TOON BOOM HARMONY 12.2.1- Advanced Edition -Getting Started 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 guide is covered by a specific limited warranty and exclusions and limit of liability under theapplicable License Agreement as supplemented by the special terms and conditions for Adobe®Flash® File
Format (SWF). For details, refer to the License Agreement and to those special terms and conditions.
The content of this guide is the property of Toon Boom Animation Inc. and is copyrighted.
Any reproduction in whole or in part is strictly prohibited.
Trademarks
Harmony is a trademark of Toon Boom Animation Inc.
Publication Date
7/6/2018
Copyright © 2016 Toon Boom Animation Inc. All rights reserved.

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Harmony 12.2 Advanced - Getting Started Guide

Contents
Toon Boom Harmony 12.2.1- Advanced Edition - Getting Started Guide

1

Contents

3

Chapter 1: Introduction

5

Chapter 2: About the Welcome Screen

7

Chapter 3: How to Create a Scene

9

Chapter 4: About the Interface

11

Chapter 5: How to Draw

17

Chapter 6: How to Paint

19

Chapter 7: How to Create a Traditional Animation

23

Chapter 8: How to Morph Drawings

31

Chapter 9: How to Import Bitmap Images

35

Chapter 10: How to Build a Cut-out Character

43

Chapter 11: How to Use Deformers

51

Chapter 12: How to Animate a Cut-out Character

63

Chapter 13: How to Create Templates

69

Chapter 14: How to Set Up a Scene

71

Chapter 15: How to Animate Objects and the Camera

77

Chapter 16: How to Create a Multiplane

83

Chapter 17: How to Import Sound and Add Lip-Sync

87

Chapter 18: How to Add Effects to a Scene

91

Chapter 19: How to Export a Movie

97

Glossary

103

Index

112

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Harmony 12.2 Advanced - Getting Started Guide

Chapter 1: Introduction
Harmony is a complete animation software allowing you to create all kinds of creative animation projects. It comeswith a very wide variety of tools and features.
In the Getting Started Guide, you will learn about the main features covering the basic concepts of Toon Boom
Harmony, which will quickly bring you up to speed. Refer to the complete Toon Boom Harmony documentation
available online at docs.toonboom.com to learn about all the tools and options, as well as advanced techniques.
This guide is divided as follows:•

About the Welcome Screen•

How to Create a Scene•

About the Interface on page 11•

How to Draw on page 17•

How to Paint on page 19•

How to Create a Traditional Animation on page 23•

How to Morph Drawings on page 31•

How to Import Bitmap Images on page 35•

How to Build a Cut-out Character on page 43•

How to Use Deformers on page 51•

How to Animate a Cut-out Character on page 63•

How to Create Templates on page 69•

How to Set Up a Scene on page 71•

How to Create a Multiplane on page 83•

How to Animate Objects and the Camera on page 77•

How to Import Sound and Add Lip-Sync on page 87•

How to Add Effects to a Scene on page 91•

How to Export a Movie on page 97

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Harmony 12.2 Advanced - Getting Started Guide

Chapter 2: About the Welcome Screen
When you start Toon Boom Harmony, the Welcome screen appears. If a scene is already open, you can display the
Welcome screen by selecting Help > Show Welcome Screen.

The Welcome screen allows you to:
1. Create scenes
2. Choose the scene resolution
3. Open recent scenes from a list
4. Add or delete a custom scene resolution
5. Open Harmony directly without opening the Welcome screen first.
To display the Welcome screen later on, go to the top menu and select Help > Show Welcome Screen.
6. Open Harmony video tutorials
7. Open the online support page
8. Open scenes by browsing

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Harmony 12.2 Advanced - Getting Started Guide

Chapter 3: How to Create a Scene
All scenes created via Harmony Stand Alone are independent and local to the computer. You can create or open ascene using the Welcome screen.
How to create a scene from the Welcome screen
1. In the Name field, type the scene’s name.

2. To select the scene’s location, in the Location section, click Browse.

NOTE: In general, the scene name should not exceed 23 characters and cannot contain special characters, such as*&^%!.

3. From the Camera Size menu, select a scene resolution and click Create Scene.

A new scene is created.

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Harmony 12.2 Advanced - Getting Started Guide

Chapter 4: About the Interface
It’s important that you become familiar with the following elements of the user interface as this will help you to start
using Toon Boom Harmony. You can learn more about the highlights described here, and how to use them in a
production context, throughout this guide.
When you start Toon Boom Harmony for the first time, the default workspace is displayed. It contains all the mainelements you need to use.

How to add a view
1. Do one of the following:‣

Select the view you want to add from Windows > desired view.

‣

In the top-right corner of a view, click the Add View‣

a view from the list. You can open several instances of the same view except for the Timeline, Tool
Properties, Colour, and Drawing views.

11

button and selectChapter 4: About the Interface

By default, the view appears as a tab.

How to dock a window
1. Drag a window by its tab and do one of the following:‣

Drop the window onto other existing tabs to add it to the others.

‣

Drop the window above, below or beside an existing view. When you get close to the edge of a view, ablack rectangle with a blue background appears, indicating where the view will be inserted.

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Harmony 12.2 Advanced - Getting Started Guide

Tool Properties View

The contextual Tool Properties view contains the most common options and operations related to the currently
selected tool. When you select a tool from the Tools toolbar, the Tool Properties view is updated.
For example, if you choose the Selecttool in the Tools toolbar, the Tool Properties view displays the options
and operations related to the Select tool, such as Snap to Contour, Snap and Align, Flip Horizontal and Flatten.

Interface Navigation
Toon Boom Harmony lets you zoom in, zoom out, rotate, pan and reset views for easy navigation of the interface.
Command

ActionAccess Methods
View > Zoom In

Zoom In

Zooms in the view.

13

Press 2 or roll the mousewheel up.

Chapter 4: About the Interface

In the Timeline view, roll themouse wheel up.
View > Zoom Out
Zoom Out

Zooms out the view.

Press 1 or roll the mousewheel down.
In the Timeline view, roll themouse wheel down

Zoom In or Out

Zooms in or out of the view.

Roll the middle mouse button
up or down.

Pan

Moves parallel to the view.

Hold down the Spacebar anddrag n in the direction in which
you want to pan the view.

Recenter view

Recenters the view on the pointer.

Press N

Resets the view’s pan to its default
position.

View > Reset Pan

Reset Pan

Press Shift + N
View > Reset View

Reset View

Resets the view to its default position.

Press Shift + M

Resets the view’s rotation to its default
position.

View > Reset Rotation

Reset Rotation

Reset Zoom

Resets the view’s zoom to its default
position.

Press Shift + X
View > Reset Zoom

Enlarges the selected view to fullscreen which is done in three stages.

Toggle Full ScreenFirst, the selected view enlarges to the
maximum width or height, but keeps the View > Toggle Full Screen
tool views such as Colour or Tool
Press Ctrl + F
Properties view.
(Windows/Linux) or ⌘ + F
Second, the view enlarges to full(Mac OS X)
screen.
Third, the view returns to its originalsize.

Rotate 30 CW

Rotates the Camera view 30 degrees
clockwise, like an animation table.

View > Rotate View CW

Rotate 30 CCW

Rotates the Camera view 30 degrees
counter-clockwise, like an animationtable.

View > Rotate View CCW

Toggle Quick Close-up

Use the Magnifier tool to quickly centeron the mouse position and zoom in to a
pre-defined value such as 4X. Then you
can zoom out again. Hold the Shift key

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Harmony 12.2 Advanced - Getting Started Guide

and press Z to zoom in and back out
again. Replace the Reset Zoom bypressing Shift +.
The area where you zoom in or out isdependent on the pointer location in the
Camera view. If you zoom in and thenmove the pointer to a different location
when you zoom out the mouse will becentered on that location.

NOTE: If you're using a tablet or track pad that supports touch, then you can also use the standard two-finger
gestures to zoom, rotate, and pan the Camera and Drawing views.

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Harmony 12.2 Advanced - Getting Started Guide

Chapter 5: How to Draw
As soon as Toon Boom Harmony is started, you can start to draw straight away using the default drawing layer.
How to draw
1. In the Tools toolbar, select the Brush

tool or press Alt + B.

2. In the Timeline or Xsheet view, click in the first cell of the drawing layer.

3. In the Drawing or Camera view, start drawing.

4. To select a different colour, in the Colour view, select a different colour swatch. Double-click on the colour
swatch to open the Colour Picker window and change the colour. Remember that anything already painted
with that colour will update to the new colour.

17Harmony 12.1 Advanced - Getting Started Guide

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Harmony 12.2 Advanced - Getting Started Guide

Chapter 6: How to Paint
Toon Boom Harmony has some very powerful colouring features when it comes to painting. To paint your drawings,
you will use different colour swatches, unlike some other painting programs where you modify the main swatch eachtime you want to paint with a different colour.

In the Colour view, you choose a different colour swatch for each colour you want to paint in your drawing. You can
add as many swatches as you want. You can also rename them and modify existing ones.

When you modify the colour of an existing swatch, it automatically updates all the zones painted with this swatch
throughout the entire project. The colour swatch has a unique ID number that associates it with the painted zones.
This way, you can change the look of your character at any time without having to repaint it!

19

Chapter 6: How to Paint

In animation, specific colours are used to paint each particular character. In order to maintain absoluteconsistency, a colour palette is created for each character, prop and effect throughout the production. This isreferred to as a master palette 1.
Master palettes contain a colour swatch for each zone to colour with a precise RGBA colour value.
Using a master colour palette has many benefits, including:•

Each character consistently retains their dedicated colours.

•

You cannot accidentally use a colour which is not in the master palette.

•

Standardization and colour consistency throughout the production•

Multiple artists can use the same colour palette and produce the same results.

Toon Boom Harmony uses palettes to hold all the colours needed to paint your elements, allowing complete
control and consistency in your painting process.
A palette is created by assigning a set of colours to each character, prop or effect. You will create a new paletteand add a new colour, known as a colour swatch, for each zone of the character, such as the skin, hair, tongue,
shirt, pants, and so on.
How to paint drawings
1. In the Timeline or Xsheet view, select the drawing you want to paint.
2. In the Tools toolbar, select the Paint

tool or press Alt + I.

3. In the Colour view, select a palette.
4. Select a colour from the palette.
‣

If you are working with vector layers, double-click on a colour swatch to open the Colour Picker
window and modify the colour.

‣

If you are working with bitmap layers, use the RGB/HSV controls to select a colour.

1A group of colours attributed to a character or prop. The palette is used throughout the entire production tomaintain consistency in the look and to ensure that the same colours are used throughout the production. Also
known as palette.
20Harmony 12.2 Advanced - Getting Started Guide

NOTE: The colour palette only appears in the Colour view when you select a drawing element.

5. In the Drawing or Camera view, start painting the colours on your drawing.

Closing Gaps

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Chapter 6: How to Paint

When painting, notice that some of your drawing areas are not closed. To close the zone, you can draw themissing line with the Brush or Pencil tool or close the gap with an invisible line. To do so, you will use the Close
Gap tool.
The Close Gap tool lets you close small gaps in a drawing. The Paint tool only paints closed areas. The Close
Gap tool creates small, invisible strokes between the two closest points to close the colour zone. You do notneed to trace directly over the gap. You can draw it a few millimetres away and the Close Gap tool willautomatically choose the two closest points and close the gap.
How to use the Close Gap tool
1. Do one of the following:‣

In the Tools toolbar, select the Close Gap

tool.

‣

From the top menu, select Drawing > Drawing Tools > Close Gap.

‣

Press Alt + C.

2. In the Tool Properties view, select the Auto-Flatten
flattened in your drawing instead being on top.

button if you want the stroke you draw to be

3. You can display invisible lines by selecting View > Show > Show Strokes or press K. If you do not display the strokes, a message box will appear.

Select the Don’t Show This Message Again option to prevent this message box from appearing again.
4. In the Camera or Drawing view, trace an invisible line near to the gap to be closed.
The gap automatically closes.

22Harmony 12.2 Advanced - Getting Started Guide

Chapter 7: How to Create a Traditional Animation

The first step to complete a traditional paperless animation is the rough construction, which is the skeleton of youranimation. You would usually start with the main action. For example, to animate a walk cycle, you will start with thetorso motion and the legs. Head, arms and clothes will be added later during the secondary animation.
For a satisfactory animation, complete the main action before adding all the details. If you start animating all thedetails right away, you will lose a lot of time if you have to make corrections. Your animation will often look too rigid.
How to animate
1. Press Ctrl + U (Windows/Linux) or ⌘ + U (Mac OS X) to open the Preferences dialog box.
2. Select the Exposure Sheet tab.
3. Select the Use Current Frame as Drawing Name option. When this preference is enabled, drawings will be
named like the frame they are created on (frame number).
4. In the Tools toolbar, select the Brush

tool or press Alt + B.

5. In the Colour view, select a colour for the brush. It is a good idea to choose a light colour for your rough animation. This will help you in the task that follows, the clean up process.

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Chapter 7: How to Create a Traditional Animation

6. In the Timeline or Xsheet view, select the cell where the first drawing will appear.
7. In the Camera or Drawing view, draw the first key drawing.

8. With your first cell still selected, do one of the following to mark your drawing as a key drawing. This will
help you stay organized.
‣

In the Mark Drawing toolbar, click the Mark Selected Drawings as Key

button.

‣In the Xsheet view, select Drawings > Mark Drawing As > Key Drawing.

‣

In the Timeline view, select Drawings > Mark Drawing As > Key Drawing.

9. In the Tools toolbar, click the Onion Skinbutton. The Onion Skin feature displays your previous andnext drawings as visual references to help you draw your new pose.
10. In the Timeline view, click and drag the blue onion skin markers to extend the number of previous and next
visible drawings.
11. In the Camera View or Drawing View toolbar, press either the Onion Skin Reduce One Next/Previous
Drawing or Onion Skin Add One Next/Previous Drawing to reduce or increase the number of previous and24Harmony 12.2 Advanced - Getting Started Guide

next visible drawings. The red icons
for the next drawings.

are for the previous drawings and the green icons

are

12. In the Timeline or Xsheet view, select the cell where your next key drawing will appear.
13. In the Camera or Drawing view, draw your second key drawing.

14. In the Xsheet or Timeline view, identify the drawing as a key drawing.

15. In the Timeline or Xsheet view, select a cell between the two key drawings.

16. From the Timeline toolbar, click Create Empty DrawingR.
‣

to create an empty drawing or press Alt + Shift +In the Xsheet view, right-click and select Drawings > Create Empty Drawing or press Alt + Shift + R.

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Chapter 7: How to Create a Traditional Animation

NOTE: Instead of creating an empty drawing, you can simply start drawing.

17. In the Camera or Drawing view, draw your new pose.

18. If necessary, in the Xsheet or Timeline view, identify the new drawing as a key, breakdown or in-between
drawing using the Mark Drawing toolbar.

19. Use the Flip and Easy Flipping toolbars to review your animation.
20. In the Timeline or Xsheet view, select a new cell and repeat the previous steps for each new drawing.
21. In the Timeline view, use the Enable/Disable All
want to see during playback.

26

and Solobuttons to turn off any layers you don'tHarmony 12.2 Advanced - Getting Started Guide

22. To loop playback, move the red playhead to the desired start frame and click the Start button on the Timeline
toolbar. Move the playhead to the last frame of the playback and click the Stop button.

23. in the Playback toolbar, click the Loopbutton to start the playback.

24. In the Playback toolbar, click the Playbutton to start the animation.

Cleaning Up

When your rough animation is completed, it is time to clean it up and ink it. This step is also called tracing. It
consists of tracing solid and clean lines over the rough animation to close any open zones. This is the final paperlessanimation step before the ink and paint step.
You will need to add a new drawing layer to draw your clean. This is the equivalent of adding a sheet of paper andtracing the rough using the animation disk. This method allows you to keep the roughs and the cleans intact. You
only need to disable the rough layer to prevent it from appearing in the scene.
If you plan on tracing your animation in the Drawing view, you can turn on the light table to display all the layers inyour project.
How to trace your animation in a new layer
1. In the Timeline view, click the Add Drawing Layer(Mac OS X).
The Add Drawing Layer window opens.

27

button or press Ctrl + R (Windows/Linux) or ⌘ + R

Chapter 7: How to Create a Traditional Animation

2. In the Name field, name your new layer.
3. Set the Line Art and Colour Art options to Vector to get a vector layer or to Bitmap to have a bitmap layer.
4. Do one of the following:‣

Click Add to add a first layer and keep the window open to add more layers.

‣

Click Add and Close to add a new layer and close the window.

A new drawing layer is added to the Timeline view.
5. In the Timeline view, click the Lockicon of the layer containing your rough animation to prevent thelayer from being selected in the Camera view.

6. In the Timeline or Xsheet view, select the new layer’s cell corresponding to the first key drawing of yourrough animation.
7. In the Tools toolbar, select a drawing tool such as the Pencil

tool.

8. In the Colour view, select a colour for tracing your animation. Pick a dark bold colour, such as black, tomake sure it contrasts well with the light colour of your rough animation.
9. In the Camera or Drawing view, start tracing the first key drawing.

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Harmony 12.2 Advanced - Getting Started Guide

10. If you have other layers in the way, you can disable them temporarily in the Timeline view, so that only yourrough animation and your clean up layer are displayed in the Camera view.
11. In the Tools toolbar, click the Enable Onion Skinbutton.

12. If you are not using the Onion Skinning by Drawing option, extend the Onion Skin range in the Timeline view,otherwise use the Onion Skin Add One Previous Drawing and Onion Skin Add One Next Drawing buttons in
the Camera or Drawing View toolbar to add drawings to your onion skin display.

13. In the Timeline or Xsheet view, select the next cell corresponding to a rough drawing.
14. In the Camera view, trace your next drawing.

15. Repeat the previous steps for each drawing.

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Harmony 12.2 Advanced - Getting Started Guide

Chapter 8: How to Morph Drawings

When it comes to morphing, you will need to practice and become at ease with it. Once you are familiar with thebasic rules, you can start creating morphing sequences. To begin, start with simple elements. When you are
confident with the morphing process, you can start to use complex and advanced morphing techniques, such ashead rotations or full characters.
You may want to delete an entire morphing sequence in order to redo a sequence from scratch.
How to create a basic morph
1. In the Timeline toolbar, click the Add Drawing Layerbutton to add a new layer to your project.

2. Rename the new layer ( for example, Morphing).
3. In the Timeline or Xsheet view, select the first cell in the layer.

4. Do one of the following:‣

In the Tools toolbar, select the Rectangle‣

Press Alt + 7.

tool.

5. In the Camera or Drawing view, draw a rectangle.
6. Do one or both of the following:‣

Hold down the Shift key to draw a square.

‣

Hold down the Alt key to draw the rectangle from its centre.

7. Paint your rectangle using the Paint tool.

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Chapter 8: How to Morph Drawings

8. In the Xsheet or Timeline view, select the cell on which you want your morphing sequence to end.

9. Do one of the following:‣

In the Tools toolbar, select the Ellipse‣

Press Alt + =.

tool.

10. Draw and paint the ellipse using the same outline colour as the rectangle.

11. In the Xsheet or Timeline view, select the first frame and all the frames up to and including the last frame,
which is the rectangle drawing.

12. Do one of the following:‣

From the top menu, select Animation > Morphing > Create Morphing.

‣

In the Xsheet or Timeline view, right-click and select Morphing > Create Morphing‣

Press Alt + M.

Arrows appear between the two key drawings to show that computer generated inbetweens have beencreated.

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Harmony 12.2 Advanced - Getting Started Guide

NOTE: Use the Playback toolbar to play the morphing sequence. To flip through the inbetweens, toggle between
comma ( , ) and period ( . ). Press F4 to toggle between the two key drawings.

How to delete an entire morphing sequence
1. In the Xsheet or Timeline view, select a cell in the morphing sequence.
2. Do one of the following:‣

From the top menu, select Animation > Morphing > Delete Morphing.

‣

In the Xsheet or Timeline view, select Morphing > Delete Morphing.

‣

Right-click on your sequence and select Morphing > Delete Morphing.

The entire sequence between the two keyframes is removed.

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Harmony 12.2 Advanced - Getting Started Guide

Chapter 9: How to Import Bitmap Images
A bitmap image is an image composed of pixels that are both size and resolution dependent. In Harmony, you canimport bitmap images and vectorize them, making the images editable. Then you can use a variety of drawing tools
to edit the image. Or you can always keep the original bitmap image as is.
Also, you can choose to import bitmap images on bitmap or vector layers depending on your project.

NOTE: You can drag and drop a bitmap image directly from the Library into the scene (Camera) as a quick way ofimporting a bitmap image. However, you will not have access to all the import options.

How to open the Import Images dialog box
1. Do one of the following:‣

From the top menu, select File > Import > Images.

‣

In the File toolbar, click the Import Images‣

In the Xsheet view, right-click anywhere in the frame area and select Import > Images.

button.

The Import Images dialog box opens.

How to import a bitmap image in its original format
1. In the Files section of the Import Images dialog box, click Browse to find and select one or more images on
your computer.

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Chapter 9: How to Import Bitmap Images

2. Decide if the bitmap image will go on a new layer or an existing layer. To add the bitmap image to a newlayer, go to step 3. To add the bitmap image to an existing layer, go to step 4.
3. Add the bitmap image to a new layer by selecting the Create Layer(s) option and one of the following
options and then proceed to step 5:‣

Create Single Layer Named: Creates a layer you can name.

‣Create Layer(s) Based on Filenames: Creates a layer based on each unique filename prefix. For
example, the filenames a-1.tga, a-2.tga and b-1.tga will create layers name "a" and "b", where "a" hastwo drawings and "b" has one. When creating a single layer from these three filenames, all threedrawings will be inserted in the new layers.

4. Select the Add to Existing Layer option to place the bitmap image on a layer you select from the list. If
only vector layers are available in your scene, they will not be displayed in the list. You can choose toencapsulate the bitmap in a symbol by selecting the Create Symbols for Imported Items option.
5. In the Import Options section, select the Keep As Original Bitmap option. In the Alignment section,
decide on the size and placement of your image within the camera frame. Depending on the Scene Settings (the height and width in pixels that you chose for your project), an image that you import may bescaled to the point where all its individual pixels become visible. There are three options available in the
Alignment section:
Parameter

Description
Enlarges or shrinks (but not distorts) the image height to match
the full height of the scene grid.

Fit

If the image orientation is landscape, this will enlarge or shrink(but not distort) the image width to match that of the scene grid.

36Harmony 12.2 Advanced - Getting Started Guide

Note that the Fit alignment rule equals the Center Fit rule in thelayer properties.
This is the opposite of the Fit parameter. If the image orientationis portrait, its width will be made to match the width of the scene
grid. As a result, part of the image’s height will extend beyond
the height of the frame. This can be useful if you want to makeyour background move up and down, or from left to right to makeit appear as if the camera is panning or to actually perform acamera pan.

Pan

The opposite will apply to a landscape image. Its height will be fit
to the scene grid, therefore it is possible that the image will
extend beyond the scene grid's boundaries.

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Chapter 9: How to Import Bitmap Images

Note that the Pan alignment rule equals the Center First Page
rule in the layer properties.
Scales the image in proportion to the scene's resolution. The
system looks at the resolution of the bitmap image, for example
4000 x 2000, then compares it to the scene's resolution, forexample 1920 x 1080, and adjusts the scale factor in proportion.
So, in this example, the bitmap would appear at 208%
(4000/1920). If you import a bitmap that is 960 x 540, it will be
displayed at 50% (960/1920) of the size of the project resolution.

Project Resolution

Note that the Project Resolution alignment rule is equal to the As
Is rule in the layer properties.
6. In the Transparency section, select one of the following from the Alpha menu:
Parameter

Description

Premultiplied with White

Individual pixels at the edge of an image are blended with white.

Premultiplied with Black

Semitransparent pixels in the original image are blended withblack.

Straight

Pixels at the edge of an image are blended with black, white andgreys.

Clamp Colour to Alpha

Premultiplies the colour value with the alpha value. When thecolour is clamped to the alpha, the colour value cannot be higher
than the alpha value. It calculates the real colour value faster.
When the RGB values are multiplied with the alpha value, thatis, if you have a pixel of value R=247, G=188, B=29 and thealpha is 50% or the image has a 50% transparency, then theactual RGB values that are output would be half of the amounts
listed above.

7. Click OK.

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Harmony 12.2 Advanced - Getting Started Guide

How to import a bitmap image as a Toon Boom bitmap drawing
1. In the Files section of the Import Images dialog box, click Browse to find and select one or more images on
your computer.
2. In the Import Options section, select the Import asToon Boom Bitmap Drawing option.
3. Decide if the bitmap image will go on a new layer or an existing layer. To add the bitmap image to a new layer,
go to step 4. To add the bitmap image to an existing layer, go to step 5.
4. In the Layer section, select the Create Layer option, and one of the following options to add the bitmap
image to a new layer:‣

Create Single Layer Named: Creates a layer you can name.

‣Create Layer(s) Based on Filenames: Creates a layer based on each unique filename prefix. For
example, the filenames a-1.tga, a-2.tga and b-1.tga will create layers name "a" and "b", where "a" has two
drawings and "b" has one. When creating a single layer from these three filenames, all three drawings will
be inserted in the new layers.

5. Select the Add to Existing Layer option to place the bitmap image on a layer you select from the list. If only
vectorlayers are available in your scene, they will not be displayed in the list. You can choose to encapsulate the bitmap in a symbol by selecting the Create Symbols for Imported Items option.
6. In the Alignment section, decide on the size and placement of your image within the camera frame. Depending on the scene settings (the height and width, in pixels, that you chose for your project), an image that you
import may be scaled to the point where all its individual pixels become visible.

NOTE: Make sure you are in the Camera view’s Render Mode when judging an imported image,otherwise it may appear blurry. You can also adjust the quality of a bitmap image displayed in the
OpenGL mode by using View > Bitmap File Quality. You must select your bitmap image using theTransform tool.

The following three Alignment Rules options are available:
Parameter

Description

Vertical Fit

Enlarges or shrinks (but not distort) to your image height to match thefull height of the scene frame (alignment grid).

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Chapter 9: How to Import Bitmap Images

Enlarges or shrinks (but not distort) to your image height to match thefull width of the scene frame (alignment grid).

Horizontal Fit

Actual Size

Scales the image in proportion to the scene's resolution. The system
looks at the resolution of the bitmap image, for example 4000 x 2000,
then compares it to the scene's resolution, for example 1920 x 1080,
and adjusts the scale factor in proportion. So, in this example, thebitmap would appear at 208% (4000/1920). If you import a bitmap thatis 960 x 540, it will be displayed at 50% (960/1920) of the size of the
project resolution.

7. In the Transparency section, decide how the bitmap image will be antialiased, more specifically, the way
the pixels along the edge are blended in the RGBA (red, green, blue, alpha (transparent)) channels. Your bitmap image will exist in the bitmap layer of the newly created drawing element.

Parameter

Description

40Harmony 12.2 Advanced - Getting Started Guide

Premultiplied with White

Individual pixels at the edge of an image are blended with white.

Premultiplied with Black

Pixels at the edge of an image are blended with black.

Straight

Pixels at the edge of an image are blended with black, white andgreys.

8. Click OK.
How to import a bitmap image and convert it to a Toon Boom vector drawing
1. In the Files section of the Import Images dialog box, click Browse to select one or more images on your computer.
2. In the Import Options section, select the Convert to Toon Boom Vector Drawing option.
3. Decide if the bitmap image will go on a new layer or an existing layer. To add the bitmap image to a new layer,
go to step 4. To add the bitmap image to an existing layer, go to step 5.
4. In the Layer section, select the Create Layer option, and one of the following options to add the bitmap
image to a new layer:‣

Create Single Layer Named: Creates a layer you can name.

‣Create Layer(s) Based on Filenames: Creates a layer based on each unique filename prefix. For
example, the filenames a-1.tga, a-2.tga and b-1.tga will create layers name "a" and "b", where "a" has two
drawings and "b" has one. When creating a single layer from these three filenames, all three drawings will
be inserted in the new layers.

5. Select the Add Existing Layer option to place the bitmap image on a layer you select from the list. If only vector
layers are available in your scene, they will not be displayed in the list. You can choose to encapsulate the bitmap in a symbol by selecting the Create Symbols for Imported Items option.
6. In the Vectorization section, decide whether you want to import your image in black and white or grey.

Parameter

Description

Black and White

Vectorizes drawings as a solid black line; creates a 100% vectorbased drawing.

Grey

Vectorizes your image as a mix of vector contour and greyscale bitmap filling. Lines keep the texture from the scan, and the white of
the paper becomes transparent.

41Harmony 12.1 Advanced - Getting Started Guide

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Harmony 12.2 Advanced - Getting Started Guide

Chapter 10: How to Build a Cut-out Character

There are many techniques you can use to break down a puppet. In this section, you will learn about one of the mostcommon and simplest methods. For your first character breakdown 1, follow these instructions to get an idea of theway Harmony works. Once you understand Harmony's basic functions and commands, you will be able to create
your own techniques to satisfy the needs of your production.

Drawing the Pieces
The main breakdown technique shown here is to trace your model.
How to break down a character
1. In the Timeline view, add a new drawing layer for each body part to separate. You can press Ctrl + R (Windows/Linux) or ⌘ + R (Mac OS X).

1In cut-out animation, breakdown is the action of breaking a character into pieces to create a puppet witharticulations. To break down a character, the artist cuts parts, such as the hands and arms, from the character's
model and pastes them in separate layers. Next, the joints are fixed and the pivots set. In traditional animation, a
breakdown is an animation pose generally found between two key poses. The key poses are the main poses in an
animation and the breakdowns are secondary poses, ones that help describe the motion and the rotation curve(usually referred to as an arc).
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Chapter 10: How to Build a Cut-out Character

2. In the Timeline view, select the layer's first cell in which you want to draw the part.

3. In the Tools toolbar, select a drawing tool.
4. In the Colour view, select a colour swatch. If you haven't created a palette for your character yet, see How
to Paint on page 19.
5. In the Camera or Drawing view, draw the new part with as with as few points as possible so the pieces areeasy to manipulation, modify or redraw. Using the Polyline
tool would make it easy to do this.

If you are working in the Drawing view, click the Light Table
button in the Drawing View toolbar todisplay the other layers as washed out colours. You can also press Shift + L.
6. You can use the Stroke tool in the Tools toolbar to create an invisible hairline if you want to close a shapewithout drawing an actual stroke.
‣

Select View > Show > Show Strokes or press K to display the invisible lines.

7. In the Tools toolbar, select the Paint

or Paint Unpainted

8. In the Colour view, select the corresponding colour.

44

tool to colour your drawing.

Harmony 12.2 Advanced - Getting Started Guide

9. In the Camera or Drawing view, paint your drawing.

10. In the Tools toolbar, select the Selectbutton in the Tool Properties view.

tool. Select your drawing and flatten the lines by clicking the Flatten

11. If your lines are composed of several pencil strokes, you might want to combine them into one single smooth
pencil line. Using the Select tool, select the pencil lines to be merged and in the Tool Properties view, click
the Merge Pencil Lines
button.

12. Repeat the entire process until the break down is completed.

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Chapter 10: How to Build a Cut-out Character

Adding Pegs
It is recommended to add parent pegs to your drawing layers which are path layers that let you add keyframes tomodify the positions of pieces over time. It is not mandatory, but it is helpful to have your drawings and keyframes
separated.
How to parent drawing layers to pegs
1. In the Timeline view, select all the layers.

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Harmony 12.2 Advanced - Getting Started Guide

2. In the Timeline Layer toolbar, click the Add Parent Peg

button to add a parent peg to all selected layers.

s

Parenting Layers
Harmony lets you extend your rigging techniques beyond normal boundaries and sets new standards. You cancreate hierarchies without encapsulating pieces inside each other by creating a linked structure between layers.
You should create a hierarchy on the arms and legs, and keep them separated from the body. This gives you moreanimation freedom, and when you need to scale or skew the torso, it will not affect the entire body.

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Chapter 10: How to Build a Cut-out Character

How to create a hierarchy in the Timeline view
1. Drag the child piece (hand) and drop it ON the parent piece (forearm). Then, you can drag the parent (forearm) piece onto another parent piece (upper arm).

‣

You can unparent layers by holding down Shift and dragging the selected parents away from the childlayer. Drop your selected between other layers.

Master Peg

When you animate your character, you will probably need to resize and reposition it to fit your scene. When you
need to scale down or move your character, it is a good idea to hook (attach) the whole puppet to a trajectory.
Attaching your puppet to a peg 1 will allow you to scale it and reposition it without having to do this to the different
parts and pieces. Only one layer will contain the position information, which makes your animation easier tomodify and control.

1In traditional animation, a tool used to ensure accurate registration of action as cel layers move. In digital

animation, in which you are doing a more advanced puppet rigging, you can use peg layers. Peg layers aretrajectory layers that do not contain drawings. They are motion paths that you can use to add path articulations.
For the latter, you can also use an inverse kinematics tool.
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Harmony 12.2 Advanced - Getting Started Guide

How to add a master peg
1. In the Timeline view, select the top layer to parent a peg to it. You need to select a layer to be able to add apeg to your scene.
2. In the Timeline view, click on the Add Peg

button.

A new peg is added to the timeline as a parent of the selected layer.
3. Name the new peg Master plus the character's name.
4. In the Timeline view, select all the layers you want to attach to your new peg. Remember that one item isalready parented to that peg.
5. Drag your selection ON to the peg layer to parent all your character's pieces to the peg. If your layers areadded above the already parented layers, move that parented layer back on top of the layer stack.

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Harmony 12.1 Advanced - Getting Started Guide

50

Harmony 12.2 Advanced - Getting Started Guide

Chapter 11: How to Use Deformers
Deformation technology allows you to deform bitmap and vector drawings over a period of time. You can link
deformers to create a hierarchy of deformation. You can deform a character made out of one, or many, drawing or
image layers and make it move as if it were a cut-out puppet.

About the Deformation Effects
Deformations let you animate bitmap or vector-based graphics, including gradients and textures. Deformations act
as a skeleton with limbs and articulations you can bend, reshape, and curve. You can deform a character made outof one, or many, drawing or image layers and make it move as if it were a cut-out puppet. A deformation skeleton iscomposed of deformation nodes, which are the various pieces (here represented as layers or nodes) required to
articulate or deform your drawings, such as a series of bones or game bones—see Deformation Nodes on page 1.

Bone Deformer

The Bone deformation allows you to create a skeleton structure in which the parent bone moves the child bone. The
Bone deformation is useful when animating the extremities of a character, such as the arms or legs, adding fluidity
and a natural feel to the animation. It can be manipulated to rotate a limb at an articulation joint and to shorten or
elongate the extremities of a limb. It's also quite handy for bending the torso.

NOTE: If you are creating a rig to be used in a game, use the Game Bone deformation.

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Chapter 11: How to Use Deformers

Game Bone Deformer

The Game Bone deformation is very similar to the Bone deformation and allows you to create a skeleton structurein which the parent bone moves the child bone. The difference is that the Game Bone deformation is optimized toexport to game engines, mainly Unity.
The Game Bone deformation is mostly used when animating the extremities of a character, such as the arms orlegs, adding fluidity and a natural feel to the animation. The Game Bone deformation can be manipulated to rotate
a limb at an articulation joint and to shorten or elongate the extremities of a limb. It's also quite useful for bending
the torso.
The main difference between the Bone and Game Bone deformations is that the Game Bone deformation doesn't
have the Bias parameter. The rendered result is also different for the articulation folds. They are slightly rounded.

Rigging
Using the Rigging tool, you can quickly create a basic deformation rig.
As you create your chains, the controls will be showing. However, whenever you close your project, thedeformation controls display is turned off. When you reopen the project, you can display all controls or only someof them—see Display the Deformer Controls on page 58.
The Insert menu allows you to manually add the nodes necessary to create the deformation skeleton. Additional
nodes such as the Kinematic Output are available to create advanced rigs.
How to select an element on which to add deformation
1. From the Deformation toolbar, click the Rigging

tool.

2. In the Camera or Timeline view, select the element on which you want to add a deformation. When selecting a drawing node, the deformation components will be automatically added on top of the drawing node.
When selecting a peg node, the deformation components will be added below the peg.

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Harmony 12.2 Advanced - Getting Started Guide

NOTE: Never place a deformation node above a peg node. Having a peg below a deformation node (Bone, Game
Bone, etc.) will cause unexpected result. The animation on the peg will move the image out of the defined
deformation zone. The same applies to animations created on the drawing layer itself. A drawing layer has anembedded peg.

3. In the Camera view, create your rig. See the following procedures to learn how to add a specific deformation
type.
How to add a Bone or Game Bone deformation chain
1. Once your element and the Rigging tool selected, in the Tool Properties view, enable the Bonethe Game Bone mode depending on your purpose—see Main Types of Deformations.

mode or

2. Place the cursor at the root of your drawing or group of drawings, click once and release. For example, on theshoulder.

3. Click again at the location where you want your first bone to finish and your second bone to start. An articulation control point will automatically be inserted between each bone you create. Note that the articulation
parameters are part of the Bone and Game Bone nodes since Harmony 12.

4. Repeat this until you are finished creating the Bone chain.

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Chapter 11: How to Use Deformers

5. If you need to insert a bone between existing ones, hold down the Alt key. When the Insert Bone cursor isdisplayed, click on the existing bone segment at the location where you want to add an additional bone.

llNote that you can click on any Bone articulation point to start a new bone chain from thatpoint. Once the articulation point is selected (white), click on the location where you want to
add a bone and a new bone chain will be created, parented to the previous one.

When you have several chains controlling the same drawing or group of drawings, a Deformation Composite node is automatically be created and appears in the Timeline view. In the
Additional Links section of the Timeline view, you can see which nodes are connected to the
Deformation Composite.

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Harmony 12.2 Advanced - Getting Started Guide

6. With the deformation nodes still selected, in the Deformation toolbar, click the Reset Current Keyframe
button. This will set the current resting position as the current frame one.
How to add a deformation node
1. In the top menu, select Insert > desired deformation node .

Adjusting the Deformation Chain
Once you have a deformation chain created, you can optimize its positioning to fit the element it will deform.
How to set up Bone and Game Bone deformation chains
1. In the Timeline view, select the deformation nodes you want to set.
2. In the Deformation toolbar, click the Show Selected Deformers and Hide All Others
button to display the
deformer controls in the Camera view. This also hides all the deformer controls that were displayed.
3. In the Deformation toolbar, click the Rigging

tool.

The chain turns from green to red. A green chain indicates the puppet is in animation mode. A red chain
indicates the puppet is in a resting position. Make sure your chain is red.

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Chapter 11: How to Use Deformers

4. In the Camera view, set up the deformation chain.
‣

Rotate the first bone to change the angle of the chain.

‣

Use the root control to reposition (offset) the entire chain.

‣

Use the control points to reposition the articulations. This will elongate, shorten or change the directionof the bone and offset the subsequent children.

56

Harmony 12.2 Advanced - Getting Started Guide‣

Use the articulation's control (square) to change the size of the articulation. For quality purposes, it isrecommended to have an articulation which fits the diameter of the part it controls.

5. Repeat until all the articulations and bones of the chain are correctly aligned to the element to which it islinked. You can also set additional parameters in the Layer Properties window.
6. With the deformation nodes still selected, in the Deformation toolbar, click the Reset Current Keyframe
button. This will set the current resting position as the current frame one.
7. Use the Transformtool. For optimal results, make sure the size of the articulation is approximately thesame size as the drawing.
8. If you need to insert a bone between existing ones, hold down the Alt key. When the Insert Bone cursor is displayed, click on the existing bone segment at the location where you want to add an additional bone.

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Chapter 11: How to Use Deformers

Display the Deformer Controls
Before you can manipulate the deformer outside of the Rigging mode, you must display the deformation controls.
If you just created the deformation rig, the controls will still be showing. However, when you close your project,
the deformers are turned off. When reopening a project, you must display the controls so you can you see theones you need while animating.
How to display the selected deformation controls
1. In the Camera, Timeline view, select the drawing layer or deformation nodes you want to display.
2. Do one of the following:‣

In the Camera toolbar, click the Show Control

button.

‣From the top menu, select View > Show > Control.

‣

Press Shift + F11.

How to display the selected deformation controls and hide all the others
1. In the Camera, Timeline view, select the drawing layer or deformation nodes you want to display.
2. In the Deformation toolbar, click the Show Selected Deformers and Hide All Others

button.

The selected deformation controls appear in the Camera view and all the others are hidden.
How to display all the deformer controls at the same time
1. In the Timeline view, select Edit > Select All from the top menu to select all the nodes or press Ctrl + A(Windows/Linux) or ⌘ + A (Mac OS X).
2. In the Camera toolbar, click the Show Control

button or press Shift + F11.

All deformation controls in scene are displayed.
How to hide the deformer controls
1. Do one of the following:‣

In the Camera toolbar, click the Hide All Controls‣

From the top menu, select View > Hide All Controls.

‣

Press Shift + C.

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button.

Harmony 12.2 Advanced - Getting Started Guide

Animation
The controls to animate deformations work the same as those for setting up the chains. You simply need to create
keyframes and position the control points.

How to animate Bone and Game Bone deformations
1. In the Timeline view, go the frame on which you want to create the first animation pose.
2. In the Tools toolbar, select the Transformtool.

3. If you want to create animation keyframes, enable the Animate

mode in the Tools toolbar.

4. Do one of the following:l

In the Timeline toolbar, click the Add KeyframelRight-click and select Add Keyframe.

lPress F6.

button.

A keyframe is added on the current frame.
5. In the Timeline view, select the deformation nodes you want to animate—see Display the Deformer Controlson page 58.
6. In the Deformation toolbar, click the Show Selected Deformers and Hide All Others
deformer of the selected piece.
7. In the Camera view, do the following:l

Rotate the first bone to rotate the limb.

lRotate the subsequent bones to bend the limb.

59

button to display theChapter 11: How to Use Deformers

l

l

l

Use the root control to reposition (offset) the entire chain.

Use the control points to reposition the articulations. This will elongate, shorten, or change
the direction of the bone and offset the subsequent children.

Use the articulation's control (square) to change the size of the articulation. For quality purposes, it is recommended to have an articulation which fits the diameter of the part it controls.

60Harmony 12.2 Advanced - Getting Started Guide

8. In the Timeline view, go the frame on which you want to set the next key pose. You will need to expend theexposure to see your drawings further down the Timeline view.
9. Add a keyframe on the current frame by doing one of the following:l

In the Timeline toolbar, click the Add KeyframelRight-click and select Add Keyframe.

lPress F6.

button.

10. Repeat the previous steps to animate your character.
You can also manipulate the deformer by typing values directly in the Layer Properties of the deformation
effect nodes.

61Harmony 12.1 Advanced - Getting Started Guide

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Harmony 12.2 Advanced - Getting Started Guide

Chapter 12: How to Animate a Cut-out Character

Harmony provides some great tools for animating puppets. You can create simple animation using the Transform
tool, as well as create advanced animation using both forward and inverse kinematics. Harmony has advanced
onion skinning and image swapping features to help you animate efficiently and quickly. For animation freedom, youhave the ability to mix several different techniques of animation, such as simple rigging, hierarchy and symbol
animation.
How to create a simple cut-out animation
1. In the Tools toolbar, select the Transform

tool or press Shift + T.

2. In the Tools toolbar, enable the Animate

mode so everything you move will be keyframed automatically.

3. From the top menu, select Animation > Stop-Motion Keyframe so the interpolation is not created automatically between keyframes.
4. In the Timeline view, collapse your character.

5. In the Timeline view, go to the frame where you want to set the first pose.

6. To ensure that nothing moves on the new pose, in the Timeline view, select the frame corresponding to thepose, right-click and select Add Keyframe or press F6.
7. In the Camera view, select the parts to animate.

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Chapter 12: How to Animate a Cut-out Character

8. Use the Transform
tool to rotate, skew, scale or translate the selection to its new position. To rotate
the piece, place your cursor slightly outside of a corner until you see the rotation cursor.

A new keyframe appears in the Timeline view if you did not create one previously. Always create yourkeyframe first.
9. In the Tools toolbar, enable the Onion Skinfeature.

10. In the Timeline view, go to the frame where you want to set the second keyframe. You will need to expend
the exposure to see your drawings further down the Timeline view.

11. To ensure that nothing moves on the new pose, in the Timeline view, select the frame corresponding to thepose, right-click and select Add Keyframe or press F6.
12. In the Camera view, animate your character.

64Harmony 12.2 Advanced - Getting Started Guide

13. Repeat this process for all the poses.
How to select the parent or child layer
1. In the Tools toolbar, select the Transform

tool.

2. In the Transform Tool Properties view, make sure the Peg Selection

mode is deselected.

3. In the Camera or Timeline view, select a layer attached to a hierarchy.

4. From the top menu, select Animation > Select Parent or press B to select the parent layer. Select Animation > Select Child or press Shift + B to select the child layer.

How to set ease on multiple parameters
1. In the Timeline view, select a keyframe from one or more layers.

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Chapter 12: How to Animate a Cut-out Character

NOTE: Only the first keyframe selected on each layer is considered when using the Set Ease for Multiple
Parameter function. If many keyframes are selected on the same layer, the ease values will be applied only to thefirst one and the rest will be ignored.

2. Do one of the following:‣

In the Timeline view, right-click and select Set Ease For Multiple Parameters.

‣

In the Timeline toolbar, you can click the Set Ease For Multiple Parameters
button. If the button is
not in the toolbar, you can add it through the Toolbar Manager. Right-click on the toolbar and selectCustomize.

The Set Ease For Multiple Parameters dialog box opens.

3. In the graph, pull on the Bezier handle to adjust the velocity for all the selected functions.

66Harmony 12.2 Advanced - Getting Started Guide

4. To apply these easing parameters to a certain type of function only, such as Rotation or Scale, in the Filters
section, deselect the function types you do not want to affect.
‣

Motion: Applies the easing parameters to the selected Position X, Position Y, Position Z and 3D Pathfunctions‣Rotation: Applies the easing parameters to the selected Angle functions.

‣

Scale: Applies the easing parameters to the selected Scale functions.

‣

Skew: Applies the easing parameters to the selected Skew functions.

‣

Morphing: Applies the easing parameters to the selected Morphing Velocity functions. Note that it isapplied to the Morphing Velocity function in the Layer Properties window, not to the basic Morphing easein the Tool Properties view.

‣

Other: Applies the easing parameters to all the other selected functions, such as all functions created toanimate effect parameters.

5. You can also adjust the easing by typing values in the Time Ratio and Value Ratio fields. The values are calculated in percentage.
‣

In the Left Time Ratio and Right Time Ratio fields, type the percentage value corresponding to the lengthof time you want the easing to last. The value must be between 0% and 100%.

‣In the Left Value Ratio and Right Value Ratio fields, type the percentage value of how strong you want theeasing out. The value must be between 0% and 100%.

‣

If your Time Ratio and Value Ratio values are equal, you will have a linear motion.

6. Click one of the following buttons:‣

Apply: Applies the easing parameters to the selected keyframes.

‣

Apply/Previous: Applies the easing parameters to the selected keyframes and then selects the previous
keyframe in the timeline.

‣

Apply/Next: Applies the easing parameters to the selected keyframes and then selects the next
keyframe in the timeline.

‣

Close: Closes the dialog box. If you did not apply the modifications, they will be cancelled.

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Harmony 12.2 Advanced - Getting Started Guide

Chapter 13: How to Create Templates
You can create a template from a layer or from cells. You can store anything available in the Timeline view as atemplate.
Creating a template by selecting a layer will incorporate the layer and all the drawings that were created in it, even if
they're not exposed in the Timeline view. Selecting cells will only save those specific drawings in the template.
How to create a template from the Timeline view
1. In the Timeline view, select some cells or layers.
2. In the Library view, select a folder to store the template.
3. If a library folder is locked, right-click and select Right to Modify.
4. Drag the selection to the Stage Advanced Library folder or any other library folder.

5. In the Rename dialog box, give the new template a name.
To rename a template once it is created, right-click on the symbol and select Rename.
6. Click OK.

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Chapter 13: How to Create Templates

How to import a template into the Timeline or Camera view
1. In the Library view, select the template you want to import.
2. Drag the selected template to the Camera view or to the left side of the Timeline view.

3. You can also drag a template to the right side of the Timeline view and into existing layers if the layer structure is the same as the existing one.

70Harmony 12.2 Advanced - Getting Started Guide

Chapter 14: How to Set Up a Scene
Setting up your scene can be compared to building a set for a television show. This is the point when you position
each scene element such as the camera frame, the background elements and the characters.

Positioning the Camera
The scene action occurs inside the camera frame, so it’s really important to set it up correctly. You can adjust thecamera resolution and other parameters in the Scene Settings window. Refer to the Fundamentals Guide, Starting
Harmony chapter to learn more.
The Camera layer is static which means that if you need to animate it, you must add a peg.
You need to add a camera layer to your scene, so you can edit the camera frame. You can only see one camera at atime. If you add several cameras to your scene, you can use the Camera list to select the active one. You could use
this feature if you are still working on your scene composition and have different camera framing to try out.
You can reposition your camera frame directly in the Camera view, using the advanced animation tools. Anotherway to set up your camera frame is to type the coordinates directly in the camera's properties. Doing this positions
the camera precisely where you want it to be rather than gauging it visually.
You can easily reset the camera to its original position. Using the Reset command, you can reset the value of theselected element to the initial value of the active tool. For example, if the Rotate
tool is active, the transformation
angle will be reset to 0 and if the Transform
tool is active, then all parameters values will be reset.

How to add a camera in the Timeline view
1. Do one of the following:‣

In the Timeline view, click the Add Layerbutton and select Camera.

‣

From the top menu, select Insert > Camera.

A new camera layer is added to the scene and appears in the Timeline view.

NOTE: You cannot add a camera inside a symbol.

How to reposition the camera frame directly in the Camera view
1. In the Tools toolbar, disable the Animate

mode.

2. Do one of the following:‣

From the top menu, select Animation > Tools > Translate.

‣In the Advanced Animation toolbar, click the Translate‣

Press Alt + 2.

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tool.

Chapter 14: How to Set Up a Scene

3. In the Camera view, click on the camera frame (thin rectangle) to select it. You can also select the camera
layer from the Timeline view.
The selected camera frame is highlighted.

4. Drag the camera frame to a new position.

5. To tilt the camera frame, do one of the following to select the Rotate tool:‣

From the top menu, select Animation > Tools > Rotate.

‣

In the Advanced Animation toolbar, select the Rotate‣

Pres Alt + 3.

tool.

6. In the Camera view, drag to rotate the camera frame until it reaches the desired rotation angle.

72Harmony 12.2 Advanced - Getting Started Guide

How to reset the camera position
1. In the Tools toolbar, select the Transform

tool or press Shift + T.

2. In the Timeline or Camera view, select the camera layer.
3. From the top menu, select Animation > Reset or press Shift + R.
The camera automatically returns to its original position.

Positioning Objects
Setting up the scene also involves positioning the different scene elements within the camera frame.

How to pan a layer using the Transform tool
1. In the Tools toolbar, disable the Animate

mode.

2. In the Tools toolbar, select the Transform

tool or press Shift + T.

3. In the Tool Properties view, make sure the Peg Selection Modeis deselected.

4. In the Camera view, select a drawing layer and drag the selection to a new area. You can select multiple layers to reposition them at the same time. Hold down Shift and select the different layers.

73Chapter 14: How to Set Up a Scene

How to rotate a layer using the Transform tool
1. In the Tools toolbar, disable the Animate

mode.

2. In the Tools toolbar, select the Transform

tool or press Shift + T.

3. In the Tool Properties view, make sure the Peg Selection Modeis deselected.

4. In the Camera view, select a drawing layer.
5. Place the pointer outside of a corner of the bounding box and drag to rotate.

NOTE:
You can display a rotation handle on the bounding box when transforming a layer. In the Preferences dialog box,
select the Camera tab and then select the Use Rotation Lever with Transformation Tools option. This preference
is off by default.

How to scale a layer using the Transform tool
1. In the Tools toolbar, disable the Animate

mode.

2. In the Tools toolbar, select the Transform

tool or press Shift + T.

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Harmony 12.2 Advanced - Getting Started Guide

3. In the Tool Properties view, make sure the Peg Selection Modeis deselected.

4. In the Camera view, select a drawing layer and push or pull on the size, top, or corner control point. Holddown Shift to lock the selection's aspect ratio.

How to skew a layer using the Transform tool
1. In the Tools toolbar, disable the Animate

mode.

2. In the Tools toolbar, select the Transform

tool or press Shift + T.

3. In the Tool Properties view, make sure the Peg Selection Modeis deselected.

4. In the Camera view, select a drawing layer.
5. Place the pointer between two controls points and drag sideways or up and down.

Repositioning the Pivot
Transformations, such as rotation, scale, skew and flip, are made relative to the pivot point position. You canreposition this pivot point anywhere using the advanced animation tools.
How to permanently reposition the pivot point
1. In the Advanced Animation toolbar, select the Translate, Rotate, Scale, or Skew

2. In the Camera view, Ctrl + click (Windows/Linux) or ⌘ + click (Mac OS X) to select your element.
The pivot point appears in the Camera view.

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tool.

Chapter 14: How to Set Up a Scene

3. Drag the pivot point to a new position.

All transformations, including existing ones will be recalculated from this new pivot postion.

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Chapter 15: How to Animate Objects and the Camera
When it comes to animating objects, you will do this on layers by creating motion paths. You can also animate thecamera which is just like any other object you can animate.

Animating a Layer
You can create a motion path directly on layers (animated layers).

You can control and define a trajectory using several different parameters, including:•

X, Y and Z positions (3D Path or Separate Positions)•Angle (rotation)

•

Skew

•

X and Y Scales

Each parameter has its own function curve where you can add keyframes and control the easing. If you're notfamiliar with graphs and function curves, these are easy-to-use tools for visually controlling trajectories in the
Camera and Timeline views.

How to animate a layer
1. In the Tools toolbar, select the Transform

tool or press Shift + T.

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2. In the Tool Properties view, make sure the Peg Selection Mode
3. In the Tools toolbar, enable the Animate
moving objects.

is deselected.

mode. This will create keyframes at the current frame when

4. In the Timeline view, go to the first frame.

5. In the Camera view, select the element to animate and move it to its first position.

A keyframe is created on the first frame of the Timeline view.

6. In the Timeline view, go to the frame on which you want to set the second position.

7. In the Camera view, move the element to its second position.

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A second keyframe is created on the Timeline view.

8. Play backyour animation.

To see your motion animations in the Top, Side or Perspective views while you play back, you must turn on
the Playback option. From the top menu, select Play > Enable Playback > Top View or Side View or
Perspective View.

Animating the Camera
The camera is treated the same way as any other element. You can use the same tools and selection modes tooffset or animate it, but the camera is a static object. To animate the camera, you need to connect it to a peg layer. A
peg is a trajectory layer.

While making camera moves, you can use the Top, Side, and Camera views.
How to open the Top and Side views
1. Do one of the following:‣

From the top menu, select Windows > Top or Side.

‣

From any view already open, click the Add View

button at the top-right corner and select Top or Side.

How to add a camera and parent it to a peg
1. If you don't already have a camera layer, do one of the following:‣

From the top menu, select Insert > Camera.

‣

From the Layers toolbar, click the Add Layers

button and select Camera.

A new camera layer is added to the scene and appears in the Timeline view.
2. In the Timeline view, select the Camera layer.

3. From the Layers toolbar, click the Add Peg

button.

A Peg layer appears directly above the Camera layer, which is automatically attached to it.
The Peg layer automatically takes the name of the camera and adds the suffix -P to indicate that it is a Peg
layer, for example Camera-P.

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If the new Peg layer did not appear directly above the camera, you may have clicked elsewhere in thescene, which deactivated the layer on which you want to add the Peg layer. To fix this:‣Select the Camera layer and drag and drop it under the new Peg layer. Or delete the misplaced Peg
layer, select the Camera layer and click the Add Peg
button again.

‣

You can unparent layers by holding down Shift and dragging the selected parents away from the childlayer. Drop your selected between other layers.

How to animate the camera
1. In the Tools toolbar, enable the Animate

mode.

2. In the Tools toolbar, select the Transform

tool or press Shift + T.

3. On the right side of the Timeline view, on the Camera Peg layer, select the frame at which you want thecamera move to start.
4. Do one of the following:‣

In the Timeline toolbar, click the Add Keyframe‣

Right-click and select Insert Keyframe.

‣

Press F6.

button.

A keyframe appears in that cell. Any frames preceding this keyframe cell will hold the same camera
position as this keyframe.
5. In the Top, Side or Camera view, select the camera (the large V-shaped cone) and move it to the desired
position. In the Camera view, the camera is represented by a thin frame. You need to click directly on oneof the edges.

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6. On the Timeline view, click on another cell a bit further down in time to indicate where the camera move willend.
7. Select the camera in the Camera, Top or Side view and move it to the desired position.

A second keyframe appears and a line is created between the two frames to indicate that the subsequentmotion between the frames will be calculated and rendered by the program.
8. Play backyour animation.

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Chapter 16: How to Create a Multiplane

To construct a multiplane, you must imagine what a real environment is like. Take a look at your background picture
and imagine a camera moving through the space. Notice that objects in the picture move at different speeds
depending on where they are in relation to the camera lens.
Building a multiplane requires an understanding of the scene's background, as well as the positioning of theelements on different layers.

For example, in the background illustrated above, the main objects to be separated are:83

Chapter 16: How to Create a Multiplane

1. Fern
2. Front tower
3. Second tower
4. Moon
5. Stars
6. SkyAlthough the bottom of the tower is hidden behind the plant and the ladder, each of the multiplane layers should be
a complete drawing. This is because hidden portions may show up during a camera move later on in the scene.
You can position layers on the Z-axis using the Side and Top view.
Positioning your element closer to the camera makes them appear bigger. You can also move elements towards
the camera or away from the camera while keeping the same size aspect ratio in the Camera view.
It is a good idea to keep a Camera view open to see what your scene looks like while positioning elements in the
Top and Side views.

How to position an element in the Top and Side views

NOTE: Before distributing layers along the Z-axis using the Top and Side views, deselect the No Z Dragging
option by selecting Animation > No Z Dragging. This option is disabled by default.

1. To maintain the visual scale in the Camera view as you move your element, do one of the following:‣

In the Advanced Animation toolbar, select the Maintain Size‣

From the top menu, select Animation > Tools > Maintain Size.

‣

Press Alt + 6.

tool.

2. In the Side or Top view, select one of the layers in the thumbnails section. You can also select a layer fromthe Timeline view.
The selected layer is highlighted in the Top, Side and Camera views.

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3. Drag the layer to the correct depth position in the camera cone. Your element aspect will remain the same in
the Camera view.

4. For your element to scale up or down in relation to their distance to the camera, do one of the following:‣

In the Tools toolbar, select the Transformdisabled in the Tool Properties view.

tool. Make sure the Peg Selection Mode‣In the Advanced Animation toolbar, select the Translate
section of the Top or Side view.

‣

Select a layer from the Timeline view.

option istool and select a layer from the thumbnails

The selected layer is highlighted in the camera cone.

5. In the Top view, drag the element sideways to position it horizontally. Hold Shift while dragging the element
to make sure it only moves along the X-axis.

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6. In the Side view, drag the selected element up or down to position it vertically. Hold Shift while dragging
the element to make sure it only moves along the Y-axis.

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Chapter 17: How to Import Sound and Add Lip-Sync

If you decide to add sound to your animation, you must first prepare the sound outside of Harmony. Once this isdone, you must add a sound element in Harmony to the organize the sound files in your animation. Sound will play inthe movie until it reaches the end of the file or a stop frame that you created in the Sound Element Editor.
If you first create your project in Toon Boom Storyboard Pro, the sound will be cut up into the different scenes for you
automatically.
You can import .wav, .aiff or .mp3 sound files.
How to import a sound file
1. Do one of the following:‣

From the top menu, select File > Import > Sound.

‣

In the Xsheet view, right-click anywhere in the frame area and select Import > Sounds.

‣

From the Xsheet menu, select File > Import > Sounds.

‣

From the Timeline menu, select Import > Sounds.

The Select Sound File dialog box opens.
2. From the Select Sound File dialog box, find and select a sound file.
The sound file appears as a layer in the Timeline and Xsheet views.

Lip-Sync
Adding a lip-sync to a project can really enhance its quality and storytelling. However, it can be difficult to shape acharacter's mouth to match the sound at a precise frame.

To solve this problem, Harmony provides a lip-sync feature which analyzes the contents of a sound element andgenerates a mouth chart (see below) based on the eight animation phonemes (A, B, C, D, E, F, G, and X for silence).

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Chapter 17: How to Import Sound and Add Lip-Sync

The mouth shapes used by Harmony are based on the conventional mouth chart used in the animation industry.

NOTE: The letters used to represent the shapes do NOT correspond to an actual sound.

Here is an approximation of the sound each mouth shape can produce:•

A: m, b, p, h•

B: s, d, j, i, k, t•

C: e, a•

D: A, E

•

E: o

•

F: u, oo•

G: f, ph•X: Silence, undetermined soundYou can lip-sync the traditional way or let the system automatically create the basic detection.
You can refer to the mouth chart positions as you draw the shape of the character's mouth.

Automatic Lip-Sync Detection
Harmony can automatically map drawings in an element to the mouth chart you have generated for a sound. Thiscan save time when you are lip-synching a voice track.
In the Layer Properties view, you can identify each lip drawing of a character. Harmony then automatically labels
all of the cells in the character's element with the appropriate name.

How to generate a sound detection for lip-sync using the Layer Properties view
1. In the Timeline or Xsheet view, select the sound layer.
The options for that layer will appear in the Layer Properties view.

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2. In the Layer Properties, click Detect.

A progress bar appears while Harmony analyzes the selected sound clips and assigns a lip-sync letter toeach sound cell.
3. Click the Map button to open the Lip-Sync Mapping dialog box.

4. From the Destination Layer menu, select the layer that contains the mouth positions for the character's voice
track.

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5. If the selected layer contains symbols, you can map the lip-sync using drawings located directly on thelayer or use the symbol's frames. In the Symbol Layer field select Don't Use Any Symbol if you want to
use the drawings or select the desired symbol from the drop-down menu.
6. In the Mapping section, type the drawing name or Symbol frames in the field to the right of the phoneme it
represents. If your drawings are already named with the phoneme letters, you do not have to do anything.
7. Click OK.
8. Press the Playbutton in the Playback toolbar to see and hear the results in the Camera view. To playback your scene with sound, enable the Soundbutton in the Playback toolbar.

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Chapter 18: How to Add Effects to a Scene

Once your animation is completed, you can add effects such as blurs and glows to make your project look evenbetter! Harmony provides you with a series of essential effects that you can add to your layers.

About Effects
An effect always needs a drawing connection and sometimes a matte or shape connection. A matte provides
drawing information that determines the area on which the effect will be applied on the drawing. The details andcolours within the matte drawing don't matter, as only the shape and transparencies are used. A matte is also known
as mask.
The matte principle can be demonstrated with the Cutter effect.

The Cutter effect cuts out a portion of an image using a matte drawing. You can use the Cutter effect to allow acharacter to disappear behind a background element or to cut a virtual hole into the layer itself. The Cutter requires amatte input.
Adjust the Cutter properties to invert the effect of the matte on an image. Instead of the object being hidden by themask, it will only be visible where it intersects with the matte shape area.

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You can adjust the effect parameters in the Layer Properties view and link any of them to a function column to beanimated over time. This means that all of the effects can be customized.

Adding Effects
In Harmony, you can add effects through the Timeline view, connecting them to your drawing layers and thenadjusting the parameters until you achieve the look you want.
How to add effects in the Timeline view
1. In the Timeline view, select the layer on which you want to add an effect.
2. Do one of the following:‣

From the top menu, select Insert > Effects > desired effect.

‣

In the Layers toolbar, click the Add Layers‣

From the Timeline menu, select Insert > Effects > desired effect.

button and select Effects > desired effect.

The effect appears in the Timeline view.

3. In the Camera view, click the Render View
button to see the scene's rendered current frame andeffect. Note that most effects cannot be played back in real time. You need to use the Render and Play
option in the Playback toolbar.

NOTE: If your background appears all in black, it's because you need to add a Colour Card. To do this, follow step2.

4. In the Timeline view, double-click on the effect layer to open the Layer Properties window. You can also
select the effect layer and see its properties in the Layer Properties view.
The Layer Properties view opens, displaying the parameters available for the selected effect.

5. In the Layer Properties view, adjust the effect’s parameters.

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6. To play back your scene with the final effects, in the Playback toolbar, click the Render and Playbutton.

NOTE:
Once you have set the parameters for the effect, you can store it in the Library view as a template, so you can quickly
reuse it without resetting the parameters again—see Templates in Chapter 7: Library of the Cut-out Animation Guide.

Cutter Effect

The Cutter effect cuts out a portion of an image using a matte drawing. You can use the Cutter effect to allow acharacter to disappear behind a background element or to cut a virtual hole into the layer itself. The Cutter requires amatte input.
Adjust the Cutter properties to invert the effect of the matte on an image. Instead of the object being hidden by themask, it will only be visible where it intersects with the matte shape area.

How to use the Cutter effect
1. Select a drawing layer.
2. Click the Add Layers

button and select Effects > Cutter.

The Highlight effect is parented to the selected layer.

3. In the Drawing or Camera view, create a drawing on a new layer that will act as the matte.
4. In the Timeline view, click the Collapse/Expand

button on the effect layer.

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1. Drag and drop the matte layer beside the Matte field.

5. Display the Cutter properties and adjust the properties to control the type and amount of blur and the colourof the Cutter effect.

Cutter Properties
Parameter

Description

Name

Allows you to change the node's name.

Inverted

When this option is enabled, the Cutter node will invert the matte shape to cut
the drawing. Instead of cutting the image intersecting with the matte, it will cut
any artwork outside of the matte shape.

Animating an Effect Over Time
When compositing your scene, you will often want to animate the parameters of an effect over time. For example,
you may want an object to fade in or out by changing the transparency level over time or by increasing the colour
contrast on one of your drawings over a certain frame range.
To animate an effect over time, create a function curve by adding keyframes to the parameters you want toanimate. To do this, you will use these views: Layer Properties and Timeline. You can fine tune your animation
using the Function view.
How to animate an effect over time
1. In the Timeline view, select a layer and add an effect to it by doing one of the following:
button and select Effects > desired effect.

‣

Click the Add Layer‣

Right-click and select Insert > Effects > desired effect.

‣

From the top menu, select Insert > Effects > desired effect.

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2. Create the function curve by doing one of the following:‣

Double-click on the effect layer to display the effect properties. Click the Function
parameter you want to animate and create a function curve.

button of the‣

In the Timeline view, expand the effect layer's parameters by clicking the Collapse/Expand
button.
Then click the Function
button of the parameter you want to animate and create a function curve.

3. In the Timeline view, go to the frame on which you want to start animating the effect.
4. In the Timeline toolbar, click the Add Keyframe

button.

5. In the Value field of the parameter you want to animation, enter the keyframe value. If your keyframes arestop-motion keyframes, in the Timeline view, select the new keyframes. Right-click and select Set Motion
Keyframe.

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6. Repeat this process for each keyframe to be added.

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Chapter 19: How to Export a Movie
If you require a video file, you can export your animation as a QuickTime movie. To render a QuickTime movie withtransparency, you need to set the Depth to Millions of Colours +. You can set this this when exporting a QuickTime
movie.
If your exported video is too small or too large, you can change the project size from the top menu in Scene > Scene
Settings. This will change the size of the video output.
How to export a QuickTime Movie
1. From the top menu, select File > Export > Movie.
The Export to QuickTime Movie dialog box opens.

2. Click Browse and select a folder in which to save your movie and give it a file name for the export.
3. Click OK.
1. In the Display Source section, select the Display node to use for rendering your project.
2. From the Export Range section, decide whether you want to export the entire scene (All) or a specific frame
range. If you decide on the latter, enter the frame range.

3. In the Resolution section, select one of the following from the menu:‣

A preferred resolution ratio.

‣

Custom: Enables the Width and Height fields so you can enter a specific size.

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4. In the Options section, click Movie Options.

Parameter

Description
Enables the customization of the video settings, filters and size.
Settings: Opens the Standard Video Compression Settings
dialog box.

Video

Filter: Opens the Choose Video Filter dialog box, where you canselect from a range of filters to apply to your video export.
Size: Opens the Export Size Settings dialog box. The size
settings are overridden by the Harmony's scene settings.

Sound
Prepare for Internet Streaming

Enables the customization of the sound settings.
Settings: Opens the Sound Settings dialog box (see below).
Enables the customization of the Internet streaming options.

5. In the Video section, click Settings.
The Standard Video Compression Settings dialog box opens.

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6. From the Compression Type menu, select a codec. The availability of certain compression settings depends
on the Compression Type selected. For example, Animation is the default compression type and as a result
the Data Rate option is greyed out.
7. In the Motion section, choose a Frame Rate from the list.
By default, it is set to match the frames-per-second (fps) of your Harmony project. If you choose a lower
frame rate, your export playback will be faster than your actual project. The reverse is also true for a higher
frame rate.
8. If you want keyframes inserted, select the Every option and set the number per frame.
This is the option is recommended by QuickTime. For further details, refer to the QuickTime documentation.
9. In the Quality section, use the slider to choose a quality setting. Remember that the better the quality of theexport, the larger the file.

10. From the Data Rate section, either choose to allow the program to automatically select the most optimal bit
rate, or enter a Restricted rate to save space and allow for faster downloading at a cost to the quality of theexport.
11. In the same section, from the Optimized For menu, select the intended viewing method for the export.
12. Click OK.
13. From the Movie Settings dialog box, click Sound Settings.
The Sound Settings dialog box opens.

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14. From the Compressor menu, select a compression type. The default setting is None. This will preserve
your original sound file without the loss of information. However, an uncompressed sound file will inevitably add “weight” to the overall size of your video export.
15. From the Rate menu, select a rate. It is best to check and match the original properties of your sound file.
For example, if your file has an audio sample rate of 48 kHz and you choose a conversion rate of 22.05
kHz, the sound will play at the same speed, but with higher frequencies missing. For a standard film soundquality, choose 44.1 kHz, or 48 kHz for DVD quality. Anything less will make the sound “dull” or lessbright. For things like recorded voice, this doesn't matter so much, but for music it can make an audible difference. If file size is a consideration, such as with videos for the Internet, then a lower rate might be morepractical.
16. Select the Size and Use, which are related. It is advisable to check your original sound file properties. If
the file was recorded in one channel (mono), there is no point in choosing the two channel (stereo) option.
Although Mono can support a 16-bit channel, the extra information is unnecessary. Mono is generally
paired with 8-bit and Stereo with 16-bit.
17. Click OK.
18. In the Export to QuickTime Movie dialog box, click OK.
A progress bar appears.

19. Browse to the location on your computer where you saved your QuickTime video and double-click on it toview the export.
How to set the depth to Millions of Colours + to export a QuickTime movie with transparency‣ In the Standard Video Compression Settings dialog box, select Millions of Colors+ from the Depth menu.

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Glossary
3D stereoscopic

The ability to create stereo images which, when animated and viewed through 3D active
shutter glasses or using glasses with one red and one blue lens, will appear as a threedimensional movie.

alpha channel

An image channel that carries transparency information. An image already has threechannels: red, green and blue (RGB). The alpha channel is the fourth channel (A). The
matte, or the transparency information, is stored in this fourth channel. An image without analpha channel is always opaque.

animatic

A movie with sound that is developed from the storyboard. The storyboard panel is exposed
for the duration of the scene and at times, the characters are placed on a trajectory toindicate motion. The camera moves are also animated. The animatic is used to determine
the rhythm of a project and provides a good overview of the project before beginning
production.

animation

A simulation of movement created by displaying a series of pictures or frames.

anime

An animation style known for its sinister and dark feel; popular in Japan.

arc

Action rarely occurs in a straight-forward manner; rather it typically unfolds in whatstorytellers refer to as an arc. The purpose of a story arc is to move a character or situationfrom one state or scenario to the next.

aspect ratio

The relationship between the width and height dimensions for any scene, frame or film
format. Television ratio is 4:3 and widescreen ratio is 16:9.

auto-feed

An automated method of feeding drawings into a scanner in which multiple drawings arestacked into a sheet feeder. When the scanner is activated, the drawings are scanned
consecutively, without further user intervention.

automatic lip-sync
detection

Automatically mapping drawings in an element to the mouth chart generated for a sound.
This can save time when lip-syncing a voice track.

axis

An imaginary line around which an object rotates.
For 2D graphics, there are two axes: X (horizontal and Y (vertical).
For 3D graphics, there are three axes: X (horizontal, Y (vertical) and Z (depth).
In animations that constantly rotate, the axis element specifies what axis the object rotatesaround. A negative number causes an animation to rotate counter clockwise whereas apositive number causes an animation to rotate clockwise.

background

The part of a scene that is farthest to the rear. The background is the artwork, or decor,
against which the animation takes place.

Bézier

A method of defining curved lines invented by French mathematician Pierre Bézier. A Bézier
curve is a mathematical or parametric curve. Bézier curves use at least three points todefine a curve.

bitmapAn image composed of pixels with a single resolution (size). If it is enlarged too much, it willlose definition and individual pixels will begin to appear. This is known as pixelation.
Bitmap image files are defined as a standard rectangular mesh of individual pixels. Eachindividual pixel contains a value that represents a specific colour.

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Glossarybreakdown

In cut-out animation, breakdown is the action of breaking a character into pieces to create apuppet with articulations. To break down a character, the artist cuts parts, such as thehands and arms, from the character's model and pastes them in separate layers. Next, thejoints are fixed and the pivots set.
In traditional animation, a breakdown is an animation pose generally found between two key
poses. The key poses are the main poses in an animation and the breakdowns aresecondary poses, ones that help describe the motion and the rotation curve (usually referred
to as an arc).

camera shake

Camera shake occurs in a scene when the camera moves slightly and quickly in several
directions. This gives the impression of an impact, vibration or, for example, bumps on theroad.

captionA text field containing dialogue, effects, sound or slugging information in a storyboard.

cel

In traditional animation, a cel (also known as celluloid) is a transparent sheet on which theanimation is inked and painted before being sent to the camera. The picture's outline isdrawn on the front of the cel and then coloured along the back.

character design

Each character in an animated film is drawn from multiple angles in poster-style format,
called a model sheet, which serves as a reference for the animators.

chromatic
aberration

In optics, chromatic aberration (CA), achromatism or chromatic distortion, is a type of
distortion in which there is a failure of a lens to focus all colours to the same convergencepoint.

clean up

After rough drawings have been tested and approved, all the noise in the image (excess
lines, notes, etc.) is removed to create final drawings which can be inked, painted and shot.
The clean up process refers to either tracing a clean line over a rough drawing to achieve thefinal version or removing dirt and extra lines left by the scanning process.

CMYK

Acronym for Cyan, Magenta, Yellow, Black. These colours are the standard model used in aprocess called offset printing.

colour card

A colour card is a card containing one solid colour that is the same size as the camera. The
colour card fills the background with a solid colour when there is no background image
included.

colour model

The official colour design that must be used to paint the animation. A model is the definitive
character, prop or location design that each artist must follow for the production.

colour wheel

A display of the colour spectrum in the form of a circle.

compositing

Compositing is the action of incorporating all of a scene's elements to create the final result
prior to rendering. For example, the compositing artist will import all the animation
sequences, background, overlays and underlays in the scene and position them correctly.
The artist will then set the camera frame and animate it, if needed. Finally, the animator will
create all the computer-generated effects for the project.

cross dissolve

An effect used to fade two scenes, one into the other.

cut

A direct transition between two scenes. When a cut is used, there are no transition effects
inserted to pass from one scene to the next. The first scene ends and the second one starts
immediately.

cut-out animation

The process known as cut-out animation is the action of animating characters made out ofseveral pieces by moving them around frame by frame. Cut-out animation can either be

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computer generated or done traditionally using paper.
cycle

A group of images that together make up an action, such as walking. A cycle is an action
repeated as a loop over a period of time. It can be a series of animated drawings or
keyframes.

dialogue

The text spoken by a character in a movie or animation.

dope sheet

Used by animators, directors and other members of a crew to track the sequence and timingof images, dialogue, sound effects, sound tracks and camera moves. Also known as an
exposure sheet.

dopingTo assign a particular drawing to a range of frames.

double bounce
walk

In the key frames and passing positions in a double bounce walk, the body is lower than areference line drawn in the upright position. During the in-betweens, the body is above thisline giving the appearance of a bounce.

DPI

Dots per inch is the standard measure of resolution for computerized printers. It issometimes applied to screens, in which case it should more accurately be referred to as
pixels per inch. Either way, the dot is the smallest discrete element making up the image.

ease

In animation, the ease, also known as velocity, is the acceleration and deceleration of amotion. It can be a motion created by a function curve, or a series of animated drawings.
Other common terms for ease-in and ease-out are slow-in and slow-out.

ease-in

Gradual acceleration in the action. Also known as slow-in.

ease-out

Gradual deceleration in the action. Also known as slow-out.

establishing shot

A scene in which the viewer can see the whole area in which a sequence is happening. For
example, if a child is playing on the ground in front of his house, the establishing shot would
be a scene where the viewer can see the house, the ground, a part of the street and thebuildings around the central point of action. This helps the viewer understand the story
location and scene orientation.

exposure

In animation, an exposure is the number of cels on which a drawing appears in the scene.
For a drawing to appear longer, the exposure must be extended over a greater number ofcels.

exposure sheet

A sheet with several vertical columns and horizontal frames used to indicate a scene's
timing. Each column represents a scene layer. The drawing numbers in each column are
indicated and repeated over the particular amount of frames they need to appear.
The exposure sheet is used by animators, directors and other members of a crew to track
the sequence and timing of images, dialogue, sound effects, sound tracks and camera
moves. Also known as a dope sheet.

fade in/fade out

Fade in or fade out is a transition effect used to open or close a sequence. A fade in occurs
when the first scene appears progressively, from complete transparency to its complete
opacity. A fade out occurs when the last scene progressively disappears, going fromcomplete opacity to complete transparency.

fast-inDramatic acceleration at the start of the action.

fast-out

Dramatic acceleration at the end of the action.

field

A measurement unit used to calculate motion, registration and camera positioning. A
standard animation scene will vary between 6 to 12 fields.

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Glossary

field chart

A guide containing all the field units that animation and layout artists use to determine ascene size or camera motion.

film-1.33

A resolution that is ideal for the widescreen film format that conforms to the standard 4:3
pixel aspect ratio.

film-1.66

A resolution that is ideal for the widescreen film format that conforms to the 16:9 pixel
aspect ratio. (The pixels are wider than they are high).

flipping

In traditional animation, flipping is the action of going through the drawings of an animation
sequence very quickly in order to see the animation in motion. Flipping can also be theaction of creating a mirror transformation of an object.

follow-throughThe secondary motion caused by the main action. For example, a character wearing a cloak
is running. The main action is the body running. This will cause the cloak to follow the
motion, although it will not move at the same time, but react a few frames later and follow
the main motion curve.

forward kinematics Forward kinematics is a feature used to animate principally 3D characters and cut-out
puppets with hierarchy. It is used to animate a puppet from one of parent parts, such as ashoulder, and make the rest of the arm move with it as a single piece.
frame

An animation frame is a single photographic image in a movie. In traditional animation, theNorth American standard generally contains 24 frames per second, while in Europe thestandard is 25 frames per second.

frame rate

The frame rate is the speed at which the frames are played. They are generally calculated
by frame per second. For example, a scene could be played back at 12, 24, 25, 30 or 60
frames per second or any other number.
This is the measurement of the frequency (rate) at which an imaging device produces
unique consecutive images, called frames. The term applies equally to computer graphics,
video cameras, film cameras, and motion capture systems.
Frame rate is most often expressed in frames per second (fps) and in progressive-scanmonitors as hertz (Hz).

function

A computer-generated motion, trajectory or path on which elements, other trajectories andeffects parameters can be attached. The function can be controlled by adding keyframes
and control points on the function curve.

gamut

The range of colours that a particular device can represent.

HDTV

Acronym for High Definition Television which delivers a higher quality image than standard
television because it has a greater number of lines of resolution. To take advantage of thesuperior quality and make full use of your resolution setting, the output device must becompatible with HDTV technology.

hold

A frame in the animation in which the character maintains its position without moving. A
hold can be created between any two keyframes.

HSV

Hue, Saturation, Value. A method of defining colours in terms of hue (tint), saturation(shade) and value (tone or luminance).

in-between

The drawings that exist between the key poses. These are drawn to create fluid transitions
between poses.

ink and paint

The ink and paint process is the action of painting the empty zones and colouring the lines

106Harmony 12.2 Advanced - Getting Started Guideon the final animation drawings, while following a colour model.
interpolation

The computer-generated motion created between two keyframes. You have the choice tocreate interpolation, or not, between your keyframes.

inverse kinematics(IK)

A feature used mainly to animate 3D characters and cut-out puppets with hierarchy. Inverse
kinematics will animate a puppet from one of the extremities, such as a hand, and make therest of the body follow naturally.

jump cut

A jerky cut between two scenes. Typically, a jump cut is not visually pleasing. It is generally
caused by one scene ending, and a second one starting, with a similar image. The lack ofdifference causes the eye to see a little jump between the two scenes.

key pose

Important positions in the action defining the starting and ending points of any smoothtransition. Keys, or key poses, are the main drawings in an animation sequence describing
the motion. For example, if an arm is waving, the keys will be of the arm at one extremity of
the wave motion and the other extremity. By flipping those drawings, the animator can see
the skeleton of the motion without having all the drawings.

keyboard
shortcuts

One or more keyboard keys which, when used, cause an operation to be performed.

keyframe

Important positions in the action defining the starting and ending points of any action. A
keyframe is a computer-generated position at a specific moment (frame) on a given
trajectory.

layer

In animation, a layer is an individual column, level or character. A scene's layers aresuperimposed to form the final image.

layout

The communication step between the storyboard and the animation. It is the action of
putting the storyboard on model. That is, drawing the character by following the design in themodel pack, so the animator can start working.
The layout artist draws the background, creates the camera and field guide matching thescene and camera motion. Lastly, the animator draws on model the main action poses.

layout and posing

The action of putting on model (at the right scale) the storyboard for the animator to startworking.

layout artist

The artist who draws the background, and creates the camera and field guide to match thescene and camera motion. They will draw on model the main action poses.

layout planning

Drawing of the main features of the scene used as reference when planning the animationand executing the initial stages of it.

layout process

The communication step between the storyboard and the animation.

library

A storage area containing templates and assets that can be reused in any project or scene.

light table

A device that allows you to see other layers in transparency while you are working on aparticular layer.

line of action

The direction that the action will follow. Also known as path of action.

lip-sync

The process of synchronizing a character's mouth to sounds in the dialogue soundtrack.
The mouth is adjusted frame-by-frame to match the sound of the dialogue and provide theillusion that the character is speaking. Lip-sync can be used for any sound sequence, notonly speech, you could for instance have a bird chirping or a wolf howling at the moon.

low resolution

A format that is ideal for videos destined for the web, where size and fast download of a107

Glossary

video file take precedence over quality. A low-resolution image is one that lacks fine detail.
manual lip-sync
detection

The manual swapping of mouth position drawings to match a voice track. For this process,both sound scrubbing (listening to a sound wave broken up frame-by-frame) and drawing
substitutions are used.

master palette

A group of colours attributed to a character or prop. The palette is used throughout the entire
production to maintain consistency in the look and to ensure that the same colours are usedthroughout the production. Also known as palette.

model/colour
model

The definitive character, prop or location design each artist must follow for a production. A
colour model is the official colour design that must be used to paint the animation.

morphing

A feature for creating computer-generated drawings between a source drawing and a
destination drawing. Animation created with the morphing feature can be reused in different
projects.

motion keyframe

A keyframe with computer-generated interpolation.

mouth chart

A chart based on the eight animation phonemes (A, B, C, D, E, F, G, and X, which is used
to represent silence) used for lip-sync.

multiplane

The effect of passing through multiple levels of drawings to create a sense of depth in a
shot. A multiplane is a scene in which the layers are placed at different distances from thecamera so that when the camera moves, a depth illusion occurs. With a multiplane, all theperspective and scale is calculated automatically.

NTSC

The standard analogue television broadcasting system used in North America. NTSC
conforms to North American standards on how rectangular pixels are displayed forcomputer and television screens.

nudge

A small push (left, right, up, down, forward or backward) done with the keyboard arrow keys
on a selected element. Nudging is used to move a selection very slightly and precisely.

onion skin

A feature that lets you see the previous and next drawings of a sequence.

overlay

A part of the scene environment, such as a chair or a bush, that is placed in front of the main
animation.

PAL

A resolution that works best with the European format for television and computer screens,as the rectangular pixels are displayed at a different orientation.

palette/master
paletteA palette or master palette is a group of colours attributed to a character or a prop. The
palette is used throughout the entire project to maintain a consistency in the look and avoid
the colour changing during the animation. Also referred to as a master palette.

palette style

A palette style is a second version of an existing palette with a slight change in the tint andvalue. A palette style can be used to create the night version of a palette. It may also becalled a clone palette.

pan

To move the camera across the scene in any direction.

panel

In a storyboard, a panel is a frame in a shot. A shot can be composed of one or several
panels.

paperless
The paperless animation process is the action of animating digitally. The main paperlessanimation/tradigital animation process is to draw, frame by frame, the animation directly in the software.
passing position

When drawing a walk sequence for a character, the passing position is the point at which
one leg passes the other.

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Harmony 12.2 Advanced - Getting Started Guide

path of action

Direction that the action will follow. Also known as line of action.

peg

In traditional animation, a tool used to ensure accurate registration of action as cel layers
move. In digital animation, in which you are doing a more advanced puppet rigging, you can
use peg layers. Peg layers are trajectory layers that do not contain drawings. They are
motion paths that you can use to add path articulations. For the latter, you can also use an
inverse kinematics tool.

phonemeA unit of sound in a language.

pivot

The point around which a peg or drawing rotates.

pixel

The smallest element of an image displayed on a monitor or TV screen.
Pixel, short for picture element, is a single point in a graphic image. It is a small sample of
an image, a dot, a square, or a very small section made out of smooth filtering. If you zoom
in close enough on a digital image, you will see the pixels, which look like small squares ofdifferent colours and intensity.

pose-to-poseanimation

The pose-to-pose animation process is the action of creating all the main action poses,
called key poses, and then placing the secondary poses between the keys. The secondary
poses are called breakdown. Finally, the animator fills the gaps with the in-between
drawings to achieve a smooth animation.

rendering

The final step when animating by computer. During rendering, the computer takes eachpixel that appears on screen and processes all of the components, as well as adding motion
blur before it produces a final image. The process of calculating the final images after thecompositing process.

resolution

The size of a scene, generally calculated in pixels. For example, the NTSC resolution is 720
x 480. The resolution should match the final output: HDTV, film-1.33, film-1.66, NTSC,
PAL, low.

RGB

Red, Green, Blue. A method of defining colour by specifying amounts of these three colour
components.

rigging

The process of attaching the various parts of a cut-out puppet.

rotary table

Equivalent to the animation disk/table, a device that allows you to rotate the workspace forgreater comfort while drawing.

rotoscoping

An animation technique in which animators trace over live-action film movement, frame byframe, for use in animated films. The act of sketching over live-action footage to create an
animated sequence.

roughsRough is a common name in an animation movie for a drawing that is used as a reference
but which does not form part of the final image. A layout is a rough.
The skeleton sketch of an animation or design. Roughs mainly consist of sketch lines andshapes, but can also contain design details.

safe area

The zone at the center of a scene's frame that is safe from being cropped by the TV frame.
As a TV frame cuts a margin off the original frame size, maintaining a safe area ensures thatthe scene's main action will remain clearly visible once the film is screened on television.

scene

A shot in a movie or show. A sequence is composed of several scenes. A scene changes toanother scene by a simple cut or transition.

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Glossary

scriptThe original text containing all the movie or show information. In animation, the script
contains all of the location descriptions, dialogue, time and more. A project starts with ascript.

sequence

A series of scenes or shots forming a distinct part of the story or movie, usually connectedby unity of location or time.

shot

A scene in a movie or show. A sequence is composed of several shots. A shot changes toanother shot by a simple cut or transition.

slow-in

The gradual acceleration in the action. Also known as ease-in.

slow-out

The gradual deceleration in the action. Also known as ease-out.

slugging

To indicate the start and stop times of dialogue and relevant actions.

sound scrubbing

A process that lets you hear sound in real time while you move the playhead forward or
backward. This is very useful for finely-tuning a lip-sync.

stop-motion
keyframe

A keyframe with no computer-generated interpolation.

storyboard

A visual plan of all the scenes and shots in an animation. The storyboard indicates what will
happen, when it will happen and how the objects in a scene are laid out.

straight-ahead
animation

A technique in which an entire sequence is drawn from the first position to the last, in order.
There is very little planning in this methodology. Where the character ends up and how itgets there can be a surprise for both the audience and the animator. While this approach isspontaneous and creative, it can create inaccurate results.

strokes

Invisible vector lines forming the drawing zones. They can be adjusted with Bézier handles.

symbol

A symbol combines animation, artwork or layers into a single object that you can control in
one layer. You can also create symbols out of each body part in your cut-out puppets.
You can place whatever you want in a symbol. You can use symbols to animate a puppet or
create reusable animations such as blinking.

tablet/pen

A device used in conjunction with, or instead of, a mouse to move a mouse pointer(sometimes referred to as the cursor) around the computer screen.

template

An asset stored in the library that can be reused in any project. A template can be a drawing,a series of keyframes, a sound file, a panel, a cut-out character, an effect, a trajectory, ananimation, or anything else used in the animation.

thumbnailA very small image used as a reference or indicator.

timecode

The timing information printed on a movie clip to indicate the scene, hour, minute andsecond that is currently displayed on the screen.

timeline

A horizontal representation of a scene's elements, timing and keyframes.

trace and paint

After the rough animations have gone through cleanup and a final line or pencil test, eachdrawing is traced and painted for the final animation. In today's digital world, this may bedone in a variety ways other than the traditional celluloid or acetate methods.

track breakdown

The break down of an animated film's soundtrack into individual sounds to produce theprecise frame-by-frame position of each sound.

traditional

A type of animation process whereby all the animation sequences are drawn by hand on

110Harmony 12.2 Advanced - Getting Started Guide

paper before scanning or inking them on cels.
trajectory

A computer-generated path or trajectory that elements can follow. The trajectory can becontrolled by control points, keyframes and velocity.

transition

An effect placed between two scenes as they pass from one to the other. Common
transition effects are cross-dissolve and wipe.

underlay

In animation, an underlay is a specific part of the decor placed behind the main animation.

vector

A vector-based image is composed of points and Bézier curves. The computer reads thepoints and traces the segments, linking them to reproduce the image shape. There is no
fixed size or resolution in a vector image. The graphic can be enlarged and distorted asmuch as desired and the system will simply recalculate the segments and rebuild theshapes. Vector images are translated and displayed in pixels once the calculation is done.

velocity

In animation, the velocity, also known as ease, is the acceleration or deceleration of amotion. This can be achieved by a function curve, or via a series of animated drawings.
Other common terms for ease-in and ease-out are slow-in and slow-out.

walk cycle

A series of drawings "on the spot" that describe the walk for a character. The illusion of
movement is created by the use of background pans. To avoid making innumerable
drawings, animators routinely make a walk cycle for a character.

zone

An area which can be painted with colour.

111Harmony 12.1 Advanced - Getting Started Guide

Indexpositioning, scene setup 71
camera shake 104

cycle 105
deformation

caption 104

adjusting deformation chain 55

views 11cel 104

basic rig 52

alpha channel 103

celluloidbone deform 51

addinganimatic 103
animatingSee cel. 104
character building

camera 77, 79-80

breaking down 43

effects over time 94

cut-out 43

layers 77

drawing pieces 43

objects 77

parenting layers 47

animation 103

character design 104

anime 103

clean up 104

arc 103

tracing 27
cleaning up 27

auto-feed 103

clockwiserotating 14
Close Gap tool 22

Bezier 103

closingcolour card 104

importing in original format 35

colour model 104, 108

Bone rig 53
rigging 52
Bone rigcreating 53
breakdown 104
character 43
drawing pieces 43
parenting layers 47
cameraadding and parenting to peg 79

dope sheet 105

DPI 105
drawing 17

drawings
morphing 31

setting on multiple parameters 65

importing as bitmap drawing 39

basic rig 52

dialogue 105

ease 105

gaps 21CMYK 104

animating bone and articulation
deformer 59

rigging 52

painting 20

converting to vector drawing 41

Bone deformer 51

displaying deformer controls 58

pieces, character building 43

background 103

bitmap images 103

chain, setting up bone andarticulation 55

doping 105

aspect ratio 103

axis 103

Bone rig 53

colour wheel 104
compositing 104
counterclockwise
rotating 14

ease-in 105
ease-out 105
effects
about 91
adding 91
animating over time 94
establishing shot 105

creating
scenes from Welcome scene 9
cross dissolve 104

exportingmovie 101
QuickTime 101

cut 104
cut-out animation 104
animating cut-out character 63
character building 43
creating 63
drawing pieces 43
selecting layers 65

animating 77, 79-80

112

exposure 105
exposure sheet 105
fade-in 105
fade-out 105
field chart 106
film-1.33 106

Index •film-1.66 106

selecting parent or child layer 65

resetting rotation 14

flipping 106

skewing with Transform tool 75

resetting views 14

follow-through 106

layout 107

resetting zoom 14

forward kinematics 106

layout and posing 107

rotating clockwise 14

frame 106

library 107

rotating counterclockwise 14

frame rate 106
full screen 14
functions 106

creating templates 69
Library view

zooming in 13
zooming in or out 14

importing templates 70

zooming out 14

gamut 106

light table 107

NTSC 108

gaps

line of action 107

nudge 108

lip-sync 87, 107

objects

closing 21
HDTV 106

adding 87

animating 77

Hold 106

auto detection 88, 103

positioning 73

how topaint 19

lip-sync detection

onion skinning 108

manual 108

overlay 108

HSV 106

low resolution 107

painting 19

importingmanual lip-sync detection 108

drawings 20

bitmap image as bitmap drawing 39

master palette 108

PAL 108

bitmap image in original format 35

master peg 48

palettes 108

converting to vector drawing 41

adding 49

style 108

sound file 87

model 108

panel 108

templates 70

model sheet See character design

panning 14, 108

importing sound 87

morphing

layer using Transform tool 73

in-between 106

deleting 33

ink and paint 106

drawings 31

interface 11
navigating 13
interpolation 107

motion keyframe 108
mouth

resetting 14
paperless animation 108
parentinglayers 47

chart 108

passing position 108

jump cut 107

multiplane 108

path of action 109

key pose 107

creating 83

keyboard shortcuts 107

navigatingpegs 109
adding master 49

keyframes 107

centering screen on mouse 14

layers 107

full screen 14

pen 110

animating 77

interface 13

phoneme 109

panning with Transform tool 73

panning 14

pivot 109

parenting 47

recentering view 14

repositioning 75

rotating with Transform tool 74

resetting pan 14

repositioning permanently 75

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master 48

Harmony 12.1 Advanced - Getting Started Guide

pixel 109

positioning objects 73

pixelation See bitmap image

repositioning pivot 75

pose-to-pose 109

repositioning pivot permanently 75

QuickTimerotating layer with Transform tool 74

opening 79

scaling layer with Transform tool 74

positioning elements 84

exporting 101
recenteringview 14rendering 109
resettingskewing layer with Transform tool 75
scenes 109

tools
Close Gap 22
Top view

trace and paint 110
tracing 27

creating from Welcome scene 9

track breakdown 110

script 110

tradigital 108

pan 14scrubbing 110

traditional animation 23, 110

rotation 14

sequences 110

painting 19-20

views 14

shot 110

tracing animation 27

zoom 14

Side view

trajectory 111

resolution 109

opening 79

RGB 109

positioning elements 84

rigging 52, 109
adding master peg 49

skewing

Transform tool
panning layer 73
rotating layer 74

layer with Transform tool 75

scaling layer 74

basic deformation rig 52

slow-in 110

Bone rig 53

slow-out 110

transition 111

chain, setting up bone andarticulation 55

slugging 110

underlay 111

soundvector 111

displaying deformer controls 58
parenting layers 47
rotary table 109
rotating
layer with Transform tool 74
resetting rotation 14
rotating clockwise 14
rotating counterclockwise 14
rotoscoping 109
roughs 109
safe area 109
scalinglayer with Transform tool 74
scene setup 71

skewing layer 75

importing 87

velocity 105, 111

importing sound file 87

views

lip-sync 87

adding 11

scrubbing 110

recentering 14

stop-motion keyframe 110

resetting 14

storyboard 110

Tool Properties 13

straight-ahead 110

walk cycle 111

strokes 110

zone 111

tablet 110

zooming

templates 110

in 13

creating 69

in or out 14

importing 70

out 14

thumbnails 110
timecode 110

panning layer using Transform
tool 73

timeline 110

positioning camera 71

Tool Properties view 13

114

resetting zoom 14