay, the layout does not appear
pixelated w hen zooming in on the closest camera frame. If disabled, the size of the1030

Storyboard Pro 22 User Guide

exported images w ill be based off the chosen Base Image Size and Expand Render
Area options.
l

Limit Image Size: If the Scale Image Up to Smallest Camera Frame option is enabled,
this ensures images do not get scaled up too much. If enabled, images w ill be limited
to 4096 pixels in w idth and height by default.

lExport One Image Per Layer: Exports each layer as a separate image file. If Print
Camera Frames option is enabled, the camera frames and camera movements w ill be
printed on each layer.

lApply Layer Motion to Camera: W hen exporting one image per layer and w ith
camera frames, if your layers are animated, this option allow s you to combine thelayer's animation w ith the camera movement that is printed on it. By follow ing theresulting camera movement, the layer w ill appear to be animated just like it is in youranimatic.
For example, in a scene w here a draw ing layer moves tow ards the right, and thecamera moves up, the camera movement that w ill be printed on the layer's layout
image w ill be combined w ith that layer's animation, and the resulting camera
movement w ill go up and tow ards the left, so that the layer itself appears to move
tow ards the right.

lPrint Camera Frames: Prints the first and last camera frame of each scene into theexported layout images. If exporting in .psd format, the camera frames w ill be printed
on a separate layer.

lPrint a Frame for Each Camera Keyframe: If a scene contains a camera movement
w ith more than tw o keyframes, this prints each camera keyframe into the layout.

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Chapter 20: ExportinglPrint Camera Labels: Adds the camera position label in the top-left corner of eachcamera frame. Camera frames are labeled w ith a letter of the alphabet indicating theirrespective order.

5. In the Export Range section, select w hether you w ant to export the entire project, or only specificparts of it:lAll: Exports the entire storyboard.

lSelected Scenes: Select this option to export a specific selection of scenes. Then, click on
the Select button to open the Scenes Picker dialog box, in w hich you can:lType the number of a sequence or of a scene in the Sequence or Scene fields in theFilter section, to only show matching sequences or matching scenes in the list.

lClick and drag to select a range of scenes.

lHold the Ctrl key and click on each scene you w ant to add to your selection.

lHold the Shift key, then click on the first scene and the last scene you w ant to add toyour selection, to select every scene betw een those tw o scenes inclusively.

l

If your project has sequences, click on a sequence to select every scene in thatsequence.

l

Current Scene: Exports only the currently selected scene.

6. To view the location and contents of the exported folder w hen it is ready, select the Open folder
after export option.
7. Click on the Export button.

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Exporting Bitmap Images
T-SBFND-010-007
The Export Bitmap w indow lets you export a storyboard project to bitmap files in .jpg, .tga, .psd or .png format.
The exported data includes a separate bitmap file for each panel in the storyboard.

NOTE
For .psd files, the transform and transition animations are not exported. How ever, camera moves
are rendered into an independent layer.

How to export a storyboard to a bitmap file
1. Select File > Export > Bitmap.
The Export to Bitmap dialog box opens.

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2. In the Destination Path section, click theBrow se button and choose a folder in w hich to savethe exported files.
3. In the File Pattern field, type in a prefix or a file naming pattern for the exported files if you plan toexport an image sequence—see About File Naming Patterns on page 1066.
4. In the Setup Bitmap Export Parameters panel, select the options you w ant for the exported bitmap
images:1034

Storyboard Pro 22 User Guidel

Bitmap Format: Allow s you to select an image format in w hich to save the exported
bitmaps:l

Jpeg (*.jpg): An image format w ith lossy compression optimized for the W eb.
Only use this format if export speed is more important than quality.

l

Targa (*.tga): An image format w ith basic lossless compression.

lPhotoshop (*.psd): The format used for Adobe Photoshop projects. It is
uncompressed.

lPortable Network Graphics (*.png): An image format w ith a more effective
lossless compression than Targa (.tga). Exporting in this format is slow er, but
saves a lot of disk space. PNG files are supported by w eb brow sers, mostoperating systems and image editing softw are.

l

Resolution: Sets the resolution to be a quarter size, half size, full size or double size ofthe current storyboard resolution. A custom size option also exists. Selecting theCustom option enables the W idth and Height fields below . These fields areproportionally linked.

lImage Zoom Level: Sets the magnification of the image. Enter a value betw een 0 and400. The default value is 85%.

l

In the Colour Space drop-dow n menu, select a colour space to use, or stay w ith thedefault Project W orking Colour Space.
If you plan to create an export for use in a different softw are, you may w ant to matchcolour spaces to keep all your colours consistent. The default setting is the current
Storyboard Pro project colour space, w hich w as selected on creation of the project.

lTransparent Background: This option is only available w hen Targa (.tga), Photoshop(.psd) or Portable Netw ork Graphic (.png) file formats are selected. By default, thisoption is enabled and w ill export files w ith a transparent background instead of an
opaque w hite background.

lPrint Camera Frame: Prints the camera frame onto the exported images. If a panel
has a camera movement, a camera frame w ill be printed for the position of the camera
at the beginning of the panel as w ell as for the position of the camera at the end of
the panel.

lPrint All Camera Frames: Prints a camera frame for each camera keyframe in thepanel.

l

Rectify Static Camera: If the camera is at an angle in a panel, and there is no camera
movement in that panel, enabling this option w ill render the panel as if the camera
w as at a straight angle.

1035

Chapter 20: ExportinglAllow Camera Scaling: This option is enabled by default. This ensures that w hen acamera close-up is included in a scene, the exported image is larger so that theclosest camera frame is at least the size of the chosen resolution. This w ay, the image
w ill not appear pixelated w hen zooming in on the closest camera frame. If disabled,
the exported images w ill be the size of the chosen resolution.
In the follow ing example, the camera zooms out, but the image is exported big
enough that the closest (smallest) camera frame is exactly the size of theexport resolution. That w ay, if the image is zoomed in to the closest camera
frame, it does not look scaled:l

Maintain Size Through Scene: Ensures that the elements from the exported panels
retain their size across the different panels of the same scene. For example, w hen
exporting a scene w here the camera zooms in on a character through tw o different
panels, this option w ill make it so the character is the same size in both exported
images. In the same situation w ith this option unchecked, both bitmaps w ill be justbig enough so that their closest camera frame is as big as the chosen export
resolution.
In the follow ing example, the camera zooms out on the scene throughout tw opanels. In the exported images, the scene elements are the same size, but theimage canvas increases in size as the camera zooms out:

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NOTE
By default, exported bitmaps cannot be larger than 4096 x 4096
pixels, w hich might cause this option not to w ork as expected
w hen exporting scenes w ith camera zooms.

lExpand Render Area to Scene Camera: By default, exported panels only cover thearea covered by the camera movements in the panel. W ith this option enabled,
exported panels w ill cover the area covered by the camera movements in all thepanels in their scene combined. That w ay, if all the exported panels in a scene are
combined, the elements of the scene w ill all be in their proper position respective toeach other.
In the follow ing example, the camera goes from 1 to 2 in the first panel, thenfrom 2 to 3 in the second panel, but both panels are exported to cover thew hole camera movement, from 1 to 2 to 3:lInclude Camera Path: Ensures the exported images include all the areas covered by
the camera movements. If this option is disabled, the exported images w ill cover thecamera keyframes and everything in-betw een, but may not include parts of thepanels that are covered by curvilinear camera movements.

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Chapter 20: Exportingl

Export All Snapshots: If your project has a panel that contains several snapshots, by
default, only the main snapshot in that panel w ill be exported. If this option isenabled, panels that contain several snapshots w ill be exported as several image
files, one for each snapshot.

NOTE
To learn more about snapshots, see About Snapshots on page 1069.

lSnapshot Pattern: W hen exporting all the snapshots in a panel that contains several
snapshots, this field allow s you to customize how the number of the snapshot isappended to the file name. The # symbol represents the number of the snapshot. Its
default value is -#, w hich means that a dash follow ed by the snapshot number isappended to the file name. For example, if exporting panel 4 of scene 16, and thatpanel contains three snapshots, the exported bitmaps for that panel w ould be named
MyProject-16-4-1.jpg, MyProject-16-4-2.jpg and MyProject-16-43.jpg.

NOTE
Only images for panels that contain several snapshots w ill have asnapshot number appended to their file name.

5. In the Export Range section, select w hether you w ant to export the entire project, or only specificparts of it:

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Storyboard Pro 22 User Guidel

All: Exports the entire storyboard.

lSelected Scenes: Select this option to export a specific selection of scenes. Then, click on
the Select button to open the Scenes Picker dialog box, in w hich you can:lType the number of a sequence or of a scene in the Sequence or Scene fields in theFilter section, to only show matching sequences or matching scenes in the list.

lClick and drag to select a range of scenes.

lHold the Ctrl key and click on each scene you w ant to add to your selection.

lHold the Shift key, then click on the first scene and the last scene you w ant to add toyour selection, to select every scene betw een those tw o scenes inclusively.

l

If your project has sequences, click on a sequence to select every scene in thatsequence.

l

Current Scene: Exports only the currently selected scene.

lCurrent Panel: Exports only the currently selected panel.

lTracked Panels:Exports panels on w hich tracking changes is enabled.

6. In the Burn- In tab, if you w ant to print the scene names and panel numbers onto the rendered
images, check the Print Scene and Panel Numbers check-box.

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7. In the Captions tab, you can choose to print any of your storyboard’s captions into the exported
bitmaps using the follow ing options—see Script and Captions on page 170.

lPrint Captions: Choose w hether to not print captions (None) or select one of your project’s
captions to print into the exported movies. By default, a Storyboard Pro project has Action
Notes, Dialog, Slugging and Notes captions, but you can also choose to print custom
captions if your project has any.

l

Font: Select w hich font the captions w ill be printed in. By default, they w ill be printed in
Arial.

l

Height %: Sets the size of caption lines relative to the height of the exported movies. For
example, if exporting a movie at 1080p w ith 3% Height captions, each caption line w ill be
32 pixels in height.

lPosition: Prints the captions at either the Top Left, Top Centre, Top Right, Bottom Left,
Bottom Centre or Bottom Right of the movie. By default, captions are printed to the Bottom
Centre.

l

Max Lines: Sets the maximum amount of caption lines to print on each panel. If a caption
being printed requires more than the maximum amount of lines, it w ill be cut off w ith anellipsis (...) at the end. Note that even if captions are printed at the bottom, they w ill bealigned to the top of the space reserved for them, w hich is calculated by the amount of Max
Lines x the Height %. Therefore, if this setting is too high and captions are printed at thebottom, they may appear closer to the middle of the picture than to the bottom.

lText Colour: Select the font colour in w hich to print the captions.

l

Bg Colour: Select the background colour on w hich to print the captions. If the checkbox isunchecked, the captions w ill be printed directly into the rendered picture. Otherw ise, theyw ill be printed in rectangular boxes of the chosen colour.

8. Select the Open document/folder after export option to view the file w hen it is ready.
9. Click on the Export button.

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Exporting the Current Frame as a Bitmap Image
T-SBFND-010-009
You can export the current visible frame to a Targa (.tga), Jpeg (.jpg), Photoshop Document (.psd) or Portable
Netw ork Graphic (.png) image. If you choose to export in Photoshop Document (.psd) format, the layers in yourpanel w ill be exported on separate layers in the exported image.

NOTE
No caption or camera frame w ill be exported in the image file.

How to export the current frame to .tga, .jpg, .psd or .png image
1. In the Thumbnails view , select the panel containing the image to export as a bitmap image file.

2. Select File > Export > Export Current Image.
The Export Current Image w indow opens.
3. Select the destination folder for the image.
4. Type a name for the image.
5. Select the desired type from the Save as type menu.
6. Click Save to begin the export.
The image inside the frame is exported as a bitmap image file.

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Exporting an EDL, AAF or XML Sequence
T-SBANIM-007-002
You can export your project into sequences that can be imported in non-linear editing (NLE) systems. This canbe useful if you just created your storyboard and prefer making it into an animatic using video editing softw are,of if you're ready to edit the finished shots together and w ant to use the animatic as a template for the finalcut.
You can export your project in the follow ing formats:lEditing Decision List (.edl): A legacy video editing format that can be imported in most editing
softw are, but w hich has limited capabilities. Can be imported in Final Cut Pro 7, Avid Media Composerand Adobe Premiere.

lAdvanced Authoring Format (.aaf): A binary video editing format w ith advanced capabilities that canbe imported in Avid Media Composer, Adobe Premiere, Avid Xpress and Sony Vegas. It has someincompatibilities w ith the transitions supported by Storyboard Pro.

l

Final Cut Pro XML Interchange Format (.xml): An XML video editing format that can be imported inApple Final Cut Pro and Adobe Premiere. It is fully compatible w ith the capabilities of Storyboard Pro.

W hen exporting your project into an editing sequence, Storyboard Pro creates a video render of all the scenes
in your project, copies each sound file in your project, and creates a sequence file that links to these assets,
w ith the same timing for each video and sound clip as in your project.

W ARNING
The follow ing steps are for exporting a sequence for editing in third party softw are, but w ill notallow you to apply the changes made to your animatic in the editing softw are back into your
Storyboard Pro project. If you w ant to make changes to your animatic in a third party softw are,then apply these changes to your Storyboard Pro project, see Conformation on page 1076.

How to export a storyboard to EDL or AAF or XML
1. Select File > Export > EDL/AAF/XML.
The Export to EDL/AAF/XML w indow opens.

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Storyboard Pro 22 User Guide

2. In the Destination Path section, click theBrow se button and choose a folder in w hich to savethe exported files.
3. In the File Pattern field, type in a prefix or a file naming pattern for the exported files if you plan toexport an image sequence—see About File Naming Patterns on page 1066.
4. In the File Pattern field, you can set your ow n pattern w hich w ill be used to name the files createdfrom the export. Leave this field blank to use the default pattern. The follow ing variables can beused to define the file name pattern:l%t = Project titlel%a = Act name (w hen acts are enabled)

1043

Chapter 20: Exportingl%q = Sequence name (w hen project contains sequences)l%s = Scene namel%p = Panel namel%l = Layer name (w hen exporting one image per layer)

You can add a number betw een the % sign and the letter of the variable to define a minimum
number of characters to use.
5. In Export Type, select all the formats in w hich to store the editing information (ie: file names andtimecodes for video and audio clips). One file w ill be created for each selected format:lGenerate EDL file: Can be imported in Final Cut Pro, Avid Media Composer and
Adobe Premiere.

NOTE
Due to limitations w ith the EDL format, only the first four audio
tracks in your project can be exported, and sound clips that areused multiple times in the project w ill only appear one time in theexported sequence.

l

Generate AAF file: Can be imported in Avid Media Composer, Avid Xpress, Sony
Vegas and Adobe Premiere.

NOTE
Due to limitation w ith the AAF format, Slide-in and Slide-outtransitions w ill be converted to Dissolve transitions, Clock W ipetransitions w ill alw ays be exported as 12 o’clock (0 degree)
clockw ise transitions, and Edge W ipe transitions w ill be exported
as either Horizontal, Vertical or Corner W ipe transitions.

lGenerate XML file: Can be imported in Final Cut Pro and Adobe Premiere.

NOTE
If your editing system is not mentioned above, check its specifications to verify
w hich format can be imported.

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6. In the Movie Format drop-dow n, select the movie format in w hich you w ant to export your clips:lQuickTime ProRes Movie (*.mov): The Apple QuickTime format. This is the default export
format and is recommended for its portability, and also because it allow s you to choose
among several video codecs.

NOTES
l

On W indow s, Apple QuickTime must be installed to allow Storyboard Pro toexport QuickTime movies. You can configure the export of QuickTime movies
to use any codec that is compatible w ith QuickTime, including H.264, MPEG4 and Animation.

l

On macOS, Storyboard Pro uses Apple AVFoundation to export QuickTime
movies, w hich allow s you to export using codecs such as H.264, Apple
ProRes 422 and Apple ProRes 4444, among others.

l

If you are looking to export a QuickTime movie w ith transparency, be sure tochoose a codec that supports encoding w ith an alpha channel.

l

H.264/MPEG- 4 (*.mov) : A simple movie format that uses the H.264 codec, w hich is
supported by most w eb brow sers.

NOTES
l

Using this format does not require additional softw are. How ever, if this is thefirst time you export a movie in H.264/MPEG-4 format, you w ill be prompted
to dow nload the OpenH264 library from Cisco. Simply click Yes w hen
prompted, and Storyboard Pro w ill automatically dow nload the library, thenexport the movie.

lThere are no encoding options for this format.

lThis format supports resolutions of up to 4096×2304. Each dimension must
be a multiple of 16 pixels.

ll

Audio exported in this format is encoded in PCM 16-bit stereo, 22.05 kHz.

W indows Media Video (*.wmv): The native format for W indow s Media Player.

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Chapter 20: Exporting

NOTES
l

W indow s Media Video (.wmv) files can only be exported on W indow s.

lVideo players and editors on non-W indow s systems can generally not open
W indow s Media Video (.wmv) files.

7. If you w ant to customize the compression settings for your movie clips, click on Video Config.

NOTES
l

If you are exporting in QuickTime Movie (.mov) format on W indow s, see Configuring
Movie Settings for QuickTime Movies on W indow s for EDL/AAF/XML Sequences on
page 1051.

l

If you are exporting in QuickTime Movie (.mov) format on macOS, see Configuring
Movie Settings for QuickTime Movies on macOS for EDL/XML/AAF Sequences on
page 1053.

l

If you are exporting in W indow s Media Video (.w mv) format, see Configuring Movie
Settings for W indow s Media Video for EDL/XML/AAF Sequences on page 1055.

l

If you are exporting in H.264/MPEG-4 (.mov) format, there are no encoding options
available. Movies exported in this format used standard AVC compression.

8. The Transparent Background option is only available for QuickTime Movie (.mov), Targa (.tga) andPortable Netw ork Graphic (.png) formats. Check this box if you w ant to export your movie or image
sequence w ith a transparent background.
9. In the resolution drop-dow n right of the Video Config button select w hether you w ant to export
your movie clips in Full Size, Half Size or Quarter Size. The available sizes are relative to yourproject's resolution. Exporting in a smaller size than Full Size w ill make the export faster and takeless disk space, but w ill reduce the visual legibility of your video sequence.
10. In the Colour Space drop-dow n menu, select a colour space to use, or stay w ith the default Project
W orking Colour Space.
If you plan to create an export for use in a different softw are, you may w ant to match colour spaces
to keep all your colours consistent. The default setting is the current Storyboard Pro project colour
space, w hich w as selected on creation of the project.
11. If you w ant to export one movie file for each panel instead of one video file for each scene, checkthe One Movie Clip Per Panel checkbox.

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Storyboard Pro 22 User Guide

12. If you do not w ant to export your project's sound files, uncheck the Copy Audio Files checkbox. By
default, w hen exporting, the project’s sound files are copied to the same directory as the
EDL/XML/AAF file and the video files.

NOTE
W hen this option is unchecked, the project’s audio tracks and their editing data w ill still
be exported into the EDL/XML/AAF sequence. Only the actual sound files w ill be
missing.

13. If you do not w ant to export video files for your project's scenes or panels, uncheck the GenerateVideo Files checkbox. This w ill generate an EDL, XML or AAF file that w ill link to movie files, but
those movie files w ill not be created.
14. In the Export Range section, select w hether you w ant to export the entire project, or only specificparts of it:lAll: Exports the entire storyboard.

lSelected Scenes: Select this option to export a specific selection of scenes. Then, click on
the Select button to open the Scenes Picker dialog box, in w hich you can:lType the number of a sequence or of a scene in the Sequence or Scene fields in theFilter section, to only show matching sequences or matching scenes in the list.

lClick and drag to select a range of scenes.

lHold the Ctrl key and click on each scene you w ant to add to your selection.

lHold the Shift key, then click on the first scene and the last scene you w ant to add toyour selection, to select every scene betw een those tw o scenes inclusively.

l

If your project has sequences, click on a sequence to select every scene in thatsequence.

l

Current Scene: Exports only the currently selected scene.

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Chapter 20: ExportinglCurrent Panel: Exports only the currently selected panel.

lTracked Panels:Exports panels on w hich tracking changes is enabled.

15. In the Burn- In tab, choose w hat kind of information you w ant to have printed into the exported
files:

lPrint Time Code: Prints the global timecode on each rendered image.

lPrint Scene Names and Panel Numbers: Prints the scene names and panel numbers as anoverlay on your video.

lPrint Additional Duration: Prints another time code counting the time for the current panel,
scene or sequence, depending on w hat is selected in the Repeat drop-dow n.
lUnits: W hether to print the additional duration in time units (seconds, minutes, etc.)
or in frames.

lRepeat: Decide w hat to count the time of for the additional duration. For example, if
set to per Panel, the time elapsed since the beginning of the current panel w ill be
printed.

16. In the Camera Grids tab, using these options, decides w hether you w ant any kind of camera frame
to be printed into the exported files:l

Title Safe Area: Prints the Title Safe Area over the picture. By default, this area is 20%
smaller than the camera frame. It is used as a guideline of the area that CRT displays might

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Storyboard Pro 22 User Guide

crop out of the picture. Visual elements such as text and logos should be placed w ithin thisarea.
lAction Safe Area: Prints the Action Safe Area over the picture. By default, this area is 10%
smaller than the camera frame. It is used as a guideline of the area that CRT displays mightcrop out of the picture. Characters and action should be placed w ithin this area.

l

4:3 Safety: Prints the title safe area and the action safe area for the 4:3 camera frame overthe exported image. They can be used to position elements in projects that are meant to be
displayed in both w idescreen and 4:3 proportions.

l

4:3 Reference: Prints the 4:3 camera frame over the exported image. This frame
corresponds to the camera frame if the aspect ratio of the picture w as 4:3. It can be used toposition elements in projects that are meant to be displayed in both w idescreen and 4:3
proportions.

17. In the Captions tab, you can choose to print any of your storyboard’s captions into the exported
movies using the follow ing options—see Script and Captions on page 170.

lPrint Captions: Choose w hether to not print captions (None) or select one of your project’s
captions to print into the exported movies. By default, a Storyboard Pro project has Action
Notes, Dialog, Slugging and Notes captions, but you can also choose to print custom
captions if your project has any.

l

Font: Select w hich font the captions w ill be printed in. By default, they w ill be printed in
Arial.

l

Height %: Sets the size of caption lines relative to the height of the exported movies. For
example, if exporting a movie at 1080p w ith 3% Height captions, each caption line w ill be
32 pixels in height.

lPosition: Prints the captions at either the Top Left, Top Centre, Top Right, Bottom Left,
Bottom Centre or Bottom Right of the movie. By default, captions are printed to the Bottom
Centre.

l

Max Lines: Sets the maximum amount of caption lines to print on each panel. If a caption
being printed requires more than the maximum amount of lines, it w ill be cut off w ith an

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ellipsis (...) at the end. Note that even if captions are printed at the bottom, they w ill bealigned to the top of the space reserved for them, w hich is calculated by the amount of Max
Lines x the Height %. Therefore, if this setting is too high and captions are printed at thebottom, they may appear closer to the middle of the picture than to the bottom.
lText Colour: Select the font colour in w hich to print the captions.

l

Bg Colour: Select the background colour on w hich to print the captions. If the checkbox isunchecked, the captions w ill be printed directly into the rendered picture. Otherw ise, theyw ill be printed in rectangular boxes of the chosen colour.

18. If you w ant to automatically play the video or view the exported files once the export is done, checkthe Open document/folder after export option.
19. Click on the Export button.
You can now import the sequence into a third party editing softw are. Refer to the documentation ofyour editing softw are for information on importing the sequence into a project and editing it.

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Configuring Movie Settings for QuickTime Movies on W indows for
EDL/AAF/XML Sequences
If you are exporting an EDL/AAF/XML sequences w ith video clips QuickTime Movie (.mov) format, you canconfigure the video settings for your exported movies using the configuration interface provided by QuickTime.

NOTE
To export QuickTime Movies on W indow s, Apple QuickTime must be installed on your machine.

How to configure video and sound settings for QuickTime movies on W indows
1. Proceed to the Movie Settings dialog—see Exporting an EDL, AAF or XML Sequence on page1042.

2. In the Compression Type drop-dow n, select a video compression codec. It is recommended to use
one of the follow ing codecs, depending on your usage scenario:l

H.264: A very effective lossy compression algorithm that is commonly supported by w eb
brow sers and most media players.

l

MPEG- 4 Video: A very effective lossy compression algorithm that is commonly supported
by media players, but less so by w eb brow sers.

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Chapter 20: ExportinglAnimation: A high quality compression algorithm that is commonly used for media
interchange and video editing.

NOTE
The availability of certain of the compression settings described below w ill depend on
the selected compression type.

3. In the Motion section, make sure the Frame Rate drop-dow n is set to Current. This w ill ensure thatthe video's frame rate matches the frame rate of your Storyboard Pro project.
4. If you set the Compression Type to H.264, make sure the Key Frames option is set to All.
5. In the Quality section, if you set the Compression Type to Animation, select the desired colour
depth for your video in the Depth drop-dow n.
6. In the Quality section, use the slider to choose a quality setting.

NOTE
The selected quality setting w ill impact the movie's file size.

7. If you set the Compression Type to H.264, in the Quality section, select the encoding method:lBest quality (Multi- pass): This w ill extend the time required for the export, but optimize thequality of the video.

lFaster encoding (Single- pass): This w ill shorten the time required for the export, but may
sacrifice some video quality.

8. In the Data Rate section, select Automatic to let QuickTime determine the best bit rate for yourmovie, or Restrict to to set a maximum bit rate for your movie and limit its file size.
9. If you set the Data Rate to Restrict to, enter the maximum bit rate, in kilobits per second, in the text
field to the right.
10. If you set the Data Rate to Restrict to, in the Optimized For drop-dow n, select the intended
distribution method for your movie.
11. Click OK.

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Storyboard Pro 22 User Guide

Configuring Movie Settings for QuickTime Movies on macOS for
EDL/XML/AAF Sequences
On macOS, Storyboard Pro allow s you to export QuickTime Movie files (.mov) using the Apple AVFoundation
framew ork, w hich is pre-installed w ith macOS.
Contrary to W indow s, Storyboard Pro uses its ow n user interface to let you configure the compression
settings for QuickTime Movies on macOS. Using this interface, you can choose to export your movie using
either the H.264, the Apple ProRes 422 or the Apple ProRes 4444 video codec.

How to configure the video and sound settings for QuickTime movies on macOS
1. Proceed to the Movie Options dialog—see Exporting an EDL, AAF or XML Sequence on page1042.

2. In the Movie Options dialog box, click on the Codec drop-dow n and select one of the follow ing
video compression codecs:

NOTE
The list of codecs available depends on the version of macOS being used.

l

H.264 Legacy: A very effective lossy compression algorithm that is commonly supported by w eb
brow sers and media players.

lH.265 Legacy: Same compression quality as H.264, but w ith a smaller compression size. This isuseful for videos intended for the w eb and mobile devices. Not supported on all major brow sers or
operating systems.

lApple ProRes 422 Legacy: A nearly lossless compression algorithm commonly used for video
editing on Apple systems. This codec is optimized for preserving video quality, but not for
publishing or streaming.

lApple ProRes 422 HQ Legacy: Preserves visual quality at the same high level as Apple ProRes
4444 but for 4:2:2 image sources (cleaner footage for things like green screening). Heavier thanApple ProRes 422 for real-time editing performance.

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Chapter 20: ExportinglApple ProRes 422 LT Legacy: A more highly compressed codec than Apple ProRes 422, w ith
roughly 70 percent of the data rate and 30 percent smaller file sizes. This codec is perfect forenvironments w ith limited storage capacity and data rates.

lApple ProRes 422 Proxy Legacy: An even more highly compressed codec than Apple ProRes 422
LT, intended for use in offline w orkflow s that require low data rates but full-resolution video.

lApple ProRes 4444 Legacy: A nearly lossless compression algorithm commonly used for video
editing on Apple systems. Compared to Apple ProRes 422, this codec preserves more colour detailand supports transparency. How ever, it results in heavier file sizes.

3. If you w ant to export a video w ith transparency, check the Alpha option.

NOTE
This option is only available w hen exporting w ith the Apple ProRes 4444 codec. Other
codecs do not support transparency.

4. Click OK.

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Configuring Movie Settings for W indows Media Video for
EDL/XML/AAF Sequences
On W indow s, it is possible to export in W indow s Media Video format. This format is natively supported by
W indow s, and is offered in Storyboard Pro as an alternative for exporting in QuickTime Movie format, as thelatter requires installing QuickTime on W indow s.
W hen exporting in W indow s Media Video format, Storyboard Pro allow s you to select the video compression
quality.

How to configure video and sound settings for W indows Media Video
1. Proceed to the W MV Options dialog—see Exporting an EDL, AAF or XML Sequence on page 1042.

1. In the Video section, select the desired Variable Bit Rate Quality for your video. A higher setting
w ill ensure a better image quality, w hereas a low er setting w ill reduce the size of your movie file.
2. Click OK.

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Exporting 3D Animation (FBX) Files
T-SBADV-012-004
You can export your project's scenes, sequences or the entire project into animated Filmbox (.fbx) files. Thiscan be useful if your project has 3D elements. The exported Filmbox (.fbx) file w ill contain all the 2D and 3D
elements in your animatic as w ell as their animation. You can them import it in a third-party softw are and use
it as a template to create the 3D animations for your production.

How to export an FBX file
1. Select File > Export > FBX.
The Export to FBX dialog box opens.

2. In the Destination Path section, click theBrow se button and choose a folder in w hich to savethe exported files.
3. In the File Pattern field, type in a prefix or a file naming pattern for the exported files if you plan toexport an image sequence—see About File Naming Patterns on page 1066.
4. To include the camera frame’s black border in the scene, select the Export Camera Frame option.
5. From the One Clip list, select one of the follow ing:l

Per Scene: Exports one clip per scene.

l

Per Project: Exports one clip for the entire project.

l

Per Sequence: Exports one clip per sequence. This option is available only if your projectcontains sequences.

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6. In the Export Range section, select w hether you w ant to export the entire project, or only specificparts of it:lAll: Includes all the scenes in your project.

lCurrent Scene: Includes only the scene you selected w hen you opened this dialog box.

lCurrent Sequence: Includes only the scenes from the sequence you selected w hen you
opened this dialog box. This option w ill only be visible if your project contains sequences.

7. Click the OK button.

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Exporting Sound Files
In Storyboard Pro, you can export your project’s audio into W aveform Audio Files (.w av). You can choose toexport a single file for all your project's audio tracks, or to export each audio track individually. You can alsochoose to export a single track for your w hole project, or to separate it by scene, sequence or act.

How to export your project's audio
1. Select File > Export > Audio.
The Export Audio dialog opens.

2. In the Destination Path section, click theBrow se button and choose a folder in w hich to savethe exported files.
3. In the File Pattern field, type in a prefix or a file naming pattern for the exported files if you plan toexport an image sequence—see About File Naming Patterns on page 1066.
4. In the Options section, select the w ay you w ant the softw are to process your soundtracks:lProcess Audio Tracks Individually: Exports each audio track in your project into
separate sound files.

l

Merge All Audio Tracks: Mixes dow n all the audio tracks in your project into a single
soundtrack before exporting it.

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Storyboard Pro 22 User Guidel

Process Audio Tracks Individually and Merged: Exports each audio track into
separate sound files, then exports another file w ith all the audio tracks mixed
together.

lDon't Break Sound: Exports audio tracks spanning for the entire length of yourproject. If you chose to merge audio tracks, you w ill have one sound file for the entire
project. If you chose to export audio tracks separately, you w ill have one sound file foreach audio track in your project.

lBreak Sound Per Scene: Breaks dow n each exported audio track into scenes. If you
chose to merge the audio tracks, you w ill have one sound file for each scene in yourproject. If you chose to export audio tracks separately, you w ill have one sound file
per scene per audio track.

l

Break Sound Per Sequence: Breaks dow n each exported audio track into sequences.
If you chose to merge the audio tracks, you w ill have one sound file for each sequence
in your project. If you chose to export audio tracks separately, you w ill have one soundfile per sequence per audio track. This option is only available if your project contains
sequences.

l

Break Sound Per Act: Breaks dow n each exported audio track into acts. If you choseto merge the audio tracks, you w ill have one sound file for each act in your project. If
you chose to export audio tracks separately, you w ill have one sound file per actperaudio track. This option is only available if your project contains acts.

5. In the Sound Settings section:lSample Rate: Sets the frequency rate of the exported audio files. It is recommended
to export sound files at the rate at w hich they w ere originally created. For reference,the standard sample rate is 48.0 kHz for broadcasting and DVD.

l

Bit Depth: Sets the precision level of each w avelength in the sound file. The standard
bit depth is 16 bit. Setting this to 8 bit w ill cut the size of audio files in half, but w ill
significantly impact sound quality.

NOTE
On W indow s, audio can only be exported in 16 bit unless QuickTime
Player is installed.

l

Channels: Allow s you to select w hether to export sound in Mono or Stereo. Stereo
sound uses a separate track for the left and right speakers, w hich allow s to simulate arealistic sound environment. Mono uses a single track for both speakers, w hich saves
disk space.

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6. In the Export Range section, select w hether you w ant to export the entire project, or only specificparts of it:lAll: Exports the entire storyboard.

lSelected Scenes: Select this option to export a specific selection of scenes. Then, click on
the Select button to open the Scenes Picker dialog box, in w hich you can:lType the number of a sequence or of a scene in the Sequence or Scene fields in theFilter section, to only show matching sequences or matching scenes in the list.

lClick and drag to select a range of scenes.

lHold the Ctrl key and click on each scene you w ant to add to your selection.

lHold the Shift key, then click on the first scene and the last scene you w ant to add toyour selection, to select every scene betw een those tw o scenes inclusively.

l

If your project has sequences, click on a sequence to select every scene in thatsequence.

l

Current Scene: Exports only the currently selected scene.

7. Select the Open folder after export option to have the system automatically open the folder
containing your exported audio files.
8. Click on the Export button.

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Storyboard Pro 22 User Guide

Exporting Project Metadata in CSV Format
T-SBADV-012-005
Using the Export CSV dialog, you can export your project's metadata, such as its scene and panel names, its
transitions, the captions for each of your project's panels, the names of each layers in your panels, and othersuch information into a Comma Separated Value (.csv) spreadsheet.
CSV is a text-based spreadsheet format that is commonly supported by spreadsheet editors, and w hich iseasy to process in scripts and other softw are as it is merely a text file containing the value of each cell,typically separated by a comma. How ever, it does not support advanced spreadsheet features such as text
formatting and formulas.
Exporting a CSV file can be useful if you w ish to view the metadata for your project in a spreadsheet editor,
such as Microsoft Excel, LibreOffice Calc or Google Sheets, for analysis, or if you w ish to make a script that w ill
use the metadata for your project in any specific w ay.
You can also use this dialog to export your project's captions into a spreadsheet, edit them in a spreadsheet
editor, then import the edited spreadsheet back into your project to update its captions. For more informationon this procedure, see About Editing a Project's Captions in a Spreadsheet Editor on page 197.

IMPORTANT
If your captions contain non-latin character (ie: Japanese, Chinese, Korean, etc.), you should avoid
editing a CSV containing your project's captions in Microsoft Excel, as it w ill display those nonlatin characters, but it w ill not save them in your CSV file. LibreOffice Calc and Google Sheets
support saving CSV files w ith non-latin characters.

How to export a storyboard to a CSV file
1. Select File > Export > CSV.
The Export to CSV dialog box opens.

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2. In the Destination Path section, click the Brow sebutton.

3. In the Save dialog, brow se to the location in w hich you w ant to export your CSV file. In the Filename field, type in the desired name for the document and click on Save.
4. In the Encoding drop-dow n, select the type of text encoding for the CSV file. Choosing the rightencoding might be necessary depending on w hat kind of encoding the editor you plan to use
supports, and w hether it needs a specific kind of encoding for Unicode characters. In most cases,
UTF- 8 should do the job.
5. In the Field Separator drop-dow n, select the character to use for separating each cell in the table.
Generally, CSV editors expect the field separator to be commas. Otherw ise, you can choose
betw een the follow ing characters: Comma, Semicolon, Tab or Vertical bar (pipe).
6. Check each type of data that you w ant to include in the exported table.
The exported .csv file w ill contain one row for each exported panel. It w ill also have at least one
column, the Object Id column, w hich stores a special identifier composed of 16 hexadecimal
characters for each panel in your storyboard, making sure that Storyboard Pro can identify w hichrow belongs to w hich panel in your project.
lInclude Column Names: Adds an extra header row at the top w hich indicates the purpose ofeach column in the table.

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Storyboard Pro 22 User Guidel

Include Sequence Names: Adds a Sequence column w hich indicates the number of thesequence for each panel.

lInclude Scene Names: Adds a Scene column w hich indicates the number or name of eachscene for each panel.

lInclude Panel Names: Adds a Panel column w hich indicates the number or name of eachpanel.

lInclude Transitions: Adds a column for each transition in the project, betw een the row s
corresponding to the tw o panels that are joined by the transition.

lInclude Scene Frame Number: Adds a column that indicates the length of the scene inframes.

l

Include Panel Frame Number: Adds a column that indicates the length of the panel inframes.

l

Include Captions: Adds a column for each caption type in your project, and w hich w ill
indicate the content of each caption type for each panel.

lInclude Rich Text Formatting: If your captions have any formatting, check this option toexport the content of your captions in HTML, w hich w ill preserve the formatting of yourcaptions. If this option is unchecked, your captions w ill be exported in plain text. They w ill beeasier to read and edit, but if you re-import the .csv file into your project, the formatting of
the captions w ill be lost.

lInclude Camera Information: Indicates w hether the camera is static or dynamic (animated)for each panel.

lInclude Layer Names: This w ill add as many columns as the amount of layers in the panelthat has the most layers. For each panel, the name of each layer in the panel w ill be
indicated. Layers at the bottom are listed in the leftmost layer column, and layers at the top
are listed in the rightmost layer column.

lInclude Tracking Information:Indicates w hether or not the panel is tracked, the date at
w hich the panel started getting tracked, and the tracking notes added to that panel, if any.

7. In the Export Range section, select w hether you w ant to export the entire project, or only specificparts of it:lAll: Exports the entire storyboard.

lSelected Scenes: Select this option to export a specific selection of scenes. Then, click on
the Select button to open the Scenes Picker dialog box, in w hich you can:lType the number of a sequence or of a scene in the Sequence or Scene fields in theFilter section, to only show matching sequences or matching scenes in the list.

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Chapter 20: Exportingl

Click and drag to select a range of scenes.

lHold the Ctrl key and click on each scene you w ant to add to your selection.

lHold the Shift key, then click on the first scene and the last scene you w ant to add toyour selection, to select every scene betw een those tw o scenes inclusively.

l

If your project has sequences, click on a sequence to select every scene in thatsequence.

l

Current Scene: Exports only the currently selected scene.

lCurrent Panel: Exports only the currently selected panel.

lTracked Panels:Exports panels on w hich tracking changes is enabled.

8. To view the exported file in your machine's spreadsheet editor after the export, enable the Opendocument/folder after export option.
9. Click on the Export button.

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Storyboard Pro 22 User Guide

About Advanced Export Techniques
Storyboard Pro features some advanced exporting techniques, namely: Excluding certain layers from certain
types of exports, using variables in file naming patterns and using snapshots to export specific frames ofcertain panels. The follow ing section explains how to use these advanced features.

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About File Naming Patterns
T-SBADV-012-002
Several export dialogs in Storyboard Pro allow you to export several files at a time. By default, these dialogs
w ill name each file they export w ith the necessary information to identify them: Scene number, panel number
if the export is broken dow n into panels, and frame number w hen exporting an image sequence. How ever,these dialogs all have a File Pattern field. If you prefer, you can fill this field w ith a file pattern to determine
how your exported files w ill be identified.

Variables
A file naming pattern are composed of variables. The follow ing variables can be used, depending on the typeof export, and on how the export is broken dow n:
Variable

Definition

Availability%tProject title

Alw ays available.

%a

Act number

W hen exporting one file per act, sequence, scene, panel or frame, andthe project is separated in acts.

%q

Sequence number%s

Scene number

W hen exporting one file per scene, panel or frame.

%pPanel number

W hen exporting one file per panel or frame.

%fFrame number

W hen exporting one file per frame (i.e.: an image sequence).

%nSound tracknumber

W hen exporting sound files separated by sound track.

W hen exporting one file per sequence, scene, panel or frame, and the
project is separated in sequences.

For example, w hen exporting an image sequence in Jpeg (.jpg) w ith a file pattern such as MyProject scene %s - panel %p - frame %f, frame 44 in panel 3 of scene 2 w ould be exported as MyProject scene 2 - panel 3 - frame 44.jpg.
If you put a variable in the file naming pattern that is not relevent for your export, for example the %p panel
number variable w hen exporting one file per scene, the variable name w ill appear in the file name.

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Storyboard Pro 22 User Guide

Padding
Storyboard Pro w ill automatically pad the numbers w ith zeros as needed. For example, if you're exporting asequence of 10 scenes, the scenes w ill be numbered 01, 02, ... until 10. This w ay, all the scenes have the sameamount of digits, making it easier to sort them in alphanumeric order.
If you prefer, you can decide the minimum amount of padding you w ant for each variable. To do this, simply
add the amount of digits you w ant a variable to have betw een the % sign and the variable letter. For example,
instead of %s, put %4s, and scene numbers in the file name w ill all have four digits. Scene numbers that w ould
require less than four digits w ill be padded w ith zeros at their left. For example, scene 1 w ill be indicated w ith
the number 0001.

Fallback
If you prefer a more simple approach, you can alw ays type a name in plain text in the File Pattern field. This
name w ill be used as a prefix: Your exported files w ill contain the name you typed, follow ed by the required
information (i.e.: scene number, panel number, etc.) separated by dashes.
Likew ise, if you type in a pattern that does not contain all the required variables, your exported files w ill havethe missing variables added at the end, separated by dashes. For example, if you're exporting one image perpanel, but type in a file naming pattern that only uses the %s scene number variable, the panel number w ill be
added at the end of each file's name. This avoids exporting several files w ith the same name.
At any time, you can just delete the content of the File Pattern field to let Storyboard Pro use its default filenaming pattern, w hich w ill contain all the necessary information.

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Enabling and Disabling Layers for Export
T-SBADV-012-001
W hen exporting your storyboard, you can set the export behaviour for each layer. This can be handy if you
have reference layers that you do not necessarily w ant to see in your final export. You can set individual layer
export settings in the Layers panel.

How to change individual layer export behaviour
1. Add the Layers view to your w orkspace by doing one of the follow ing:l

In the top-left corner of an existing view , click on thel

In the top menu, select W indows > Layers.

Add View button and select Layers.

2. From the Thumbnails or Timeline view , select the panel containing the layer for w hich you w ant tochange export options.
3. In the Layers view , select the layer for w hich you w ant to change export options.
4. In the Export To section of the Layers view , check the export mediums in w hich you w ant the layer
to be included, and uncheck the export mediums from w hich you w ant it to be excluded:l

If you w ant the layer to be included w hen exporting your project as a Portable Document
File (.pdf), unchechk PDF. Otherw ise, uncheck it.

l

If you w ant the layer to be included w hen exporting your project as movie files or image
sequences, check Movie. Otherw ise, uncheck it.

l

If you w ant the layer to be included w hen exporting your project as Harmony scenes, check
Harmony. Otherw ise, uncheck it.

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Storyboard Pro 22 User Guide

About Snapshots
W hen you export your storyboard as a PDF document, by default, only the first frame of each panel isexported into the document. Likew ise, if you export your storyboard as bitmap images, each exported image
w ill contain the first frame of its respective panel.
How ever, there might be situations w here a panel is better represented by a specific frame in the middle of thepanel rather than its first frame. For example, if the panel has a lot of layer animation, one of the in-betw een
frames of that animation could be a lot more descriptive than the panel's first frame.
Using Snapshots, you can indicate to Storyboard Pro w hich frame in a panel is the best frame to represent thatpanel w hen exporting it as a still image. A snapshot is simply a marker positioned on one of your panel'sframes. W hen you export your storyboard as a PDF document or as bitmap images, if one of the exported
panels contains a snapshot in one of its frames, this frame w ill be used to represent the panel in the exported
image, instead of the first frame of the panel.

You can add several snapshots to a panel. W hen you export your storyboard as a PDF document, each framethat is marked w ith a snapshot w ill be included in the storyboard, allow ing you to export more than one frame
for a single panel if necessary. W hen exporting your project as bitmap images, you can choose w hether only
the main snapshot of a panel that has several snapshots should be exported, or all of its snapshots.

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Chapter 20: Exporting

W hen a 3D scene w hich contains a camera movement is exported in a PDF document, the panel is usually
represented by tw o thumbnails: the first frame of the camera movement, and the last frame of the camera
movement. Adding a snapshot to such a panel adds an extra thumbnail in the PDF.

Using snapshots is completely optional and flexible. If you add a snapshot to a panel, Storyboard Pro w ill use
the snapshot w hen exporting the panel as a PDF or as a bitmap image. If you don't add snapshots or if you
delete snapshots from a panel, Storyboard Pro w ill use the first frame of the panel. W hen you add a snapshot,
it is alw ays added at the current frame, so you know w hat the panel w ill look like w hen you add a snapshot bylooking at the Stage or Camera view . A marker for each snapshot is added to the Timeline view to help you
keep track of them.

NOTE
Snapshots do not affect the exported images w hen exporting layouts.

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Storyboard Pro 22 User Guide

Adding Snapshot Markers
T-SBFND-010-003

How to add a snapshot marker to a panel
1. In the Timeline view , select the panel to w hich you w ant to add a snapshot marker.
2. Position the timeline playhead to the exact position w here you w ant to add a snapshot. W hile
moving the timeline playhead, you can look at the Stage or Camera view to get a preview of w hat
the snapshot w ill look like.

3. Do one of the follow ing:lSelect Storyboard > Add Snapshot.

lRight-click the panel and select Add Snapshot.

The Snapshot marker, a blue arrow , appears in the Timeline view .

4. Repeat the previous steps to add additional snapshots to your panel, if desired.

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Change Snapshot Frame
You can change the frame at w hich a panel's snapshot is simply by dragging it to the preferred frame in theTimeline view .

How to move a snapshot to a different frame in a panel
1. Position the mouse cursor over the snapshot that you w ant to set as the main snapshot.
2. W hen you see the Grab

mouse cursor, click and drag the snapshot to the frame w here you w ant

it to be.

As you move the snapshot, the Stage and Camera view s w ill update to the position of thesnapshot, so you can use either view as a reference to see w hat is in the snapshot's new position.

NOTE
You can only move a snapshot w ithin its panel. If you move a snapshot outside of its panel, it
w ill be deleted.

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Storyboard Pro 22 User Guide

Setting the Main Snapshot in a Panel
Because exporting your storyboard as bitmap images exports only one image per panel, if a panel has several
snapshots, Storyboard Pro can only export one of the snapshots for the panel. In order to decide w hichsnapshot to use, it w ill use the panel's main snapshot.
The main snapshot in a panel is indicated by its colour. In the Timeline view , a panel's main snapshot w ill
appear in plain blue

, w hereas the other snapshots w ill appear in a darker shade of blue.

W hen you add more than one snapshot to a panel, the first snapshot you add is set as the main snapshot. At
any time, you can change w hich snapshot in a panel is the panel's main snapshot.

How to set the main snapshot for a panel
1. Position the mouse cursor over the snapshot that you w ant to set as the main snapshot.
2. W hen you see the Grab

mouse cursor, double-click on the snapshot.

The snapshot you double-clicked on w ill become a lighter shade of blue
used to be the main snapshot w ill turn a darker shade of blue

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, and the snapshot that

Chapter 20: Exporting

Deleting Snapshot Markers
You can remove snapshot markers from the currently selected panel.

How to delete a snapshot marker
1. Position the mouse cursor over the snapshot that you w ant to set as the main snapshot.
2. W hen you see the Grab

mouse cursor, click and hold on the snapshot.

3. Drag the snapshot either to the left beyond the starting point of the panel, or to the right beyond
the ending point of the panel. W hen the snapshot is taken too far and disappears, release themouse button.

The snapshot is deleted.

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Storyboard Pro 22 User Guide

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Chapter 21: Conformation

Chapter 21: Conformation
T-SBANIM-006-002
In Storyboard Pro, you can export your Storyboard Pro project to Final Cut Pro, an Apple third party editing
softw are, or Media Composer, an Avid third party editing softw are. You can then make your edits and import
the changes back into your Storyboard Pro project using the Conformation feature. The conformation export
w ill produce an XML or an AAF file containing the entire animatic project structure, as w ell as images of yourpanels. You can then import the XML into Final Cut Pro and the AAF into Media Composer and it w ill recreate
the animatic.
You can also track the changes in your panels and export tracked panels only.
W hat is exported:lPanels exported as clips in the top composition. Rendering of the first frame of the panel is used assource image.

l(XML only) Layers can be exported individually in nested clip. Layer motion keyframe is also exported.

lTransitions type and duration.

lSounds clips (start/end frame), volume keyframes and gain values.

lCamera motion is exported as clip animation.

l

Optionally, all scenes' first frame can be exported as markers.

l

Optionally, panel captions can be exported as clip metadata.

l

Optionally, a scene reference track can be exported. Each clip on this track represents a scene in
Storyboard Pro.

l

Other metadata are exported in order to allow the conformation; panel ID, transformation data, project
resolution.

W hat is conformed back:l

Panels ordering and duration.

l

Duplication of panels; the original panels w ill be duplicated.

lDeletion of panels; the original panels w ill be deleted.

l

New clips are conformed as new panels, source image is imported.

l(XML only) New layers in the nested sequence are conformed as new layer, source image is imported.

lChange of transition duration.

lChange of transition type is conformed if supported by Storyboard Pro.

l

Unknow n transitions are imported as dissolves.

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Storyboard Pro 22 User Guidel

Adjustments to clip animation are conformed as camera motion. W hen conformed back, camera motion
is optimized and redundant keyframes are removed.

l(XML only) Adjustments to clip animation in nested clip are conformed as layer motion.

lChanges to sound clip start time and duration.

l

Add/copy/move/delete sound clips.

lDelete or add sound tracks.

l

Add/remove/update volume keyframes and gain effects.

NOTE
If your project contains video tracks, they w ill not be exported for conformation and they w ill not
be affected w hen importing the edited sequence.

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Chapter 21: Conformation

About XML Conformation
T-SBANIM-006-003
In Storyboard Pro, you can export your Storyboard Pro project to Final Cut Pro, an Apple third-party editing
softw are. Storyboard Pro is compatible w ith the XML format compatible w ith Final Cut Pro 7.
XML conformation is the most advanced w ay to conform w ith Storyboard Pro, since animation layers aresupported on export and conform back. You can also create a new layer inside a nested clip in Final Cut Pro, tocreate a new layer w hen importing the XML.
Guidelines:
Final Cut Pro (or other third party softw are compatible w ith FCP XML) have a w ide variety of features or
effects not compatible w ith Storyboard Pro. For the conformation to be successful, the XML project must
respect some rules and guidelines.
l

The XML sequence imported in Storyboard Pro should have been originally created in Storyboard Pro.

l

The structure of the composition (number of video tracks and order) in Final Cut Pro needs to respect
the structure of the XML originally exported from Storyboard Pro.

l

All clips representing a panel need to be on the same video track. Other tracks w ill be ignored on
import.

l

Metadata associated w ith original clips exported from Storyboard Pro must not be altered.

l

New clips and new layers should use image formats compatible w ith Storyboard Pro. See Importing
Images as Layers on page 257 for details about supported formats.

l

New sound clips should use sound files compatible w ith Storyboard Pro. See Importing Sound Clips on
page 789 for details on supported formats.

l

On import, transitions not supported by Storyboard Pro w ill be imported as Dissolve transitions, timing
w ill be preserved.

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Storyboard Pro 22 User Guide

About AAF Conformation
T-SBANIM-006-004
In Storyboard Pro, you can export your Storyboard project to Media Composer, an Avid third party editing
softw are.
Media Composer has its ow n compatibility w ith the AAF. It does not follow the AAF Edit Protocol. Since
Storyboard Pro specifically targets Media Composer for conformation, the AAF exported by Storyboard Pro
w ill not necessarily produce good results in other softw are used to import AAF.
Guidelines
Media Composer has a w ide variety of features or effects not compatible w ith Storyboard Pro. For a successful
conformation, the AAF project must respect some rules and guidelines.
l

The AAF sequence imported in Storyboard Pro should have been originally created in Storyboard Pro.

l

The structure of the composition (number of video tracks and order) in Media Composer needs torespect the structure of the AAF originally exported from Storyboard Pro.

l

All clips representing a panel need to be on the same video track. Other tracks w ill be ignored on
import.

l

Storyboard Pro exports the camera motion using a 3D W arp effect on the clip. You should use the same
pattern if you w ant to have camera motion on the new clip w hen conforming back the AAF.

l

Metadata associated to original clips exported from Storyboard Pro must not be altered.

l

In Media Composer, images should be imported using the Import Media options (not Link to Media). In
the import settings of Media Composer, Resize image to fit format raster should be used for the Image
Size Adjustment option.

l

New clips and new layers should use image formats compatible w ith Storyboard Pro. See Importing
Images as Layers on page 257 for details about supported formats.

l

New sound clips should use sound files compatible w ith Storyboard Pro. See Importing Sound Clips on
page 789 for details about supported formats.

l

If you w ant to add new sound files in Media Composer, stereo sound files should be added to stereo
tracks and mono sound files to mono tracks.

Transition Compatibility
Not all Storyboard Pro transition types are supported by Media Composer. W hen a transition is not supported,
it w ill be converted at export time and a w arning message w ill be displayed. Here are transitions notsupported by Media Composer:lSlide-in and Slide-out transition are converted to dissolve.

lOnly 12 o’clock (0 degrees) clockw ise is supported by Media Composer, therefore, all clock w ipes areexported as 12 o’clock clockw ise.

1079

Chapter 21: ConformationlMedia Composer only supports horizontal w ipe, vertical w ipe, or corners w ipe (45, -45, 135 and -135).
All edge w ipes w ith custom angles w ill be converted to the nearest w ipe supported by Media
Composer.

1080

Storyboard Pro 22 User Guide

Exporting for Conformation
T-SBANIM-006-007
W hen you are ready to export, decide if you need to export the entire project, only the tracked panels or
specific panels. If you are exporting to Flix, you can automate the process by using scripts.

NOTE
W hen only selected or tracked panels are exported, the timeline in the third party softw are w ill
have holes. This selective export is not recommended if you plan to conform the project back, since
the panels excluded from the XML/AFF w ill be deleted.

How to export for Conformation
1. Do one of the follow ing:l

To export the entire project, select File > Conformation > Export Project in the top menu.

lTo export a selection of panels, select all the panels you w ant to export in the Thumbnails or
Timeline view . Then, select File > Conformation > Export Selected Panels in the top menu.

lTo export only tracked panels, select File > Conformation > Export Tracked Panels in the
top menu.

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Chapter 21: Conformation

2. In the Destination Path section, enter the folder and the name for the exported files and optionally,
enter a file pattern for exported images.
3. Select the target format, Final Cut Pro XML if you w ant to export a sequence for Final Cut Pro 7, or
AAF if you w ant to export a sequence for Avid Media Composer.

4. If you have already exported your sequence in the same destination folder in the past, and you only
w ant to export the sequence again w ithout rendering the images again, uncheck the Render
Images on Export option. Otherw ise, keep this option checked at all times.

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Storyboard Pro 22 User Guide

5. In the Options tab, enable the options you w ant to use for exporting your project:l

Export one image per layer: Exports the draw ing layers in your panels as separate video
clips instead of flattening them together to make one clip per panel. This option is only
available w hen exporting in Final Cut Pro XML format.

l

Always nest layers: W hen exporting one image per layer, this w ill store all the layers for asingle panel into a nested clip. By default, different layers are spread on different video
tracks, except w hen a panel contains both camera movements and layer animations.

lExport Panels as movies on additional track: Exports the panels as movies in an XML or
AAF file.
l

Only Panels with Motion: Checking this option renders only panels that have cameraor layer motion.

l

Export Video Tracks Exports an XML or AAF file that w ill include the content of the video
tracks. Rendering of the first frame of the panel is used as source image. Linked video files
are not exported.

lClip Handles (Frames)Controls the number of frames to add at the beginning and end ofeach clip. Because clips are converted to MXF files upon import to Avid Media Composer,
shorter handles w ill result in faster import time. The default value for clip handles is 240.
The minimum value is 0 and the maximum value is 9999.

l

Rectify static camera If the camera is at an angle in a panel, and there is no camera
movement in that panel, enabling this option w ill render the panel as if the camera w as at astraight angle.

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Chapter 21: Conformationl

Nest scenes containing camera motion:W hen this option is checked and you are exportingto Avid Media Composer or Premiere Pro for conformation, scenes in your animatic
containing camera motion w ill export as a nest on w hich the camera animation w ill beapplied. This w ill make it easier to edit clips containing camera movements.

l

Maintain image size throughout scene: By default, the resolution of each image that isexported so that, at the end of a camera zoom-in, or at the beginning of a camera zoom-out,there is no pixelation. This means that the smallest camera frame in each panel must be atleast the same resolution of the project. Hence, panels w ith small camera frames w ill haveto be exported at a bigger resolution than other panels. For example, the follow ing panel
must be exported in a bigger resolution than the project's resolution, so that the smallest
camera frame has the same resolution as the project:This can also mean that, w ithin a same scene, a panel that has a camera zoom-in or zoomout w ill have to be exported in a bigger resolution than the other panels in the scene. W ith
this option enabled, all the panels in any given scene are exported in the same resolution.

NOTE
The panels w ill appear as expected in your video editing softw are regardless ofw hether or not this option is enabled.

l

Expand Render Area to Scene Camera: By default, exported panels only cover the area
covered by the camera movements in the panel. W ith this option enabled, exported panels
w ill cover the area covered by the camera movements in all the panels in their scene1084

Storyboard Pro 22 User Guidecombined. That w ay, if all the exported panels in a scene are combined, the elements of thescene w ill all be in their proper position respective to each other.
In the follow ing example, the camera goes from 1 to 2 in the first panel, then from 2 to 3 inthe second panel, but both panels are exported to cover the w hole camera movement, from
1 to 2 to 3:l

Export Markers at Scene Beginning: Places a chapter marker at the beginning of eachscene. These markers are used to find the in-point of each scene w hen conforming from
Final Cut Pro to Storyboard Pro. The markers are named "Scene:" follow ed by the name of
their respective scene, and they have a unique scene ID and chapter marker as theircomment.

l

Export scenes reference track: Adds an extra video track to the sequence in w hich images
indicating the number of the current scene are displayed.

lExport Captions: Includes the captions of each panel as metadata in the exported sequence.
The captions can be edited in the sequence, and importing modified captions w ill update thecaptions in the Storyboard Pro project.
lInclude Rich Text Formatting: If you're exporting the project's captions and yourcaptions have special text formatting, this w ill export the captions in HTML instead ofplain text, to preserve their formatting. If you export your captions in plain text, thenre-import them, they w ill lose their formatting. How ever, plain text captions areeasier to read and edit in third party softw are.

6. In the Render tab, you can check the follow ing options:

7.

1085

Chapter 21: ConformationlRender panels and video clips: W hen enabled, this exports the images associated w ith the video
clips. This is enabled by default. You can disable it if you are re-exporting your sequence and don't
need to export the images again, to save time. Otherw ise, disabling this option w ill cause theexported sequence to be missing the image files linked to the clips.

lRender panels using transparent background: It allow s to export panel w ith w hite or atransparent background.

lPrint camera frame: Prints the camera frames on the exported images. The first camera frame w ill
be printed in green, and the last camera frame w ill be printed in red.

llBitmap Format: Allow s you to select the image format in w hich to save the exported panels:l

Jpeg (*.jpg): An image format w ith lossy compression optimized for the W eb. Only use thisformat if export speed is more important than quality.

l

Targa (*.tga): An image format w ith basic lossless compression.

lPhotoshop (*.psd): The format used for Adobe Photoshop projects. It is uncompressed.

NOTE
W hen you export layouts in this format, each layer in the first panel of the scene
is exported as a separate layer in the PDF file. If you choose to export camera
frames, they w ill also be on a separate layer over other layers.

lPortable Network Graphics (*.png): An image format w ith a more effective losslesscompression than Targa (.tga). Exporting in this format is slow er, but saves a lot of disk
space. PNG files are supported by w eb brow sers, most operating systems and image editing
softw are.

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Storyboard Pro 22 User Guidel

Movie Format: Allow s you to select the movie format in w hich to save the exported panels.
ll

In the Movie Format drop-dow n, select an export format:ll

H.264/MPEG- 4 (*.mov) : A simple movie format that uses the H.264
codec, w hich is supported by most w eb brow sers.

NOTES
l

Using this format does not require additional softw are.
How ever, if this is the first time you export a movie in
H.264/MPEG-4 format, you w ill be prompted to
dow nload the OpenH264 library from Cisco. Simply click
Yes w hen prompted, and Storyboard Pro w ill
automatically dow nload the library, then export themovie.

l

There are no encoding options for this format.

lThis format supports resolutions of up to 4096×2304.
Each dimension must be a multiple of 16 pixels.

l

Audio exported in this format is encoded in PCM 16-bit
stereo, 22.05 kHz.

l

W indows Media Video (*.wmv): The native format for W indow s Media
Player.

NOTESlW indow s Media Video (.wmv) files can only be exported
on W indow s.

lVideo players and editors on non-W indow s systems cangenerally not open W indow s Media Video (.wmv) files.

lVideo Config: In the Video Config drop-dow n, select w hether you w ant the exported movie to bein Full Size, Half Size or Quarter Size, relative to the resolution of your project. It is recommended
to export your animatic in full size unless you w ant to quickly export a test video.

lColor Space: Allow s you to export images and movies using a specific colour space.

8. In the Burn- In tab, if you w ant to print the scene names and panel numbers onto the rendered
images, check the Print Scene and Panel Numbers check-box.

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Chapter 21: Conformation

9. In the Camera Grids tab, using these options, decides w hether you w ant any kind of camera frame
to be printed into the exported files:l

Title Safe Area: Prints the Title Safe Area over the picture. By default, this area is 20%
smaller than the camera frame. It is used as a guideline of the area that CRT displays mightcrop out of the picture. Visual elements such as text and logos should be placed w ithin this
area.

l

Action Safe Area: Prints the Action Safe Area over the picture. By default, this area is 10%
smaller than the camera frame. It is used as a guideline of the area that CRT displays mightcrop out of the picture. Characters and action should be placed w ithin this area.

l

4:3 Safety: Prints the title safe area and the action safe area for the 4:3 camera frame overthe exported image. They can be used to position elements in projects that are meant to be
displayed in both w idescreen and 4:3 proportions.

l

4:3 Reference: Prints the 4:3 camera frame over the exported image. This frame
corresponds to the camera frame if the aspect ratio of the picture w as 4:3. It can be used toposition elements in projects that are meant to be displayed in both w idescreen and 4:3
proportions.

10. In the Captions tab, you can choose to print any of your storyboard’s captions into the exported
movies using the follow ing options—see Script and Captions on page 170.

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Storyboard Pro 22 User Guidel

Print Captions: Choose w hether to not print captions (None) or select one of your project’s
captions to print into the exported movies. By default, a Storyboard Pro project has Action
Notes, Dialog, Slugging and Notes captions, but you can also choose to print custom
captions if your project has any.

l

Font: Select w hich font the captions w ill be printed in. By default, they w ill be printed in
Arial.

l

Height %: Sets the size of caption lines relative to the height of the exported movies. For
example, if exporting a movie at 1080p w ith 3% Height captions, each caption line w ill be
32 pixels in height.

lPosition: Prints the captions at either the Top Left, Top Centre, Top Right, Bottom Left,
Bottom Centre or Bottom Right of the movie. By default, captions are printed to the Bottom
Centre.

l

Max Lines: Sets the maximum amount of caption lines to print on each panel. If a caption
being printed requires more than the maximum amount of lines, it w ill be cut off w ith anellipsis (...) at the end. Note that even if captions are printed at the bottom, they w ill bealigned to the top of the space reserved for them, w hich is calculated by the amount of Max
Lines x the Height %. Therefore, if this setting is too high and captions are printed at thebottom, they may appear closer to the middle of the picture than to the bottom.

lText Colour: Select the font colour in w hich to print the captions.

l

Bg Colour: Select the background colour on w hich to print the captions. If the checkbox isunchecked, the captions w ill be printed directly into the rendered picture. Otherw ise, theyw ill be printed in rectangular boxes of the chosen colour.

11. Select the Notify Flix option to automatically update the Flix assets database.
12. Select the Open folder after export option to open the folder w here the files w ill be stored w hen
the export is complete.
13. Click on Export.

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Chapter 21: Conformation

Importing an Edited XML or AAF Sequence back for Conformation
T-SBANIM-006-008
Once you have imported your project’s conformation (XML or AAF) into the third party softw are andcompleted editing, you w ill need to export it once again as an XML or AAF file to bring it back into your
Storyboard Pro project.

NOTE
Refer to your third party softw are’s documentation to learn how to export the animatic project inan XML or AAF file format.

IMPORTANTYou can only reimport a modified conformation XML or AAF file into the original project from w hichit w as first exported.

How to import a video editing sequence into your project
1. In your original storyboard project, select File > Conformation > Import Animatic Project.
The Import Project w indow opens.

2. Click the Brow sebutton and locate your XML or AAF file.

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Storyboard Pro 22 User Guide

3. In the Options section, all of the options are enabled by default:l

Process Panels:Checking this option w ill provide you w ith options for how panels w ill be
imported in the process of conformation.

lCreate Layers from PSD files:Checking this option w ill allow images in PSD file format
from a third-party softw are to appear multiple-layer panels rather than a flat image w hen
imported back into the Storyboard Pro project. Please note that modifications made toexisting PSD images w ill not appear in Storyboard upon importing back the project as theoriginal artw ork is alw ays preserved.

l

Use the Scene Reference track to conform scenes:Checking this option w ill use the timingof the reference scene in Storyboard Pro to accurately import panels into their parent scenes.
Since there is no scene information in AAF or XML, this w ill avoid the problem of panels
w ithout matching IDs to be in one large scene upon conforming back to Storyboard.

lProcess Audio: Uncheck this if you don't w ant the changes done to the audio tracks orsound clips in the sequence you're importing to be applied to your Storyboard Pro project.
Your project's audio tracks w ill be left untouched.

l

Process Video: Uncheck this option if you don't w ant the changes done to the panels,
scenes or transitons in the sequence you're importing to be applied to your Storyboard Pro
project. This can be useful if you only w ish to conform edits to the project's audio tracks.

TIP
You can import audio tracks composed from scratch in a video editing softw areby exporting them into an XML or AAF sequence, then importing the sequence
via this dialog, w ith the Process Video option unchecked.

lProcess Captions: Uncheck this option if you don't w ant changes to captions done in thesequence you're importing to be applied to your Storyboard Pro project.

NOTE
If you exported your captions w ithout Rich Text Formatting, and made changes
to them, they w ill lose their formatting w hen the changed captions are imported
into your project.

4. Click OK to return to the Import Project w indow .
The Report section displays information relative to the conformation process. If an error happened
during the conformation process, this is also w here the details relative to this error w ould appear.

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Chapter 22: Scripting Guide

Chapter 22: Scripting Guide
Storyboard Pro provides you w ith several scripting interfaces to allow you to automate and streamline certain
tasks as w ell as to add custom functionalities to the application. Those scripting interfaces use Qt Script, ascripting language based on the ECMAScript standard w hich is very similar to JavaScript.

Storyboard Pro Scripting ReferenceThis section of the documentation explains how to use the Storyboard Pro Script Editor, but does not teaches
how to w rite scripts nor does it contain in-depth information about the classes and modules that are available
in the Storyboard Pro scripting interface. The reference guide for the Storyboard Pro scripting interface islocated on a different documentation w ebsite. This reference guide documents all the modules and classes
that are available in the Storyboard Pro scripting interface, as w ell as their methods and properties.
To access the scripting reference, in the top-left corner of the Script Editor view , open the

View menu andselect Help > Scripting Interface Documentation.

About Qt Script
Qt Script is an object-oriented scripting language based on the ECMAScript standard, like JavaScript andJScript. How ever, there are some differences that distinguish Qt Script from these other scripting languages,
w hich are familiar to w eb programmers.
The Qt Script environment provides several standard classes and modules that are not documented in the
Storyboard Pro scripting documentation. For a reference of the QT development environment, refer to the Qt
Documentation w ebsite, w hich can be accessed at the follow ing address:
http://doc.qt.io/qt-4.8/index.html
For a tutorial on w riting JavaScript, refer to to the JavaScript Tutorial section of W 3Schools, w hich can beaccessed at the follow ing address:
https://w w w .w 3schools.com/js
Creating Scripts

1094

Editing a Script Packaged w ith Storyboard Pro

1097

Checking Script Syntax

1099

Testing a Script

1100

Debugging Scripts

1102

Using the Scripting Sandbox

1104

Importing Scripts

1105

Deleting Scripts

1107

Restoring a Storyboard Pro Script

1108

Using an External Script Editor

1109

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Storyboard Pro 22 User Guide

Storing Scripts in a Custom Directory1111

Adding Scripts as Toolbar Buttons

1114

1093

Chapter 22: Scripting Guide

Creating Scripts
You can create scripts for Storyboard Pro by using the Script Editor view .

NOTEUser scripts are stored in the follow ing location:l

W indows: C:\Users\[username]\AppData\Roaming\Toon Boom Animation\Toon
Boom Storyboard Pro\20100-scriptslmacOS: /Users/[username]/Library/Preferences/Toon Boom Animation/Toon
Boom Storyboard Pro/20100-scripts

How to create a script
1. In the top-right corner of the Stage or Camera view , click on the

Add View button and selectScript Editor.
The Script Editor view is added to your w orkspace. It lists all the scripts packaged w ith Storyboard
Pro as w ell as any script you previously created.

2. Do one of the follow ing:l

In the Script Editor toolbar, click the

New Script button.

l

In the top-left corner of the Script Editor view , click on theFile > New Script.

The New Script dialog box appears.

1094

Menu button and select selectStoryboard Pro 22 User Guide

3. Type in a name for your script and click on OK.
A dialog prompts you to select the location in w hich to create the script.

4. In the drop-dow n menu, select the location in w hich you w ant to create the script:l

User: Saves the script to a directory in your user preferences directory. You w ill be able torun and edit the script from any scene as long as you are logged in as the same user.

l

Scene: Save the script to the project's scripts sub-folder. Anyone w ill be able to edit andrun the script w hen w orking on this specific project.

l

System Variable: Save the script to the directory in the TOONBOOM_GLOBAL_SCRIPT_
LOCATION environment variable. This option is only available if this environment variable isset.

Your script is added to the list of scripts in the Script Editor.
5. Select the script your just created in the list.

You can now start editing your script in the Script Editor.
6. Click on the text field in the right area of the Script Editor and start w riting your script.
The follow ing is an example of a script that w ill display a message box saying "Hello W orld!"
function HelloWorld(){
MessageBox.information("Hello World!");}1095

Chapter 22: Scripting Guide

NOTE
For information on how to use the Qt scripting language in Storyboard Pro, see Scripting
Guide on page 1092. You can also open the scripting reference guide directly from the Script
Editor by clicking on the

Menu button in the top-left corner and selecting Help > ScriptingInterface Documentation.

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Storyboard Pro 22 User Guide

Editing a Script Packaged with Storyboard Pro
Storyboard Pro comes pre-installed w ith several scripts. These scripts are stored in a read-only location
among other files that are packaged by Storyboard Pro. Hence, by default, they cannot be edited.
To edit a script that w as installed w ith Storyboard Pro, you must copy it to a location w here it can be edited.
This can easily be done by using the Make Editable button of the Script Editor view . This button creates a copyof the script and stores it in a location w here you can make changes to it. Meanw hile, the original copy of thescript remains untouched, and it is possible to revert to it later if you w ant.

IMPORTANT
Some buttons and menu items in the Storyboard Pro user interface run scripts that are packaged
w ith Storyboard Pro. Hence, making changes to scripts packaged w ith Storyboard Pro may impact
its functionality.

NOTE
If you make unw anted changes to a script that w as packaged w ith Storyboard Pro, you can restore
its original version—see Restoring a Storyboard Pro Script on page 1108.

How to edit a script that is packaged with Storyboard Pro
1. In the file list of the Script Editor, select any of the scripts that are packaged w ith Storyboard Pro.

TIP
Scripts that are packaged w ith Storyboard Pro have Application Resources as theirlocation.

2. Under the script editor, click on the Make Editable button.
A dialog prompts you to select the location in w hich to copy the script.

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Chapter 22: Scripting Guide

3. In the drop-dow n menu, select the location in w hich you w ant to copy the script:l

User: Saves the script to a directory in your user preferences directory. You w ill be able torun and edit the script from any scene as long as you are logged in as the same user.

l

Scene: Save the script to the project's scripts sub-folder. Anyone w ill be able to edit andrun the script w hen w orking on this specific project.

l

System Variable: Save the script to the directory in the TOONBOOM_GLOBAL_SCRIPT_
LOCATION environment variable. This option is only available if this environment variable isset.

4. Click on OK.
In the file list, the location of the selected script is updated to the one you selected.
Under the script editor, the Make Editable button is replaced w ith the Save button. This means thatyou can make changes to the script and save those changes.

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Storyboard Pro 22 User Guide

Checking Script Syntax
You can verify the syntax of your script before you attempt to run it.

How to verify the syntax of a script
1. In the File list of the Script Editor, select the script you w ant to check.
2. Under the editor, click on the Verify button.
A dialog appears and displays w hether or not it found a syntax error in the script, and if it did, thelocation and type of error.

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Chapter 22: Scripting Guide

Testing a Script
You can test a script using the

Run command, w hich is available in the Script Editor toolbar and menu. The

run command can execute a specific function in one of your scripts, or an entire script. W hat the Run commandis set to run is called the target.
To select w hich function in w hich script the Run command should execute, you must use theSet Target

command, w hich w ill prompt you to select a script and a function. Once you've done this, every time you use
the

Run command, it w ill execute the function you set as your target. If you need to test a different function

or script later, you w ill have to use theSet Target command again to change the target script and function.

This allow s you to w ork on and repeatedly test one script or one function at a time w hen w orking on a script.

NOTES
l

If you use theRun command w ithout setting a target first, you w ill be prompted to set atarget. The selected target w ill persist until you use theSet Target command to change it.

l

The target script and function is also used by the

Debug command.

l

To run a script from the global scope rather than running a specific function, you can select<Nothing> as the target function.

l

Although you can run a script at the global scope, you cannot create a toolbar button that runs
a script at the global scope. Toolbar buttons can only run specific functions w ithin a script.
Hence, running a script at the global scope should be done for testing purposes only.

How to test a script
1. If you are currently editing the script you w ant to test, save it by clicking on the Save button
underneath the editor.
2. Do one of the follow ing:l

In the Script Editor toolbar, click on thel

In the top-left corner of the Script Editor, click on thePlay/Debug > SetTarget.

1100

Set Target button.
Menu button and selectStoryboard Pro 22 User Guide

A dialog appears listing all the scripts as w ell as all the functions in the current script.

3. In the Files list of the dialog, select the script you w ant to test.
4. In the Functions list of the dialog, select the function you w ant to test.

NOTE
If you w ant to test the w hole script from the global scope, select the <Nothing>
function.

5. Click on OK.
6. Do one of the follow ing to execute the target function:l

In the Script Editor toolbar, click on thel

In the top-left corner of the Script Editor, click on thePlay/Debug > Run.

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Run button.
Menu button and selectChapter 22: Scripting Guide

Debugging Scripts
If you are having issues w ith a script you're w orking on, you can debug your script using theDebugcommand. W ith the Debug command, you can run a specific function in your script, or an entire script, througha debugging interface.
To select w hich function in w hich script the Debug command should debug, you must use theSet Target

command, w hich w ill prompt you to select a script and a function. Once you've done this, every time you use
theDebug command, it w ill debug the function you set as your target. If you need to debug a different

function or script later, you w ill have to use theSet Target command again to change the target script andfunction. This allow s you to w ork on and repeatedly debug one function at a time w hen w orking on a script.

NOTES
l

If you use the

Debug command w ithout setting a target first, you w ill be prompted to set atarget. The selected target w ill persist until you use theSet Target command to change it.

l

The target script and function is also used by the

Run command.

l

To debug a script from the global scope rather than debugging a specific function, you canselect <Nothing> as the target function.

l

Although you can run a script at the global scope, you cannot create a toolbar button that runs
a script at the global scope. Toolbar buttons can only run specific functions w ithin a script.
Hence, debugging a script at the global scope should be done for testing purposes only.

How to debug a script
1. If you are currently editing the script you w ant to debug, save it by clicking on the Save button
underneath the editor.
2. Do one of the follow ing:l

In the Script Editor toolbar, click on thel

In the top-left corner of the Script Editor, click on thePlay/Debug > SetTarget.

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Set Target button.
Menu button and selectStoryboard Pro 22 User Guide

A dialog appears listing all the scripts as w ell as all the functions in the current script.

3. In the Files list of the dialog, select the script you w ant to debug.
4. In the Functions list of the dialog, select the function you w ant to debug.

NOTE

5.

If you w ant to debug the w hole script from the global scope, select the <Nothing>
function.

6. Do one of the follow ing to execute the target function:l

In the Script Editor toolbar, click on the

Run button.

l

In the top-left corner of the Script Editor, click on the

Menu button and selectPlay/Debug > Debug.
The Qt Script Debugger opens. In it, you w ill find standard debugging controls.

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Using the Scripting Sandbox
The sandbox is a space in the Script Editor in w hich you can type or paste code snippets and test or debug
them on the fly, w ithout having to put them in the context of a function, and w ithout having to create a scriptor to modify an existing script. It's also a useful tool to get yourself familiarized w ith the Storyboard Pro
scripting interface.

How to use the Script Editor sandbox
1. In the File list, select << Sandbox >>.
2. In the text field of the script editor, type in your code.
The follow ing sample code w ill display a message box saying "Hello W orld!"
MessageBox.information("Hello World!");3. Do one of the follow ing:l

To verify the syntax of your script, click on the Verify button under the text field.

l

To test your script, click on the

Run button in the Scripting toolbar or, in the top-leftcorner of the Script Editor, click on thel

To debug your script, click on the

Menu button and select Play/Debug > Run.

Debug button in the Scripting toolbar or, in the top-leftcorner of the Script Editor, click on the

Menu button and select Play/Debug > Debug.

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Importing Scripts
If you w ant to use scripts w ritten by other users, you can transfer the .js files from their computer to yours,
then use the Script Editor to import the .js files from w here they are stored on your computer.

NOTES
l

W hen you import a script, any user interface (.ui) or icon (.png) file that is in the same
directory and has the same filename as the script w ill also be imported.

lUser scripts are stored in the follow ing location:l

W indows: C:\Users\[username]\AppData\Roaming\Toon Boom
Animation\Toon Boom Storyboard Pro\20100-scriptslmacOS: /Users/[username]/Library/Preferences/Toon Boom
Animation/Toon Boom Storyboard Pro/20100-scripts

How to import scripts
1. Do one of the follow ing:l

In the Script Editor toolbar, click on

Import Script.

l

In the top-left corner of the Script Editor view , click on the

Menu button and select File >Import Script.
An Open dialog appears.
2. In the Open dialog, brow se to the location of the script you w ant to import. Select it, then click on
Open.
A dialog prompts you to select the location in w hich to import the script.

3. In the drop-dow n menu, select the location in w hich you w ant to import the script:l

User: Saves the script to a directory in your user preferences directory. You w ill be able torun and edit the script from any scene as long as you are logged in as the same user.

l

Scene: Save the script to the project's scripts sub-folder. Anyone w ill be able to edit andrun the script w hen w orking on this specific project.

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Chapter 22: Scripting Guidel

System Variable: Save the script to the directory in the TOONBOOM_GLOBAL_SCRIPT_
LOCATION environment variable. This option is only available if this environment variable isset.

4. Click on OK.
The script is copied to the chosen location and can now be edited and executed in the Script Editor
view . It can also be added as a button to the Scripting toolbar—see Adding Scripts as Toolbar
Buttons on page 1114.

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Deleting Scripts
You can delete custom scripts from the Script Editor.

IMPORTANTW hen you delete a script in the Script Editor, the file containing this script is permanently deleted
from your file system.

NOTES
l

You cannot delete a script that is in the Application Resources folder. Those scripts w ere
installed w ith Storyboard Pro and are read only.

l

If you made a script that w as packaged w ith Storyboard Pro editable by copying it to anotherlocation, you can delete your version of the script. This w ill restore the original version of thescript to the File list.

How to delete a script
1. In the Script Editor, in the File list, select the script you w ant to delete.
2. Do one of the follow ing:l

From the Script Editor toolbar, click thel

In the top-left corner of the Script Editor view , click on the
Delete Script.

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Delete Script button.
Menu button and select File >Chapter 22: Scripting Guide

Restoring a Storyboard Pro Script
If you made a script that w as packaged w ith Storyboard Pro editable so you could make changes to it, you caneasily revert to the original version of the script at any time by using the Restore to Default button of the
Script Editor view . This button deletes your copy of the script and restores the version of the script that w as
installed w ith Storyboard Pro to the File list.

IMPORTANT
Restoring a Storyboard Pro script to its original version w ill permanently discard any changes you
made to it.

How to restore a script packaged with Storyboard Pro to its original version
1. In the File list of the Script Editor view , select a script that w as installed w ith Storyboard Pro and tow hich you made changes that you w ant to revert.
2. At the bottom of the Script Editor view , click on the Restore to Default button.

A prompt w ill ask you to confirm discarding the changes you made to the script.

3. If you are sure you w ant to permanently revert the script to its original version, click on Yes.
The script is restored to the original version that w as installed w ith Storyboard Pro.

NOTE
W hen restoring a script to its original version, its location is set to Application
Resources and it becomes read-only, as it w as before you made changes to it. If you
w ant to make changes to the script again, you must make it editable again—see Editinga Script Packaged w ith Storyboard Pro.

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Using an External Script Editor
If you are more comfortable editing your scripts using another text editor or syntax highlighter, Storyboard Pro
allow s you to set an external script editor and use that one instead.

NOTE
If you try to open a script in the external editor w ithout setting it first, Storyboard Pro w ill open thescript in the default editor for JavaScrtipt (.js) files on your machine.

How to set an external editor
1. Do one of the follow ing:l

In the Script Editor toolbar, click the

Set External Editor button.

l

In the top-left corner of the Script Editor view , click on the

Menu button and select Editor> Set External Editor.
The Set External Editor w indow opens.

2. Select Browse... and use the file explorer to locate the text editing application you w ant to use.
3. In the external editor, type the complete and absolute path to the text editing application you w ant
to use, including its name and extension. For example, if you w ant to use notepad++ on W indow s,
you could type:
C:\Program Files\Notepad++\notepad++.exe
On macOS, if you w ant to use an application that supports the AppleScript Open Document
protocol, simply typing the name of the application might w ork, for example:
TextWrangler
Typing the name of the application you w ant to use w ill also w ork if that application has its path in
the PATH environment variable, such as notepad on W indow s.
4. Click on OK.

How to edit a script in an external editor
1. In the File list, select the script you w ant to edit.

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2. Do one of the follow ing:l

In the Script Editor toolbar, click theOpen w ith External Editor button.

l

In the top-left corner of the Script Editor view , click on the

Menu button and select Editor> External Editor.
3. In the external editor that opens, make the desired changes to your script, save the script and closethe external editor.
4. In Storyboard Pro, the changes you made to your script in the external editor w ill not appear
immediately. You can load those changes by selecting another script in the File list, then selecting
the script you changed again.

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Storyboard Pro 22 User Guide

Storing Scripts in a Custom Directory
By default, in Harmony Stand Alone, you can store custom scripts either in your user preferences or in a
project's scripts sub-folder.
If you prefer, it is possible to store your scripts in a specific custom location on your file system. This is done byadding the path to the custom location in the TOONBOOM_GLOBAL_SCRIPT_LOCATION environment variable.
W hen this environment variable is set, Storyboard Pro w ill look for JavaScript (.js) files in that directory andadd them to the list of scripts in the Script Editor, w ith System Variable as their location.
Additionally, w hen you create a script, import a script or make an original Storyboard Pro script editable, you
w ill get to store the script in the directory in the TOONBOOM_GLOBAL_SCRIPT_LOCATION environment
variable by selecting System Variable in the prompt asking you w here to store the script.
If you are w orking in a collaborative environment, you can make this directory read-only so that only people
w ith special privileges can add or edit scripts in this directory. Storyboard Pro w ill check w hether it has
privileges to edit scripts in this location before allow ing users to make changes to them. Otherw ise,
Storyboard Pro w ill only allow the user to run them.
The method for setting an environment variable varies depending on the operating system you're using, as
w ell as w hether you w ant the environment variable to be set for everyone w ho uses the computer, or only thecurrent user.

How to set the path to the custom scripts directory for the current user on W indows
1. Open the W indow s Control Panel:l

On W indows 7: Open the Start menu and select All Programs > Accessories > System
Tools > Control Panel.

l

On W indows 8.1 or W indows 10: Open the Start menu and, in the programs list, selectW indows System > Control Panel.

2. Select User Accounts, then User Accounts again.
3. In the left pane, select Change my environment variables.
4. Under the User variables list, click on New.
The New User Variable dialog appears.
5. In the Variable Name field, type TOONBOOM_GLOBAL_SCRIPT_LOCATION.
6. Click on Browse Directory.
A Brow se for Folder dialog appears.
7. Brow se to and select the directory in w hich you w ant to store scripts, then click on OK.
8. In the New User Variable dialog, click on OK.

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Chapter 22: Scripting Guide

9. In the Environment Variables dialog, click on OK.
The next time you launch Storyboard Pro, you w ill be able to create, load and edit scripts in the
directory you set as a custom script location.

How to set the path to the custom scripts directory for all users on W indows
1. Open the W indow s Control Panel:l

On W indows 7: Open the Start menu and select All Programs > Accessories > System
Tools > Control Panel.

l

On W indows 8.1 or W indows 10: Open the Start menu and, in the programs list, selectW indows System > Control Panel.

2. Select System and Security > System.
3. In the left pane, select Advanced system settings.
4. Open the Advanced tab.
5. Click on Environment Variables.
6. Under the System variables list, click on New.
The New System Variable dialog appears.
7. In the Variable Name field, type TOONBOOM_GLOBAL_SCRIPT_LOCATION.
8. Click on Browse Directory.
A Brow se for Folder dialog appears.
9. Brow se to and select the directory in w hich you w ant to store scripts, then click on OK.
10. In the New System Variable dialog, click on OK.
11. In the Environment Variables dialog, click on OK.
The next time you launch Storyboard Pro, you w ill be able to create, load and edit scripts in the
directory you set as a custom script location.

How to set the path to the custom scripts directory for the current user on macOS
1. In a Terminal, type in the follow ing command to create a launch agent for your user:$ vi ~/Library/LaunchAgents/com.toonboom.global.script.location.plist
2. Press the i key to enter insert mode and start editing the file.

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3. Add the follow ing text to the launch agent, replacing <path to scripts directory> w ith theabsolute (full) path to the directory w here you w ant to store scripts:<?xml version="1.0" encoding="UTF-8"?><!DOCTYPE plist PUBLIC "-//Apple//DTD PLIST 1.0/EN" "http://www.apple.com/DTDs/PropertList-1.0<plist version="1.0"><dict><key>Label</key><string>com.toonboom.global.script.location</string><key>ProgramArguments</key><array><string>sh</string><string>-c</string><string>launchctl setenv TOONBOOM_GLOBAL_SCRIPT_LOCATION "<path to scripts directory>"</st</array><key>RunAtLoad</key><true /></dict></plist>4. Press Esc to exit insert mode.
5. Type in :wq and press Enter to save and quit.
1. In the terminal, type the follow ing command to enable the launch agent:$ launchctl load -w~/Library/LaunchAgents/com.toonboom.global.script.location.plist

How to set the path to the custom scripts directory for all users on macOS
1. In a Terminal, type in the follow ing command to edit the login script for all users:$ sudo vi /etc/profile
2. Press the i key to enter insert mode and start editing the file.
3. Add the follow ing lines at the end of the script, replacing <path to scripts directory> w ith
the absolute (full) path to the directory w here you w ant to store scripts:
export TOONBOOM_GLOBAL_SCRIPT_LOCATION="<path to scripts directory>"launchctl setenv TOONBOOM_GLOBAL_SCRIPT_LOCATION "<path to scripts directory>"

4. Press Esc to exit insert mode.
5. Type in :wq and press Enter to save and quit.

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Chapter 22: Scripting Guide

Adding Scripts as Toolbar Buttons
To use scripts in your regular w orkflow , you can add them as buttons to the Scripting toolbar. You can add
buttons to the Scripting toolbar that are configured to run ax specific function in a script and, if you w ant, givethese button a specific icon and tool tip.

NOTE
For more information on the Scripting toolbar and the Scripts Manager dialog, see the Reference
Guide.

How to link a script to a toolbar button
1. Add the Scripting toolbar to your w orkspace by doing one of the follow ing:l

From the top menu, select W indows > Toolbars > Scripting.

l

Right-click on any toolbar and select Scripting.

The Scripting toolbar is added to your w orkspace.

1. In the Scripting toolbar, click theManage Scripts button.

The Scripts Manager dialog box opens and displays the available scripts.

2. In the Files list, select the script file containing the function you w ant to add to the toolbar.
The functions in the selected script appear in the Functions list.
3. In the Functions list, select the function that you w ant to add to the toolbar.

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Storyboard Pro 22 User Guide

4. Betw een the Functions and In Toolbar list, click on the

Right Arrow button.

The selected function is added to the In Toolbar list.
5. If you w ant to add a custom icon to the toolbar button for your script, click on the Customize Icon
button and, in the Open dialog that appears, brow se to and select the icon file that you w ant the
button to have.
You can use .png, .jpg, .xpm or .tvg files as toolbar icons.
6. If you w ant to add a custom tooltip to the toolbar button for your script, click on the Customize
Tooltip button and, in the dialog that appears, type in the tooltip for your toolbar button.

7. Click on OK.
A button for the selected function is added to the Scripting toolbar. If you click on this button, thefunction your selected w ill be executed.

TIP
You can stop a script w hile it is running by pressing the Esc key or clicking on the
button on the Scripting toolbar.

1115

Stop