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GuideGuide

TOON BOOM ANIMATION INC.

+1 514 278 8666

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

contact@toonboom.com
toonboom.com

Harmony 16.0 Premium Reference Guide

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

Disclaimer
The content of this document is the property of Toon Boom Animation Inc. and is copyrighted. Any
reproduction in whole or in part is strictly prohibited.
The content of this document is covered by a specific limited warranty and exclusions and limit of liability under

the applicable 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.

Trademarks
Toon Boom® is a registered trademark. Harmony™ and the Toon Boom logo are trademarks of Toon Boom
Animation Inc. All other trademarks of the property of their respective owners.

Publication Date
01-15-2020
Copyright © 2020 Toon Boom Animation Inc., a Corus Entertainment Inc. company. All rights reserved.

1

Table of Contents

Table of Contents
Table of Contents

2

Introduction

16

Chapter 1: Dialog Boxes

18

Add Column Dialog Box

22

Add Drawing Layer Dialog Box

25

Add Frames Dialog Box

27

Add Prefix or Suffix Dialog Box

28

Add Synced Drawing Layer Dialog Box

29

Advanced Save Dialog Box

31

Attribute Information Dialog Box

36

Auto-Matte Dialog Box

39

Close Gaps Dialog Box

40

Column Properties Dialog Box

41

Column Types Dialog Box

43

Configure Line Art to Colour Art Dialog Box

44

Convert to Synced Drawing Layer Dialog Box

46

Create Cycle Dialog Box

47

Create Drawing from Drawing Selection Dialog Box

48

Create Function Step On Dialog Box

49

Create Palette Dialog Box

52

Create Palette from Selection Dialog Box

53

Database Selector Dialog Box

55

Edit Default Paste Preset Dialog Box

57

Edit Exposure Paste Preset Dialog Box

59

Element Manager Dialog Box

61

Envelope Creator Dialog Box

63

Export Layout Image Dialog Box

68

Export Soundtracks Dialog Box

71

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Export to Animated GIF Dialog Box

73

Export to Easel JS Dialog Box

76

Export to Flash Movie Dialog Box

79

Export to Video Dialog Box

81

Export to Sprite Sheet Dialog Box

84

Expression Dialog Box

87

Extend Exposure Dialog Box

89

Fill Cells Randomly Dialog Box

90

Fill Exposure Using Render Changes Dialog Box

91

Fill Selection Dialog Box

94

Import 3D Models Dialog Box

95

Import Images Dialog Box

97

Interpolation Grid Wizard Dialog Box

104

Interpolation Slider Wizard Dialog Box

111

Manage Local Cache Dialog Box

114

Manage Tool Presets Dialog Box

116

Marker Colour Dialog Box

118

Mini Playback Dialog Box

120

QuickTime Movie Settings Dialog Box

121

New Scene Dialog Box

124

New Tool Preset Dialog Box

126

Onion Skin and Light Table Transparency Dialog Box

128

Palette Browser Dialog Box

129

Palette Operations Dialog Box

132

Paste Preset Dialog Box

134

Paste Special Dialog Box

136

Pose Copier Dialog Box

141

Preferences Dialog Box

143

Recolour Drawings Dialog Box

144

Remove Dirt Dialog Box

146

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Remove Hair Dialog Box

147

Render 3D Model Dialog Box

148

Render Write Nodes Dialog Box

153

Save Dialog Box

157

Scene Settings Dialog Box

159

Scripts Manager Dialog Box

170

Select Colour Dialog Box

172

Selection Presets Dialog Box

174

Sequence Fill Dialog Box

177

Set Ease for Multiple Parameters Dialog Box

179

Show Hidden Columns Dialog Box

181

OpenQuickTime Sound Options Dialog Box

183

QuickTime Sound Settings Dialog Box

185

QuickTime Standard Video Compression Settings Dialog Box

187

Timeline Scene Marker Dialog Box

192

Tint Offset/Blend Dialog Box

193

Toolbar Manager Dialog Box

195

Vectorization Parameters Dialog Box

196

Versions Dialog Box

206

OpenQuickTime Video Options Dialog Box

207

Windows Media Video Settings Dialog Box

209

Xsheet Column Width Dialog Box

211

Chapter 2: Menus

212

Main Menus

214

Animation Menu

215

Drawing Menu

225

Edit Menu

233

File Menu

237

Help Menu

241

Insert Menu

243

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Play Menu

245

Scene Menu

247

View Menu

249

Windows Menu

255

View Menus

257

3D Graph View Menu

258

Camera View Menu

260

Colour View Menu

277

Drawing View Menu

280

Function View Menu

292

Library View Menu

294

Model View Menu

296

Node View Menu

298

Node Library View Menu

303

Onion Skin View Menu

304

Perspective View Menu

306

Script Editor View Menu

312

Side View Menu

317

Timeline View Menu

322

Top View Menu

327

Xsheet View Menu

332

Chapter 3: Nodes / Layers

342

3D Nodes349

3D Kinematic Output Node350

Flatten Node

353

Render Maya Batch Node355

Subnode Animation Node361

Z Buffer Smoothing Node365

Combine Nodes

367

Blending Node368

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Composite Node374

Composite-Generic Node379

Cutter Node385

Highlight Node

387

Image Switch Node

391

Matte-Composite Node393

Tone Node397

Transformation Switch Node

401

Constraint Nodes

403

Constraint Switch Node405

Dynamic Spring Node408

Multi-Points Constraint Node414

Static Transformation Node417

Three-Points Constraint Node

420

Transformation Gate Node423

Transformation Limit Node425

Two-Points Constraint Node431

Deformation Nodes

437

Articulation Node438

Auto Fold Node441

Auto Muscle Node443

Bone Nodes

447

Curve Node451

Deformation Composite Node455

Deformation Root Node458

Deformation Scale Node459

Deformation Switch Node464

Deformation Uniform Scale Node466

Deformation Wave Node

468

Fold Node471

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Game Bone Node

475

Glue Node477

Kinematic Output Node479

Mesh Warp Node480

Offset Node484

Refract

486

Stick Node488

Turbulence Node490

Filter Nodes

494

Anti-Flicker Node496

Auto-Patch Node498

Bloom Node500

Blur-Box Node504

Blur-Directional Node507

Connection

508

Layer Properties

509

Blur-Gaussian Node511

Blur-Radial Node514

Blur-Radial-Zoom Node516

Blur-Variable Node520

Brightness Contrast Node522

Channel Selector Node524

Channel Swap Node526

Chroma-Keying Node

528

Colour Banding Node534

Colour Art Node537

Colour-Override Node540

Colour-Scale Node545

Colour Selector Node547

Contrast Node550

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Dither Node552

Focus Node554

Focus Multiplier Node557

Glow Node559

Grain Node

563

Greyscale Node565

Hue-Saturation Node567

Layer Selector Node574

Line Art Node577

Luminance Threshold Node579

Matte-Blur Node582

Matte-Resize Node585

Median Node587

Motion-Blur Node590

Negate Node592

Overlay Layer Node594

Pixelate Node596

Remove Transparency Node598

Shadow Node

600

Transparency Node603

Underlay Layer Node

605

Generator Nodes

608

Animated Matte Generator Node609

Burn-In Node620

Colour-Card Node624

Element / Drawing Node627

Connection

628

Field Chart Node644

Gradient Node649

Grid Node655

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Lens Flare Node658

Turbulent Noise Node661

Group Nodes

665

Group Node666

Multi-Port-In Node667

Multi-Port-Out Node

668

Miscellaneous Nodes

669

External Node670

Master Controller Node673

Note Node

679

OpenGL Bypass Node

680

OpenGL-Cache-Lock Node

682

Render Preview Node685

Script Node686

Visibility Node689

Move Nodes

690

Apply Image Transformation Node691

Apply Peg Transformation Node694

Camera Node698

OrthoLock Node700

Peg Node

702

Shake Node704

Transform-Loop Node708

Quadmap Node711

Quake Node714

Output Nodes

717

Crop Node718

Display Node721

Multi-Layer Write Node722

Scale Output Node726

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Write Node

728

Image Formats for Rendering Write Nodes733

Particle Nodes

739

3D Region

741

Baker

743

Baker Composite

746

Bounce747

Explosion

749

Gravity

751

Image Fracture

753

Kill

759

Move Particles

761

Orbit

763

Planar Region

766

Random769

Region Composite

770

Repulse771

Rotation Velocity

772

Sink

775

Size

776

Sprite Emitter

778

System Composite

788

Velocity

789

Visualizer

792

Vortex794

Wind-Friction

796

Shading Nodes

797

Light Position Node798

Light Shader Node800

Normal Map Node

803

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Normal Map Converter Node807

Tone Shader Node809

Volume Object Node813

Plugin Nodes

815

Sparkle816

Selection Preset Note Node819

Sound Layer

821

Chapter 4: Tools Properties

824

Brush Tool Properties

826

Centerline Editor Tool Properties

847

Close Gap Tool Properties

849

Contour Editor Tool Properties

850

Cutter Tool Properties

854

Drawing Pivot Tool Properties

858

Dropper Tool Properties

860

Edit Gradient/Texture Tool Properties

861

Ellipse Tool Properties

862

Envelope Tool Properties

871

Eraser Tool Properties

874

Ink Tool Properties

893

Inverse Kinematics Tool Properties

895

Line Tool Properties

898

Morphing Tool Properties

908

Paint Tool Properties

912

Pencil Tool Properties

919

Pencil Editor Tool Properties

929

Perspective Tool Properties

934

Polyline Tool Properties

937

Rectangle Tool Properties

945

Reposition All Drawings Tool Properties

954

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Rigging Tool Properties

956

Select Tool Properties

959

Shift and Trace Tool Properties

971

Smooth Editor Tool Properties

974

Stroke Tool Properties

976

Text Tool Properties

978

Transform Tool Properties

981

Zoom Tool Properties

984

Chapter 5: Toolbars

986

Top Toolbars

988

Advanced Animation Toolbar

989

Art Layer Toolbar

991

Control Point Toolbar

993

Coordinate Toolbar

995

Deformation Toolbar

996

Display Toolbar

1001

Easy Flipping Toolbar

1002

Edit Toolbar

1003

File Toolbar

1004

Flip Toolbar

1005

Game Toolbar

1006Mark Drawing Toolbar

1007

Master Controller Toolbar

1008

Mini Playback Toolbar

1009

Onion Skin Toolbar

1010

Playback Toolbar

1012

Scripting Toolbar

1015

Shift and Trace Toolbar

1016

Tool Presets Toolbar

1018

Tools Toolbar

1019

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Workspace Toolbar

1025

View Toolbars

1026

3D Graph View Toolbar

1027

Animated Matte Generator Toolbar

1028

Script Editor Toolbar

1031

Timeline View Toolbar

1036

Xsheet View Toolbar

1038

Chapter 6: Views

1040

3D Graph View

1042

Animated Matte Generator View

1044

Camera View

1051

Colour View

1058

Coordinates and Control Points View

1066

Drawing View

1069

Drawing Substitutions View

1072

Function View

1074

Guides View

1077

Integrated Help View

1080

Layer Properties View

1081

Library View

1083

Master Controller View

1086

Message Log View

1088

Metadata Editor View

1089

Model View

1091

Node View

1092

Node Library View

1094

Onion Skin View

1097

Perspective View

1103

Script Editor View

1106

Side View

1111

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Timeline View

1113

Tool Properties View

1123

Top View

1124

Xsheet View

1126

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15

Introduction

Introduction
Harmony has several commands, dialog boxes, and buttons. The Reference section lists all of them along withthe matching definition. To understand how to use these functions in a production context, read the User
guide.
In the Reference guide, you will learn about the various parameters available in dialog boxes, menus, nodes,
toolbars, views, and windows.
The Preferences guide provides additional details about each individual preference.

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Chapter 1: Dialog Boxes

Chapter 1: Dialog Boxes
Dialog boxes contain controls such as options and lists through which you can carry out a particular commandor task. For example, in the Scene Settings dialog box, you must indicate the resolution and alignment. A typicaldialog box looks as follows:

Add Column Dialog Box

22

Add Drawing Layer Dialog Box

25

Add Frames Dialog Box

27

Add Prefix or Suffix Dialog Box

28

Add Synced Drawing Layer Dialog Box

29

Advanced Save Dialog Box

31

Attribute Information Dialog Box

36

Auto-Matte Dialog Box

39

Close Gaps Dialog Box

40

Column Properties Dialog Box

41

Column Types Dialog Box

43

Configure Line Art to Colour Art Dialog Box

44

Convert to Synced Drawing Layer Dialog Box

46

Create Cycle Dialog Box

47

Create Drawing from Drawing Selection Dialog Box

48
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Create Function Step On Dialog Box

49

Create Palette Dialog Box

52

Create Palette from Selection Dialog Box

53

Database Selector Dialog Box

55

Edit Default Paste Preset Dialog Box

57

Edit Exposure Paste Preset Dialog Box

59

Element Manager Dialog Box

61

Envelope Creator Dialog Box

63

Export Layout Image Dialog Box

68

Export Soundtracks Dialog Box

71

Export to Animated GIF Dialog Box

73

Export to Easel JS Dialog Box

76

Export to Flash Movie Dialog Box

79

Export to Video Dialog Box

81

Export to Sprite Sheet Dialog Box

84

Expression Dialog Box

87

Extend Exposure Dialog Box

89

Fill Cells Randomly Dialog Box

90

Fill Exposure Using Render Changes Dialog Box

91

Fill Selection Dialog Box

94

Import 3D Models Dialog Box

95

Import Images Dialog Box

97

Interpolation Grid Wizard Dialog Box

104

Interpolation Slider Wizard Dialog Box

111

Manage Local Cache Dialog Box

114

Manage Tool Presets Dialog Box

116

Marker Colour Dialog Box

118

Mini Playback Dialog Box

120

QuickTime Movie Settings Dialog Box

121

New Scene Dialog Box

124

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Chapter 1: Dialog Boxes

New Tool Preset Dialog Box

126

Onion Skin and Light Table Transparency Dialog Box

128

Palette Browser Dialog Box

129

Palette Operations Dialog Box

132

Paste Preset Dialog Box

134

Paste Special Dialog Box

136

Pose Copier Dialog Box

141

Preferences Dialog Box

143

Recolour Drawings Dialog Box

144

Remove Dirt Dialog Box

146

Remove Hair Dialog Box

147

Render 3D Model Dialog Box

148

Render Write Nodes Dialog Box

153

Save Dialog Box

157

Scene Settings Dialog Box

159

Scripts Manager Dialog Box

170

Select Colour Dialog Box

172

Selection Presets Dialog Box

174

Sequence Fill Dialog Box

177

Set Ease for Multiple Parameters Dialog Box

179

Show Hidden Columns Dialog Box

181

OpenQuickTime Sound Options Dialog Box

183

QuickTime Sound Settings Dialog Box

185

QuickTime Standard Video Compression Settings Dialog Box

187

Timeline Scene Marker Dialog Box

192

Tint Offset/Blend Dialog Box

193

Toolbar Manager Dialog Box

195

Vectorization Parameters Dialog Box

196

Versions Dialog Box

206

OpenQuickTime Video Options Dialog Box

207

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Windows Media Video Settings Dialog Box

209

Xsheet Column Width Dialog Box

211

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Chapter 1: Dialog Boxes

Add Column Dialog Box
The Add Column dialog box lets you add a column in the Xsheet view.
By default, when you create a new scene, there is one drawing column in the Xsheet view and one
corresponding drawing layer in the Timeline view.
You can add an element for each drawing and it will appear as a column in the Xsheet view, a layer in theTimeline view, and a node in the Node view.

How to access the Add Column dialog box
1. Do one of the following:l

In the Xsheet menu, select Columns > Add Columns.

lClick the Add Columns

lPress Shift + C.

button.

NOTEThe Add Column dialog box contains additional parameters for working with elements which
will only display if you set advanced preferences. To do this, press Ctrl + U (Windows/Linux) or⌘ + U (macOS) to open the Preferences dialog box. Select the Advanced tab, then select theAdvanced Element Mode option and click OK.

Parameter

Description

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Name

Lets you give the new column a meaningful name.

Type

Lets you select a type of column to create. Choices include: Drawing, Timing,
Sound, 3D Path, 3D Rotation, Bezier Curve, Ease Curve, Expression andAnnotation.

Drawing Layer Options
Line Art

Creates a vector or bitmap drawing column in the Line Art layer.

Colour Art

Creates a vector or bitmap drawing column in the Colour Art layer.

Element
Create New Element

Creates an independent column with its own drawing folder.

Vector

Select this option if you want the layer to contain vector drawings.
Deselect this option if you want the layer to contain bitmap images.
Most of the time, the Vector option will be enabled.

Bitmap Format

Lets you select the type of bitmap image to insert in the column. Select SCAN
from the list if you are planning to scan drawings using the Toon Boom Harmony
Scan module.

Scan TypeIf you chose SCAN from the Bitmap Format list, select the kind of scanning you
want to achieve.

Field Chart

When importing traditional animation, lets you indicate the size of paper onwhich the animation or background was drawn. If you are not using perforated
animation paper, leave the 12 field default value as is.

Reuse Existing
Element

Links your column to an existing folder within the Element folder of your scene.

FolderLets you select the folder to which you want to link your new column.

Use Existing Element

Uses drawings from an existing column in the new column. Both columns will be
attached to the same set of drawings, but their timing will remain independent
from one another. If you modify one of the drawings, it will be modified in bothcolumns. This is the same principle as the Clone column.

23Chapter 1: Dialog Boxes

Name

Add and Close

Add

Lets you select the column to which you want to link your new column.
Adds the selected type of layers to the Timeline view and corresponding column
in the Xsheet view and closes the dialog box. The names of the layers/columns
are automatically numbered incrementally.
Adds the selected type of layers to the Timeline view and corresponding column
in the Xsheet view. The dialog box remains open for you to add as manylayers/columns as needed. The names of the layers/columns are automatically
numbered incrementally.

Close

Closes the dialog box.

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Add Drawing Layer Dialog Box
The Add Drawing Layer dialog box lets you add a drawing layer to your project.
By default, when you create a new scene, there is one drawing column in the Xsheet view and one
corresponding drawing layer in the Timeline view.
You can add an element for each drawing and it will appear as a column in the Xsheet view, a layer in theTimeline view, and a node in the Node view.

How to access the Add Drawing Layer dialog box
1. Do one of the following:l

In the Timeline view, click the Add Drawing Layerl

From the top menu, select Insert > Drawing.

l

Press Ctrl + R (Windows/Linux) or ⌘ + R (macOS).

button.

Parameter

Description

Name

Lets you give the new layer a meaningful name.

Overlay Art

Creates a vector or bitmap drawing layer in the Overlay Art layer.

Line Art

Creates a vector or bitmap drawing layer in the Line Art layer.

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Chapter 1: Dialog Boxes

Colour Art

Creates a vector or bitmap drawing layer in the Colour Art layer.

Underlay Art

Creates a vector or bitmap drawing layer in the Underlay Art layer.

Add and Close

Adds the selected type of layers to the Timeline view and corresponding column
in the Xsheet view and closes the dialog box. The names of the layers/columns
are automatically numbered incrementally.
Adds the selected type of layers to the Timeline view and corresponding column

Add

Close

in the Xsheet view. The dialog box remains open for you to add as manylayers/columns as needed. The names of the layers/columns are automatically
numbered incrementally.
Closes the dialog box.

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Add Frames Dialog Box
The Add Frames dialog box lets you add frames anywhere in the middle of the scene—before or after aselection. If you select a frame row in the Xsheet view, Harmony will add the new frames before or after theselection, depending on your choice.

How to access the Add Frames dialog box
1. In the Timeline or Xsheet view, select a frame or a range of frames.

2. Do one of the following:l

From the top menu, select Scene > Frame > Add Frames Before Selection or Add Frames
After Selection.

l

In the Xsheet view, right-click and select Frames > Add Frames Before Selection or Add
Frames After Selection.

l

In the Xsheet toolbar, click the Add Frames

button to add frame after your selection.

lPress Ctrl + G (Windows/Linux) or ⌘ + G (macOS) to add frames before the selection, or Ctrl
+ H to add frames after the selection.

The Add Frames dialog box opens.

Parameter

Description

Number of frames to add

Lets you enter the number of frames needed in the scene.

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Chapter 1: Dialog Boxes

Add Prefix or Suffix Dialog Box
The Add Prefix or Suffix dialog box lets you add or remove a prefix or suffix for a multi-layer or multi-nodeselection.

How to access the Add Prefix or Suffix dialog box
1. In the Network or Timeline view, select all the nodes or layers to rename or press Ctrl + A(Windows/Linux) or ⌘ + A (macOS).

2. In the Scripting toolbar, click the Add Prefix or Suffix Script

button. If the Scripting toolbar is not

visible, you can display it by selecting Windows > Toolbars > Scripting from the top menu. If the
Add Prefix or Suffix Script

button is not visible in the Scripting toolbar.

The Add Prefix or Suffix dialog box opens.

Parameter

Description

SuffixAllows you put a defined set of characters (letters, numbers, symbols) after the
pre-existing layer or node name.

PrefixAllows you put a defined set of characters (letters, numbers, symbols) before thepre-existing layer or node name.

Insert Text

Enter a set of characters to be added to the selected layers or nodes.

Remove Text

Enter a set of characters to be removed from the selected layers or nodes.

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Add Synced Drawing Layer Dialog Box
The Add Synced Drawing Layer dialog box lets you add a drawing layer to your project that will automaticallybe synced with the currently selected layer.
Depending on whether the Support Overlay and Underlay Arts option was selected in the Advanced tab of
the Preferences panel, the Add Synced Drawing Layer dialog box may look one of two ways.

How to access the Add Synced Drawing Layer dialog box
1. In the Timeline view, right-click on the drawing layer you would like to sync with another layer.
2. From the right-click menu, select Add Synced Drawing Layer.

Parameter

Description

Name

Lets you give the new layer a meaningful name.

Overlay Art

Creates a vector or bitmap drawing layer in the Overlay Art layer.

Line Art

Creates a vector or bitmap drawing layer in the Line Art layer.

Colour Art

Creates a vector or bitmap drawing layer in the Colour Art layer.

Underlay Art

Creates a vector or bitmap drawing layer in the Underlay Art layer.

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Chapter 1: Dialog Boxes

Add and Close

Adds the selected type of layers to the Timeline view and corresponding column
in the Xsheet view and closes the dialog box. The names of the layers/columns
are automatically numbered incrementally.

Add

Adds the selected type of layers to the Timeline view and corresponding column
in the Xsheet view. The dialog box remains open for you to add as manylayers/columns as needed. The names of the layers/columns are automatically
numbered incrementally.

Close

Closes the dialog box.

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Advanced Save Dialog Box
In Harmony Server, the Advanced Save dialog box lets you save the scene as a new version, overwrite an
existing version, set a new current version, display a list of modified drawings, colour palettes, and modified
colour palette lists.

How to access the Advanced Save dialog Box
1. Make sure that you have the necessary rights to save the current scene version. If you do not, you
can acquire the rights by selecting File > Rights to Modify Scene Version or Rights to Modify
Scene from the top menu.
2. From the top menu, select File > Advanced Save.
The Advanced Save dialog appears.

31Chapter 1: Dialog Boxes

File Tab

Parameter

Description‣

Enable this option if you want to save the modifications made to thecurrent scene.

Save

‣

Deselect the Save option if you only want to save specific components ofyour scene listed in the Drawings, Palettes or Palette Lists tabs. This will
disable all option in the File tab.

This Version (number)

Saves the current version of the scene. You can rename the current version by
typing a new name into the field.

New Version (number)

Saves the current scene as a new version. You can name this new version by
typing a name into the field.

Overwrite Existing Version

Lets you select an existing version of your scene from the list to overwrite it.

Description

Use this field to add or edit an existing description for the scene version you wantto save.

Mark as Current

Lets you set this scene version as the current one. This version will be
automatically selected as the default current version when the scene is selected in
the Database Selector dialog box

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Drawings (Harmony Server only)
The Drawings tab lists the modified drawings.

Parameter

Description

Drawing list

Lets you select the modified drawings to save, and deselect the ones you do notwant to save.

Select All

Selects all modified drawings in list.

Deselect All

Deselects all modified drawings in the list.

Palettes Tab
The Palette tab lists the modified colour palettes.

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Chapter 1: Dialog Boxes

Parameter

Description

Colour Palette list

Lets you select the colour palette to save, and deselect the ones you do not wantto save.

Show Recovered

Displays the recovered palettes in the list of modified palettes.

Select All

Selects all modified colour palettes in the palette list.

Deselect All

Deselects all modified colour palettes in the palette list.

Palette Lists Tab
The Palette Lists tab lists all the modified colour palette lists.

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Parameter

Description

Palette Lists

Lets you select the modified palette list to save, and deselect the ones you do notwant to save.

Show Recovered

Displays the recovered palettes in the list of modified palettes.

Select All

Selects all modified palette lists in the list.

Deselect All

Deselects all modified palette lists in the list.

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Chapter 1: Dialog Boxes

Attribute Information Dialog Box
The Attribute Information dialog box displays information for accessing a specific attribute in a specific nodethrough the Harmony scripting interface.

How to access the Attribute Information Dialog Box
1. In the top-left corner of the Node view, click on the

Menu button and select View > Show

Attribute Information.
2. In the Node view, locate the node which you want to manipulate through scripting.
3. Click on theLayer Properties button for this node.

The Layer Properties dialog for this node appears. Right of each attribute is aInformation button.

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Harmony 16.0 Premium Reference Guide

4. Click on theShow Attribute Information button next to the attribute which you want to accessthrough scripting.
The Attribute Information dialog appears and displays information on the attribute, as well as asample script to access the attribute.

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Chapter 1: Dialog Boxes

Parameter

Description

Node Path

The path to access the node in your scene's node system. This path is thehierarchy of groups in which the node is located, and always starts with Top,
which represents the root of the scene's group hierarchy. For example, if the nodeis named master-P and is inside a group named CH001_MyCharacter in thescene's root, its path would be Top/CH001_MyCharacter/master-P.

Attribute Display Name

The user friendly name of the attribute. This name cannot be used in the Harmony
scripting interface.

Attribute Keyword

The actual name of the attribute in the Harmony scripting interface.

Attribute TypeThe type of the attribute.

Get Value in Script

A sample script to access the attribute and store its value in a variable.

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Auto-Matte Dialog Box
The Auto-Matte dialog box lets you generate a matte for a drawing.

How to access the Auto Matte dialog box
1. In the Camera or Drawing view, select the drawing you want to create a matte for.
2. Do one of the following:l

From the top menu, select Drawing > Generate Auto-Matte.

l

In the Camera or Drawing menu, select Drawing > Generate Auto-Matte.

Parameter

Description

Settings
Apply to all Drawings

Creates a matte for all the drawings included in layer.

RadiusLets you increase or decrease the radius value depending on the precision orroughness of your line. Use a lower value, the closer to your lines’ contours thematte will be shaped. The higher the value, the looser the matte will be shaped.

Source Art

Lets you select the layer from which you want the matte created: Line Art,Colour
Art, Underlay or Overlay.

Destination Art

Lets you select the layer on which you want the matte to be created: Line
Art,Colour Art, Underlay or Overlay.

Clear Destination Art First

Deletes existing artwork on the destination layer before adding a matte to it.

Copy Strokes in Destination

Copies the contour of your lines as invisible lines in the matte drawing. This isuseful if you need to reuse the lines later.

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Chapter 1: Dialog Boxes

Close Gaps Dialog Box
The Close Gaps dialog box lets you close up drawing areas that not are closed. This may sometimes happen
when painting. You can close small gaps in a drawing by creating small, invisible strokes between the two
closest points to close the colour zone. You do not need to trace directly over the gap. You can draw it a few
millimeters away. The two closest points automatically close the gap.

How to access the Close Gaps dialog box
1. Select View > Show > Show Strokes or press K to see a preview of the result.
2. To flatten the strokes you draw, click the Auto-Flatten

button in the Tool Properties view.

3. Select Drawing > Clean Up > Close Gaps or press Shift + F10 (Windows/Linux only).
The Close Gaps dialog box opens.

Parameter

Description

Size

Lets you set the size of the gap you want to be closed.

Apply to all drawings

Closes all gaps in the drawing of the selected layer.

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Column Properties Dialog Box
The Column Properties dialog box lets you add, delete or modify elements (drawing folders) in your scene.

How to access the Drawing dialog box
1. In the Xsheet view, double-click on a column name. Do not click on the drawing folder name that thecolumn is linked to (this also appears in the column header just below the column name).

Parameter

Description

Name

Type in a new name in this field to create an element or to rename the selected
element.

Element

Name

Type in a new name in this field to create an element or to rename the selected
element.

Vector

Select this option if the new element is a vector drawing or if you want to enable
the parameters on the selected element in the Elements list.

Bitmap Format

Lets you select the file format of the bitmap layer.

Scan TypeIf you're planning to scan elements with the Toon Boom Harmony Scan module,
select the scan type from the list.

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Chapter 1: Dialog Boxes

Field Chart

If you're importing traditional animation, select the size of the paper on which theanimation was drawn.

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Column Types Dialog Box
The Columns Types dialog box lets you show or hide columns in the exposure sheet.

How to access the Columns Types dialog box
1. In the Xsheet view, select View > Column Types Manager.
The Column Types dialog box opens.

Parameter

Description

Column Types

Lets you select the types of columns to display in the Xsheet view.

Save as Default

Makes these new settings the default ones used each time you start Harmony.

Restore Default

Returns the settings to their defaults.

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Chapter 1: Dialog Boxes

Configure Line Art to Colour Art Dialog Box
The Configure Line Art to Colour Art dialog box lets you modify settings for the Line Art and Colour Art layers.

How to access the Configure Line Art to Colour Art dialog box
1. In the Tools toolbar, select the Select tool.
2. In the Tool Properties view, hold down the Shift key and click on the Creatre Colour Art from LineArt button.

Parameter

Description

Use rendered version of thedrawing

Renders the drawing and vectorize it to calculate the position of the centrelinethat will produce the colour art stroke.

Maximum Resolution for
rendered image

The size of the rendered image.

Threshold for rendered image

The value of grey processed to create the rendered vectorized arts.

Fitting error for rendered
Beziers

This value represents how precise the fitting of the colour art zone in relation to
the line art will be.

Source layer

Lets you select the layer (Line Art, Colour Art, Underlay or Overlay) you want thecolour art to be created from.

Destination layer

Lets you select the layer (Line Art, Colour Art, Underlay or Overlay) you want thecolour art to be created on.

Clear Destination Art Layer
First

Deletes the content before the colour art is added. This is useful when you
already have artwork on the destination layer.

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Perform Line Art to Colour
Art Operation Immediately

Performs the Create Colour Art from Line Art command when you click OK.

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Convert to Synced Drawing Layer Dialog Box
The Sync Layer feature allows for drawings to be separated on different layers, but to have the same timing.

How to access the Convert to Synced Drawing Layer dialog box
1. right-click on a drawing layer you would like to sync with another layer.
2. From the right-click menu, select Sync Layers With.
In the Choose the Parent Drawing Layer drop-down list, with the exception of the selected layer,
every layer in your scene is listed.
3. To sync a layer with your currently selected layer, from the drop-down list, select a parent drawing
layer and click OK. The child layer immediately updates to the parent layer's timing.

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Create Cycle Dialog Box
The Create Cycle dialog box lets you create cycles from a series of drawings and exposures.
When you create a drawing cycle, all the repeated drawings are linked to the same original files. When modify,
repaint, or correct a drawing named “1” for example, all drawings named “1” are updated simultaneously. In
order to modify a drawing independently from its other exposures, you must duplicate the drawing.

How to access the Create Cycle dialog box
1. In the Timeline or Xsheet view, select the cell range to loop.

2. In the Timeline toolbar, click the Create Cycle

button (you may have to customize the toolbar todisplay it).
The Create Cycle dialog box opens.

Parameter

Description

Number of Cycles

Lets you specify the number of cycles, including the current selection.

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Chapter 1: Dialog Boxes

Create Drawing from Drawing Selection Dialog Box
The Create Drawing from Drawing Selection dialog box lets you cut a part of a drawing and send it to a new orexisting layer.

How to access the Create Drawing from Drawing Selection dialog box
1. From the top menu, select Edit > Create Drawing From Drawing Selection or press F9(Windows/Linux) or ⌘ + F9 (macOS).
The Create Drawing From Drawing Selection dialog box opens.

Parameter

Description

Layer Name

Lets you enter a name for the layer using the naming convention you established.

Cut Artwork From Source

Lets you cut the selected artwork from the model.

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Create Function Step On Dialog Box
The Create Function Step On dialog box lets you hold the same value over a selected number of frames for
multiple parameters (pos x, scale y, etc.). This works well when you are animating drawings on 2s or 3s, forexample, and you want to hold the same value for a function over those two or three frames.

How to access the Create Function Step On dialog box
1. Add the Scripting toolbar to your interface:l

Go to the top menu and select Windows > Toolbars > Scripting.

lright-click on the empty space near the top of the interface and from the quick-access menu
selecting Scripting.

lright-click on the empty space near the top of a view and from the quick-access menu
selecting Scripting.

2. In the Scripting toolbar, click on the Manage Scripts

button to open the Scripts Manager

window.
3. In the Scripts Manager, in the Files section, select the file TB_CreateStepsOn.js.
The functions associated with that file appear in the Functions section.
4. In the Functions section, select TB_CreateStepsOn.
The Add script to toolbar

button becomes active.

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Chapter 1: Dialog Boxes

5. Click on the Add script to toolbar
The TB_CreateStepsOn script

button.
button is added to the Scripting toolbar.

6. Click Apply.
7. Click OK.
8. In the Timeline view, select the layer whose parameter values you would like to hold.
9. In the Scripting toolbar, click on the TB_CreateStepsOn script

button.

The Create Function Step On dialog box appears.

Parameter

Description

Settings
Every Number of Frames

Enter in the number of frames you would like to hold your functions.

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Selection

First Frame

Enter in the frame number of where you would like the stepped holds tostart. The playhead location determines the lowest value you can enter for
the first frame. You need to move the playhead to frame one if you would
like to set frame one as the lowest possible starting value.

Last Frame

Enter in the frame number of where you would like the stepped holds to
stop.

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Create Palette Dialog Box
The Create Palette dialog box allows you to create a colour palette for your scene. Palettes created with this
dialog box are added to your scene's palette list, and stored in your scene's palette-library subdirectory.

NOTE
If you have the Advanced Palette Lists preference enabled, the dialog will also have a palettebrowser, which allows you to decide where the palette is stored and whether to add it to the sceneor the element's palette list—see Palette Browser Dialog Box on page 129.

How to access the Create Palette dialog box
1. Do one of the following:l

In the Colour View, click the New Palettebutton over the palette list.

lFrom the Colour view menu, select Palettes > New

Parameter

Description

New Palette Name

Allows you to type in the name of the palette to create.
Allows you choose the palette type to create:lPalette TypelColour: A colour palette can contain colours, gradients and bitmap textures.
Pencil Texture: A pencil texture palette can contain textures to apply astransparency filters to pencil lines, in combination to their line colour, to create
various styles of pencil lines.

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Create Palette from Selection Dialog Box
The Create Palette from Selection dialog box allows you to create a palette that contains all the colours used by
all the drawings in the selected drawing layers.

This can be useful, for example, if the colour design for a character model or rig, a background or another kind ofasset was made using several different palettes, and you need to consolidate all of the colours used by the asset
into its own dedicated palette.
NOTESl

The Create Palette from Selection dialog uses the colours in all the drawings in the selected
layers, even drawings that are not exposed.

l

For tasks related to this dialog box, see the User Guide.

How to access the Create Palette from Selection dialog box
1. In the Timeline, Xsheet, Camera or Node view, select one or more drawing layers.
2. In the top-left corner of the Colour view, open the

View Menu and select Palettes > New Palettefrom Selected Drawings.

Parameter

Description

New Palette Name

Allows you to type in the name of the palette to create.
Allows you choose one of the type of palette to create:lPalette Typel

Generate New Colour
IDs and Recolour
Selected Drawings

Colour: Creates a palette containing all the colours, gradients and bitmap textures
used in the selected drawing layers.
Pencil Texture: Creates a palette containing all the pencil textures used in theselected drawing layers.

By default, the Create Palette from Selection dialog box generates the palette by copying
the colour swatches used in the selected drawings from their original palette into a newpalette, along with their colour ID. This means that the colour swatches in the generated
palette will use the same colour IDs as the ones in the original palettes.

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Chapter 1: Dialog Boxes

If you select this option, Harmony will generate a palette with new colour IDs, and will
replace the old colour IDs in your artwork with the new ones. This will usually have no
visible effect, and will prevent the swatches in the new palette from having the same
colour IDs as the swatches you originally used to colour your artwor. When two palettes
have a swatch with the same colour ID, Harmony uses the swatch from the top-mostpalette in the palette list.

NOTE
If your artwork uses Colour-Override effects, the colour IDs used by these ColourOverride will not be replaced with the new colour IDs, making the ColourOverride ineffective unless you reconfigure them manually. Hence, you should
avoid using this parameter if you are consolidating the palette of a character rig
that uses a lot of Colour-Overrides.

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Database Selector Dialog Box
The Database Selector dialog box lets you connect to your studio's central database when working on
Harmony Server.
NOTE
When you connect to the database, you cannot create new scenes directly from Harmony. The
available scenes must have been already created using the Control Center module.

How to access the Database Selector dialog box
1. Start Harmony
2. In the log-in dialog, select Connect to Database.
3. In the User Name field, type in your Harmony Server username.
4. Click on OK.
The Database Selector dialog box opens.

Parameter

Description

Environments

Lets you select the scene's environment (project, movie).

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Chapter 1: Dialog Boxes

Jobs

Lets you select the scene's job (episode, sequence).

ScenesLets you select the scene.

Get rights to modify thescene

Allows you to modify the selected version of the scene as well as to manage andoverwrite other versions. Other users will not be able to open a different versionof the scene until you close the scene.
Allows you to modify the currently selected scene version only. Unless the Get

Get rights to modify thescene version

Get rights to modify all scene
assetsrights to modify the scene option is also checked, you will not be able to change
other versions of the scene. This allows other users to modify different versionsof the scene while you are working on the selected version.
Automatically gets the rights to modify all of the scene's assets, locking otherusers from making changes to them until you close the scene. This means thatyou will have the rights to modify all the scene's versions, drawings, palettes, its
palette list, but not its library folder. If this option is unchecked, drawings andpalettes will be locked unless you unlock them manually. This can allow anotheruser to work on the scene's drawings and palettes in Paint while you are working
on the scene's timing or staging in Harmony.
Downloads the scene's drawings to your computer before opening the scene.
Harmony will then load the drawings from your computer during the session,
instead of loading them from their original location over the network. This cansignificantly increase performance, especially with resource-heavy scenes.

Cache scene assets locally

When you save your scene, the updated drawings will be uploaded automaticallyto the database, so you do not have to re-upload them manually.

NOTE
If this option is checked, it may take a while to download all of the scene's
assets when opening a particularly heavy scene.

VersionIf you saved different versions of a scene, this lets you select one to open.

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Edit Default Paste Preset Dialog Box
The Edit Default Paste Preset dialog box lets you modify settings for the keyframe and exposure paste presets,
as well as setting the defaults.

How to access the Edit Default Paste Preset dialog box
1. From the Timeline menu, select Edit > Modify Paste Presets > All or Key Frame or Exposure.

Parameter

Description

Drawings
Never create drawing files: When adding exposures to a drawing layer, drawing
files will not be created.

Add/Remove
Exposure

Only create drawing files when they do not exist: When adding exposures to a
drawing layer, new drawings will be created only when drawings with the same
name do not already exist in the destination.
Always create drawing files: When adding exposures to a drawing layer, newdrawings will always be created. If drawing files with the same name alreadyexist, Harmony will create a new name for the drawing.

Enforce Key Exposure

If there are key exposures that exist on copied drawings, they are preserved when
pasting. No key exposures are added. This is the default behavior when pasting.

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Fill Gap with
Previous Drawing

Fills selected area in the Xsheet or Timeline view with the previous drawing.

Fill to Next Key
Exposure

Fills selected area till the next key exposure.

Keyframes
Motion: Copies the properties of the selected motion keyframe to the new frame.
Velocity: Copies the properties of the selected velocity keyframe to the new frame.

Add/Remove
Keyframes

Rotation: Copies the properties of the selected rotation keyframe to the newframe.
Scale: Copies the properties of the selected scale keyframe to the new frame.
Skew: Copies the properties of the selected skew keyframe to the new frame.
Force Keyframes at Function's Beginning and End: Adds a keyframe to thebeginning and end of the pasted function, reproducing the source function.

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Edit Exposure Paste Preset Dialog Box
The Edit Exposure Paste Preset dialog box lets you reuse key exposures as you animate.

How to access the Edit Exposure Paste Preset dialog box
1. From the Timeline view menu, select Edit > Modify Paste Presets > Exposure.
The Edit Exposure Paste Preset dialog box opens.

Parameter

Description

Drawings
Never create drawing files: When adding exposures to a drawing layer, drawing
files will not be created.

Add/Remove
Exposure

Only create drawing files when do they do not exist: When adding exposures to a
drawing layer, new drawings will be created only when drawings with the same
name do not already exist in the destination.
Always create drawing files: When adding exposures to a drawing layer, newdrawings will always be created. If drawing files with the same name alreadyexist, Harmony will create a new name for the drawing.

Enforce Key Exposure

Creates a key exposure on the same drawing.

Fill Gap with Previous
Drawing

Fills selected area in the Xsheet or Timeline view with the previous drawing.

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Chapter 1: Dialog Boxes

Fill to Next Key Exposure

Fills selected area till the next key exposure.

Keyframes
Motion: Copies the properties of the selected motion keyframe to the new frame.
Velocity: Copies the properties of the selected velocity keyframe to the new frame.
Rotation: Copies the properties of the selected rotation keyframe to the newframe.
Add/Remove Keyframes
Scale: Copies the properties of the selected scale keyframe to the new frame.
Skew: Copies the properties of the selected skew keyframe to the new frame.
Force Keyframes at Function's Beginning and End: Adds a keyframe to thebeginning and end of the pasted function, reproducing the source function.
Reset to Default

Return all values to their defaults.

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Element Manager Dialog Box
The Element Manager window lets you Opens the Element Manager window where you can add, delete or
modify elements (drawing folders) in your scene. If you have drawing folders that are not linked to a column inyour scene, use the Element Manager to delete them if needed. See xref Reference > Windows > Element
Manager.

How to access the Element Manager window
1. From the top menu, select Scene > Element Manager.

Parameter

Description

Elements
Delete Elements

Deletes the selected elements.

Delete Elements andDirectories

Deletes the selected layer and its directories (drawing folder).

Add/Modify Element

Name

Type in a new name in this field to create an element or to rename theselected element.

Vector

Select this option if the new element is a vector drawing or if you want toenable the parameters on the selected element in the Elements list.

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Bitmap Format

Lets you select the file format of the bitmap layer.

Scan TypeIf you're planning to scan elements with the Toon Boom Harmony Scan
module, select the scan type from the list.

Field Chart

If you're importing traditional animation, select the size of the paper onwhich the animation was drawn.

Add

Creates a new element with the current parameters entered in the
Add/Modify Element section.

ModifyApplies the parameter changes made to the selected element.

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Envelope Creator Dialog Box
The Envelope Creator Dialog box allows you to procedurally generate a curve or envelope deformation chain
based on the artwork in the current layer. The deformation chain can be made to wrap around the outer shapeof the artwork or to go through its centre line. It will be created as a parent of the current layer, allowing you to
use it to deform and animate the artwork in the layer instantly after creating it.

How to access the Envelope Creator dialog box
1. Select the node or layer for which you want to create a deformation chain.
2. In the top menu, select Animation > Envelope Creator > Create Envelope.
The Envelope Creator dialog appears.

Parameters
Parameter

Description

The amount of deformation points to create in the deformation chain. The higher theamount of points, the more faithful to the outer shape of your artwork the deformation
chain will be, but the harder it will be to animate.

Deformation Points

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Parameter

Description

TIP
You can enable the Use All Corners option to let the Envelope Creator calculate
how many points to create based on the amount of corners in your artwork.

The scale at which the Envelope Creator analyzes the drawing's details. A lower setting willcause the shape of the envelope to match the contours of the drawing more closely, but
may cause the Envelope Creator to hang when generating an envelope and to generate
points for small dents and bumps in the contour of the artwork. A higher setting will allow
the Envelope Creator to ignore subtle details in the contour which would not be useful forthe deformation chain.

Discretizer Spacing

Smooths out the concavities of the envelope. Increasing this parameter makes the concave
corners in the envelope moved away from the centre of the envelope, making the shape ofthe envelope closer to a convex shape. The position of convex corners is not affected bythis parameter.

Concave
Smoothing

Smooth Passes

The amount of smoothing applied to the corners and angles in the shape of thedeformation chain.

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Parameter

Description

Expands the outer shape of the envelope. This ensures that the contours of the artwork are
inside the envelope instead of meshing with it.

ExpandThe amount of extra points to add over the segments of the deformation chain. While
points added with the Deformation Points parameter are laid out to match the corners of
the shape, the points added with the Bisect Curves setting are added to the middle of thesegments between those points.
This parameter determines the total amount of Bisect Curves points to add to the wholeenvelope. Those points are distributed along the envelope, with priority given to longer
segments. An extremely long segment may have several Bisect Curves points added to it,
like in this example:
Bisect Curves

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Options
Parameter

Description

Envelope
Mode

By default, the Envelope Creator will generate a Curve type deformation chain. This means that thefirst point in the chain is not used to deform the artwork, but rather, to offset the deformation chain
and move the drawing. With Envelope mode enabled, the first point in the deformation chain has
the same purposes as all the other points, which is to deform the drawing.

Use
All Corners

When enabled, this ignores the Deformation Points parameter and creates a deformation point foreach corner the Envelope Creator detects in the shape of the artwork.
When enabled, this creates a deformation chain that goes through the centre line of the artwork,
instead of going around the outer contour of the artwork.

CreateSingleCenter Line

Lays out the deformation nodes in the node view so that they resemble the shape of thedeformation chain, allowing you to visually identify which deformation node corresponds to which
deformation point in the chain.

Shape
Nodes
in NodeView

Optimize
Handles

When the envelope has very wide angle corners, the Bezier handles for these points may be almostaligned, but not exactly. With this option enabled, Bezier handles that are almost aligned will be
automatically aligned.

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Parameter

Description

NOTE
When two Bezier handles for a point are aligned, the point does not act as a corner, but rather
as a control point for the curve of the shape. Rotating a handle that is aligned with the
opposite handle also rotates the opposite handle, making sure that the point does not becomea corner. You can rotate one of the handles independently from the other by holding the Alt
key.

Buttons
Parameter

Description

CreateEnvelope

Automatically generates a deformation chain around the artwork in the current layer, using theparameters in this dialog box. The deformation chain will be placed as a parent of the current layer.

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Export Layout Image Dialog Box
The Export Layout Image dialog box allows you to export your drawings as bitmap images matching the scene
resolution size, taking camera motions into account, to paint them in an external bitmap editing software.

Access Method
1. From the top menu, select one of the following:lFile > Export > Layout Image to export all the elements in your scene to the layout.psd file.

lFile > Export > Layout Image from Selection to export only the selected elements.

The Export Layout Image dialog box opens.

Parameter

Description

Destination Path

Use the Browse button to select a location to save your layout and name theresulting .psd file.

File Pattern

Automatically puts the name of the scene and/or the frame number in the name of
the file you create.

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Image Size

The size of the .psd image file that will be exported. The resulting image will be 72
dpi as the standard television resolution and its size in pixel will fit your scene
resolution settings. i.e HDTV, NTSC, PAL, etc. Note that if you have a camera
movement going over the normal camera frame limit, for example a pan, the image
will be bigger.
File Format: Lets you select the format to export your layout.
Export Camera Frame: Prints the first and last camera frame of each scene into
the exported layout images. If exporting in .psd format, the camera frames will be
printed on a separate layer.
Add a Camera Frame for Each Keyframe: If a scene contains a camera movementwith more than two keyframes, this prints each camera keyframe into the layout.

Options
Label Camera Frame: Adds the camera position label in the top-left corner of eachcamera frame. Camera frames are labeled with a letter of the alphabet indicating
their respective order.

Expand Render Area: Expands the area to render into the layouts. By default, only
the area of the scene that is covered by the camera is rendered, and exported
layout images are cropped at the edges of the camera frames. If enabled, thisoption adds space around the render area and captures extra details outside thecamera frames. By default, the render area is expanded by 10%. You can use theinput field to the right of the option to change this ratio.

Scale Image: Ensures that when a camera close-up is included in a scene, theexported image is larger so that the closest camera frame is at least the size of thechosen image size. This way, the layout does not appear pixelated when zooming
in on the closest camera frame. If disabled, the size of the exported images will be

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based off the chosen Base Image Size and Expand Render Area options.
Maximum Size: If the Scale Image Up to Smallest Camera Frame option is enabled,
this ensures images do not get scaled up too much. If enabled, images will belimited to 4096 pixels in width and height by default.
Vector Options
If you export one or more vector-based drawing layers in your layout image, youhave the option to export only the drawing layers you want. Enable or disable thefollowing options to export or prevent the export of the corresponding art layers.
Overlay: Exports the art in the Overlay layer of the drawings to be exported to thelayout image.
Line Art: Exports the art in the Line layer of the drawings to be exported to thelayout image.
Colour Art: Exports the art in the Colour layer of the drawings to be exported to
the layout image.
Underlay: Exports the art in the Underlay layer of the drawings to be exported to
the layout image.

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Export Soundtracks Dialog Box
The Export Soundtracks dialog box lets you export a sound file to use it in another application, such as an
editing software. Harmony allows you to export sound files as a merged soundtrack or as a series of individual
files. The exported soundtracks are generated as *.wav files.

How to access the Export Soundtracks dialog box
1. From the top menu, select File > Export > Soundtrack.
The Export Soundtracks dialog box opens.

Parameter

Description

OutputLets you specify the location in which the file will be exported.

Export Range
All

Exports the sound over all the frames of your scene.

Frames

Sets the start and end frames in the corresponding fields on the right.

Options
Process Soundtracks
Individually

Each soundtrack from all layers is exported as individual files.

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Chapter 1: Dialog Boxes

Merge AllSoundtracks

One single file is created, combining all the sound files you imported in yourscene. Note that it will only use the sound files in the selected frame range set in
the Export Range section. If you selected to export all the frames, all the soundfiles will be processed.

Sound Settings
Rate

Lets you set the rate of the soundtrack.

Size

Lets you export the soundtrack at 8 or 16 bits.

Use

Lets you export the soundtrack as mono or stereo.

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Export to Animated GIF Dialog Box
Using the Export to Animated GIF dialog box, you can export your scene, or an excerpt of it, as an animated GIF
image.

Animated GIFs are a portable format commonly used for exchanging short animations and clips on the web.
They can be played in any web browser and in many image viewers.
Animated GIFs are a convenient sharing format, but they are not a publishing format. They are not as
optimized for fast download and playback as movie files, cannot contain audio and, most importantly, can only
contain up to 256 different colours throughout the entire animation. Hence, if your animation contains texturesor gradients, it is likely to lose quality when exported as an animated GIF, as Harmony will have to limit theamount of different colours used in the exported image.
NOTE
For steps on how to use the Export to Animated GIF dialog box, see the User Guide.

How to access the Export to Animated GIF dialog box
1. In the top menu, select File > Export > Animated GIF.
The Export to Animated GIF dialog box appears.

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Parameter

Description

OutputOutput

The full path and file name of the GIF file to export.

BrowseOpens a dialog allowing you to browse to the desired export directory and enter
the desired file name.

Display Source
Allows you to select the display node from which to render your scene.

NOTE
Export from Display
Node

If there is no Display node in your scene, the only available option will be
Display All. This renders all the nodes in your scene, including ones thatare not connected to anything. You can add other Display nodes to yourscene and connect them under specific parts of your scene to be able torender these parts only.

Export Range
All

Exports all the frames in your scene.

FramesAllows you to specify a range of frames to render.

Resolution
Lets you specify a resolution to export in relative to your scene's actual resolution:llResolution list

l

l

l

Same as Scene Resolution: Exports a movie in the same resolution as yourscene's resolution.
3/4 of Scene Resolution: Exports a movie at 75% of the scene's width andheight.
1/2 of Scene Resolution: Exports a movie at 50% of the scene's width andheight.
1/4 of Scene Resolution: Exports a movie at 25% of the scene's width andheight.
Custom: Allows you specify the preferred resolution of your exported
video file, in pixels, in the Width and Height fields below.

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Parameter

Description

Width

If you selected the Custom resolution, use this field to specify the width, in pixels,of the exported movie.

Width

If you selected the Custom resolution, use this field to specify the height, inpixels, of the exported movie.

Options

Options
Since GIF images can only have up to 256 colours, you have the option to add
dithering to the rendered image. Dithering blends pixels of different colours
where the image contains gradients to simulate colours that do not exist in the
GIF image's colour palette.
l

DitheringlDiffusion: Blends pixels in irregular patterns to blend pixels and simulate
the colour as closely as possible.

l

Loop

None: No dithering will be applied. Each pixel rendered is rendered withthe colour in the palette that is the closest to its actual colour.

Pattern: Blends pixels in regular checkered patterns to simulate the colour
without created clusters of pixels.

If this option is checked, the exported GIF animation will loop when previewed in
web browsers and other image viewers that support animated GIFs. Otherwise, itwill only play once and stop.

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Chapter 1: Dialog Boxes

Export to Easel JS Dialog Box
The Export to Easel JS window lets you flatten an image sequence of your animation. Even if you have a fully
rigged puppet or a single drawing layer with your animation sequence, the outcome will still be a flattened
output of each frame, grouped together in your sprite sheet. This allows for more flexibility and freedom of work
as you have access to any tools or effect modules you want to use. However, this can result in heavier files
depending on the length, complexity and export size of your animation.

How to access the Export to Easel JS window
1. Select Windows > Toolbars > Game.

2. Click the Export to Easel JS

Parameter

button.

Description

Select Directory76Harmony 16.0 Premium Reference Guide

Save Path

The folder path where you want to save your export.

Save Name

The folder name in which you will save your export. This will also be the name ofyour asset in Unity. Your scene file name will be used as the clip name.

Existing Clips in Folder

Displays the clips in the folder.

Scene Options

Display

Here, you must select the Display of your character. This is the one that will be
used to render out all of the information attached to that Display node. If the
Unconnected_Display option is selected, all of the visual information in yourscene will be rendered out.

Sprite Sheet Preferences
Max Width
Max HeightThis is a value, in pixels, for the maximum width and height the exported sprite
sheet should be. By default, both values are set to 2048 pixels.

Expand Sprite Sheet

Uses the minimum size necessary up until it reaches the maximum resolution.

Fixed Sprite Sheet

Creates a texture of the specified size (Max Width and Max Height) even if it does
not fill it up completely by all the drawings in your scene.

Resolution Type

POT: Exports to sprite sheets with sizes that are a power of 2. For example: 1024
x 1024. This is optimized for many graphics cards, but consumes more memory.
NPOT: Some game engines are optimized specifically to render to non powers of
two, so that it will avoid those numbers. Example: 1000 x 1000.

Reuse FramesThis option works in tandem with the Threshold option. The export will compare
the drawings in your project to reuse a maximum of similar drawings and reduce
the amount of information found in the sprite sheet, making it lighter. The export
will omit the creation of new drawings if the difference is less than the thresholdpercentage.

ThresholdCalculates the differences between multiple drawings. A 2% threshold will
prevent the creation of a new drawing if the drawing is too similar to an existingdrawing. For instance, with a 2% threshold, and my drawing is 100 pixels big,
only 2 of those pixels need to be different from my other drawing in order to77

Chapter 1: Dialog Boxes

create a new one. The higher the threshold, the fewer similar drawings you willhave.
Sprite Resolutions

Size of the render of the individual sprite, when it exports each drawing out.

78Harmony 16.0 Premium Reference Guide

Export to Flash Movie Dialog Box
The Export to Flash Movie dialog box lets you export your animation as a Flash (.swf) movie.

How to access the Export to Flash Movie dialog box
1. From the top menu, select File > Export > SWF.
The Export to Flash Movie (.swf) dialog box opens.

Parameter

Description

OutputLets you specify the location in which the file will be exported.

Display Source

Lets you select a Display node to read from in the Export From Display Nodemenu.

Export Range
All

Exports all the frames of your movie.

FramesExport a frame range which you specify

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Options

Frame Rate

Lets you enter a Frame rate (fps). By default, it will be set to match the fps of yourHarmony project. If you choose a lower frame rate, your export playback will befaster than your actual project. The reverse is also true for a higher frame rate.
Lets you select a JPEG quality:

Jpeg Quality‣

100 = Full quality‣

50 = Average quality at about 1/5th of the size.

‣

25 = Medium quality where loss of high image resolution starts tooccur.

‣

10 = Low quality where “macro-blocking” or large pixelation become
obvious.

‣

1 = Lowest quality where there is extreme loss of colour and detail andthe image becomes nearly unrecognizable.

Protect from Import

Prevents the movie from being imported into another application.

Convert Pencil Lines
to Brush Lines

Retains the thickness of pencil lines.

Compress Movie

Compresses the movie for a lighter format. The movie may lose some quality, but
the file will be lighter.
Lets you select the effects you do NOT want to be rendered in the SWF movie.

Do Not Export

NOTE
Certain Harmony effects are not listed in this section as they are notcompatible and therefore not available for SWF export. These effects will
not appear in the SWF render.

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Export to Video Dialog Box
The Export to Video dialog box lets you export your animation as a movie file.

If you added burn-in information to your scene, it will be included in your exported file—see Burn-In Node on
page 620.

How to access the Export to QuickTime Movie dialog box
1. From the top menu, select File > Export > Movie.

Parameter

Description

OutputChoose among the following output formats:Video FormatllQuick Time Movie (*.mov): Available on Windows, macOS and
GNU/Linux.
Windows Media Video (*.wmv): Available on Windows only.

81Chapter 1: Dialog Boxes

NOTE
On Windows and macOS, Apple QuickTime must be installed in order
to export QuickTime movies. On GNU/Linux, Harmony uses a more
limited, open source QuickTime-compatible library which does not
require additional software.

Output file

The full path and file name of the movie file to export.

BrowseOpens a dialog allowing you to browse to the desired export directory andenter the desired filename.

Display Source
Lets you select the display node from which to render your scene.

NOTE
Export from Display
Node

If there is no Display node in your scene, the only available option will
be Display All. This renders all the nodes in your scene, including ones
that are not connected to anything. You can add other Display nodes toyour scene and connect them under specific parts of your scene to beable to render these parts only.

Export Range
All

Exports all the frames in your scene.

FramesLets you specify the frame range to export using the two input fields to theright. The first input field is for specifying the first frame to export, and thesecond one is for specifying the last frame to export. All the frames inbetween, including the ones specified, will be exported.

Resolution
Lets you specify a resolution to export in relative to your scene's actual
resolution:
Resolution listllSame as Scene Resolution: Exports a movie in the same resolution as
your scene's resolution.
3/4 of Scene Resolution: Exports a movie at 75% of the scene's widthand height.

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l

l

l

Width / Height

1/2 of Scene Resolution: Exports a movie at 50% of the scene's widthand height.
1/4 of Scene Resolution: Exports a movie at 25% of the scene's widthand height.
Custom: Allows you specify the preferred resolution of your exported
video file, in pixels, in the Width and Height fields below.

Lets you specify the width and height of video file you wish to export, inpixels. To preserve your scene's aspect ratio, changing the value of the Width
or Height field will automatically update the other field with a proportional
value.

Options

Movie Options

Opens the movie settings dialog box for your selected video format, in which
you can set the video and audio compression settings for your video file—see
QuickTime Movie Settings Dialog Box and Windows Media Video Settings
Dialog Box.

NOTEThis button is available on Windows and macOS only.

Opens the video settings dialog box, which allows you to set the video
compression settings for your video file—see OpenQuickTime Video Options
Dialog Box.
Video Options

NOTE
This button is available on GNU/Linux only.

Opens the audio settings dialog box, which allows you to set the audio
compression settings for your video file—see OpenQuickTime Sound Options
Dialog Box.
Sound Options

NOTE
This button is available on GNU/Linux only.

83Chapter 1: Dialog Boxes

Export to Sprite Sheet Dialog Box
The Export to Sprite Sheets window export to multiple resolutions, generating multiple .xml files and one or
multiple sprites sheets depending how many sprite resolutions you defined.
This saves different animations of the same character into the same name. For example, if there's an idle, run,and jump animation, these should all share the same Save Name. You can think of it as the overall collection ofanimations. Inside are the different saved scene versions whose drawings you can reuse for all the animationsin that character set. Each scene version will be displayed as an item in the list.
When you export an animation, only the drawings used in that scene are exported. All the drawings areexported individually first and then atlased together into a sprite sheet.
If you saved multiple animations to the same Save Name (i.e. SpaceDuck: run, idle), then it will reatlas the sprite
sheet to include all the drawings from all the animations in that folder, creating a new animation file, but
reusing the same skeleton.

How to access the Export to Sprite Sheets window
1. Select Windows > Toolbars > Game.

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2. Click the Export to Sprite Sheets

Parameter

button.

Description

Select Directory
Asset Path

The folder path where you want to save your export.

Asset Name

The folder name in which you will save your export. This will also be the name ofyour asset in Unity. Your scene file name will be used as the clip name.

Existing Clips in Folder

Preview Window

Displays a list of pre-existing clips in the same export folder location, most likely
exported there from a previous time.

Use Scene Markers to
Export Clips

Uses scene markers to define the export range, instead of exporting the entire
scene.

Project Settings

Unit Scale

Lets you change the scale when exporting to Unity to accommodate the size ofthe export without it affecting the Harmony scene. This helps you resize assets
properly for Unity without having to resize them in Harmony. The basic scale is
one Animation Field for one Unity unit.

PresetLets you select the unit conversion from Harmony to Unity, by selecting one of 4
presets. Note: a field is a unit of measure in traditional animation grid.

Sprite Sheet Preferences

Max Width

This is a value, in pixels, for the maximum width and height the exported sprite
sheet should be. By default, both values are set to 2048 pixels.

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Chapter 1: Dialog Boxes

Max Height

Makes linear values for interpolation. This increases the amount of memory used
but frees up the calculation so it is not done on the fly.

Expand Sprite Sheet

Uses the minimum size necessary up until it reaches the maximum resolution.

Fixed Sprite Sheet

Creates a texture of the specified size (Max Width and Max Height) even if it does
not fill it up completely by all the drawings in your scene.
POT: Exports to sprite sheets with sizes that are a power of 2. For example: 1024

Resolution Type

Reuse Frames

x 1024. This is optimized for many graphics cards, but consumes more memory.
NPOT: Some game engines are optimized specifically to render to non powers of
two, so that it will avoid those numbers. Example: 1000 x 1000.
This option works in tandem with the Threshold option. The export will compare
the drawings in your project to reuse a maximum of similar drawings and reduce
the amount of information found in the sprite sheet, making it lighter. The export
will omit the creation of new drawings if the difference is less than the thresholdpercentage.
Calculates the differences between multiple drawings. A 2% threshold will
prevent the creation of a new drawing if the drawing is too similar to an existingThresholddrawing. For instance, with a 2% threshold, and my drawing is 100 pixels big,
only 2 of those pixels need to be different from my other drawing in order tocreate a new one. The higher the threshold, the fewer similar drawings you willhave.

Sprite Resolutions

Size of the render of the individual sprite, when it exports each drawing out.

Delete Existing Clips

Select this option to delete any pre-existing clips in the export location.

Bake Animation Curves

Makes linear values for interpolation. This increases the amount of memory used
but frees up the calculation so it is not done on the fly.

Clear Texture Folder

Removes any information from the texture folder within the Harmony file. This
has no incidence towards the Unity export but contributes to a lighter Harmony
file.

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Expression Dialog Box
In Harmony, you can use expressions to automate the calculation of effect values based on the values in anotherfunction. An expression is a mathematical formula that allows you to manipulate the value in the source function
to create new values for the destination effect.
The Expression dialog box is where you write expressions. It's a simple text editor that can handle incomplete
or invalid JS programs although they will not be evaluated. Harmony can save and load invalid JS programs.
The Expression editor evaluates the current script at the current global frame and reports any errors or returns
the numerical result of the program.

How to access the Expression dialog box
1. In the Xsheet view menu, select Columns > Add Columns or press Shift + C.
The Add Column dialog box opens.

2. In the Name field, type a name for the column.
3. From the Type menu, select Expression and click OK.
4. Double-click on the column's header to open the Expression dialog box.

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Chapter 1: Dialog Boxes

The Expression dialog box opens.

Parameter

Description

Name

Indicates the name of the expression column in the Xsheet. You can edit thisname.

Description field

Area in which you can type in expressions.

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Extend Exposure Dialog Box
The Extend Exposure dialog box lets you extend the exposure of a selected cell in the Timeline or Xsheet.

How to access the Extend Exposure dialog box
1. Select a cell and do one of the following:l

From the top menu, select Animation > Cell > Extend Exposure.

lPress F5.

The Extend Exposure dialog box opens.

Parameter

Description
Lets you enter the frame up to which you want to extend the exposure. You can

Extend to Frame

expose the drawing in the frames and replace the drawings that were originally
there or move the subsequent frames forward in time.

Overwrite

Lets you expose the drawing in the frames and replace the drawings that wereorginally there.

InsertLets you expose the drawing in the frames and move the subsequent frames
forward in the Timeline view.

89Chapter 1: Dialog Boxes

Fill Cells Randomly Dialog Box
The Fill Cells Randomly dialog box lets you Lets you fill in random values over a selection. You can give amaximum and a minimum value and create a range for Harmony to choose the random values from. The
selection can be over one cell or a cell range in one column or more or an entire column or many entire columns.

How to access the Fill Cells Randomly dialog box
1. Do one of the following:lSelect Animation > Cell > Fill Cells Randomly.

lIn the Xsheet view, click the Fill Cells Randomly

button (you may have to customize

the toolbar to display it).
The Fill Cells Randomly dialog box opens.

Parameter

Description

Minimum Value

The lowest value to be used in the randomized exposure or keyframe value.

Maximum Value

The highest value to be used in the randomized exposure or keyframe value.

Hold

The exposure holding value.

Whole Numbers

If you are applying this to a drawing column, this option lets you avoid having
decimal points.

Add Key Exposure After

Inserts a key exposure on the frame following the last cell of the selection.

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Fill Exposure Using Render Changes Dialog Box
The Fill Exposure Using Render Changes dialog box lets you detect if a threshold of changes has occurred
between two consecutive images and then expose the affected textures for further processing. It can be used
for example to change the texture on a characters shirt only when the shape of the shirt is changed
significantly from the previous frame. This avoids unnecessary repetitive texture changes on every frame.

How to access the Fill Exposure Using Render Changes dialog box
1. In the Timeline view, select the textures or live-action sequence.

2. From the top menu, select Scene > Default Display > desired Display node.
3. From the top menu, select Animation > Exposure Fill > Using Render Change.

91Chapter 1: Dialog Boxes

Wait while Harmony creates a low resolution render of the images to preview.

4. In the Fill Exposure Using Render Changes window, use the Frame slider to view the motion change
analysis.
5. Based on your style preference, adjust the parameters to assign when the texture exposurechanges will occur. You can adjust the type of filter to use for the motion detection, as well as
threshold values to indicate what will be considered a big enough motion variation for an exposurechange.

Parameter

Description
Frame: Use the slider to see when a change is necessary. A red edge indicates
there is a large enough motion for the texture to change.
Use: Lets you use either the Red, Green, Blue, or Alpha channel, or Luminancedifference between frames to analyze the motion changes. The Alpha channel isselected by default as it is the most commonly used parameter.

Changes Detection Settings

Pixel Value Change Threshold: The percentage of change in a pixel to beconsidered different from one frame to another. The higher the value, the morechange is required when comparing two images in order for a new texture to be
used.
Area Change Threshold: The percentage of non-empty pixels that must change
from one frame to another to be considered different.
These settings let you change the exposure. You can also decide on how many
images you want to cycle.

Fill Settings

First/Last Frame: Lets you set the first and last frame for the exposure change.
You can set this for the entire scene or for part of the scene (frames 20 to 32 forexample).
Number of Drawings in Cycle: Lets you set of the number of drawings to include
in the cycle.

92Harmony 16.0 Premium Reference Guide

First Drawing Used in Cycle: Lets you set the first drawing used in the cycle.
Your drawings must be named using numeric values only, or number values witha prefix or suffix. It cannot only be letters.
Drawing Name Prefix: Adds a prefix before the number. For example, texture_01,
texture_02 and so on.
Drawing Name Suffix: Adds a suffix after the number. For example, 01_texture,
02_texture and so on.

93Chapter 1: Dialog Boxes

Fill Selection Dialog Box
The Fill Selection dialog box lets you Lets you fill the same value over an entire selection. The selection can beover one cell, a cell range in one column, a cell range over many columns, an entire column, or many columns.
You can use numbers, words, letters, or any alphanumeric value.

How to access the Fill Selection dialog box
1. In the Timeline or Xsheet view, select a cell range.

1. Do one of the following:l

From the top menu, select Animation > Cell > Fill Selection.

l

In the Xsheet toolbar, click the Fill Selection

button. Note that you may have to add thisbutton to your toolbar by right-clicking on it and selecting Customize.
lPress Ctrl + T (Windows/Linux) or ⌘ + T (macOS)).

The Fill Selection dialog box opens.

Parameter

Description

Value

This is the value to be used in the filled selection.

Add Key Exposure After

Inserts a key exposure on the frame following the last cell of the selection.

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Import 3D Models Dialog Box
Use the Import 3D Models dialog box to import 3D models into Harmony.

How to open the Import 3D Models dialog box
1. From the top menu, select File > Import > 3D Models.
The Import 3D Models dialog box opens.

Parameter

Description

Files

BrowseLets you locate and select 3D model file formats from a location on your computeror a location accessible from your computer (network, server, etc.).

Create Layers(s)This option is selected by default. A new layer will be created for the selected 3Dmodel files for the import. You have two choices:

Layer

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Chapter 1: Dialog Boxes

Create Single Layer
Named

Creates a new layer for your 3D model that you can name. Name the new layer
immediately by entering a name into the provided field.

Create Layer(s) Basedon Filenames

Creates a layer based on each unique filename prefix. For example, the filenames
a-1.obj, a-2.obj and b-1.obj will create layers named "a" and "b", where "a" hastwo 3D models and "b" has one. When creating a single layer from these threefilenames, all three models will be imported to the new layer.
Imports the selected files to an existing layer in the scene. Once this option is

Add to Existing Layer

selected the adjacent drop-down list becomes active. Select an existing layer
name from the drop-down list. Note that if you select a vector layer, it will
encapsulate the 3D model inside a symbol.

Conversion
Convert to FBX
formatConvert to 2D

Check this option if your file isn't already a Filmbox (.fbx) file and you would likeit to be. This format incorporates all associated files, such as the texture files.
Check this option if you want to render the 3D model into a 2D image and importit into a bitmap layer instead of as a 3D object. You will be prompted to select theposition and angle from which to render the 3D model, as well as to apply
geometrical transformations to it before rendering it—see Render 3D Model
Dialog Box on page 148.

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Import Images Dialog Box
T-HFND-007-011
The Import Images dialog box lets you import 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..

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

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

l

In the File toolbar, click the Import Imagesl

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

The Import Images dialog box opens.

Parameter

Description

Files

97

button.

Chapter 1: Dialog Boxes

BrowseLets you find and select images on your computer.

Create Layers(s)Create layers for imported images.

Create Single Layer
Named

Creates a new layer with the specified name and imports the images into it.

Create Layer(s) Basedon Filenames

Creates a layer based on each unique filename prefix. For example, if you import
three files named a-1.tga, a-2.tga and b-1.tga, this will create two layers, one
named "a" and one named "b". Layer "a" will contain the two first images and "b"will contain the third one.

Add to Existing Layer

Imports the images into the specified layer. Note that you can only import intolayers that are compatible with your import options. For example, if you're
importing images as vector drawings, you can only import them into vector
drawing layers.

Layer

Import Options

Depending on how you choose to import images, the Alignment section offers
different options.

Keep as Original
BitmapRetains an imported image as a bitmap. In the Alignment section, decide on thesize 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 get scaled to the point where all its individual pixels
become visible.

Import as Toon Boom
Bitmap Drawing

Imports a drawing into a vector layer where you can edit the image using thedrawing tools.

Convert toToon Boom Vector
Drawing

Imports a drawing and converts it to a Toon Boom vector drawing.

Alignment (Keep As Original Bitmap)
Fit:
Rules

Adjusts the image's size to fit completely within the scene's field, both verticallyand horizontally, making sure the entire image is visible.
If the image's orientation is portrait, then it will adjust the image's height to fit the98Harmony 16.0 Premium Reference Guide

field's height, without affecting the image's aspect ratio:

If the image orientation is landscape, then it will adjust the image's width to fit thefield's width, without affecting the image's aspect ratio:

Pan:
This has the opposite effect to the fit parameter. The image's smallest dimension
will be made to fit the scene frame's matching dimension, and the image's largest
dimension will be adjusted proportionally, making the image fill the entire scene
field, and bleed past its boundaries it if its aspect ratio does not match the field's
aspect ratio. This option can be used to import a panning background image, also
referred to as a pan.
If the image's orientation is portrait, it will adjust the image's width to fit thefield's width, without affecting its aspect ratio:

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Chapter 1: Dialog Boxes

If the image's orientation is landscape, it will adjust the image's height to fit thefield's height, without affecting its aspect ratio:

This has the opposite effect to the fit parameter. The image's smallest dimension
will be made to fit the scene frame's matching dimension, and the image's largest
dimension will be adjusted proportionally, making the image fill the entire scene
field, and bleed past its boundaries it if its aspect ratio does not match the field's
aspect ratio. This option can be used to import a panning background image, also
referred to as a pan.
If the image's orientation is portrait, it will adjust the image's width to fit thefield's width, without affecting its aspect ratio:

100Harmony 16.0 Premium Reference Guide

Project
This
hasResolution:
the opposite
Scaleseffectto thetheimage
fit parameter.
to fit the scene's
The
image's smallest
resolution,
makingdimension
each pixel
willtheinbeimagemade taketo fitone
the pixel
sceneinframe'sthescene's
matchingfield. For
dimension,and the image's
example,if the image's
largestdimension will
dimensions
in pixels
be adjusted
are half
proportionally,of
the scene's resolution
making theinimage fillpixels,thenthetheentireimage'sscene
field, and bleed
dimensions
willpast
appearits to beboundaries
halfof the scene
it if itsfield's
aspectdimensions.
ratio
does not match thefield's aspect ratio. This
option can be used to import
Alignment (Import as Toon Boom Bitmap Drawing)a panning background image,also referred to as a pan.
If the image's orientation is
portrait, it will adjust theimage's width to fit the field's
width, without affecting its
aspect ratio:

Horizontal Fit:
Adjusts the image's size so that its width matches the scene's width, without
affecting its aspect ratio.

Rules

If the image's orientation islandscape, it will adjust theimage's height to fit thefield's height, without
affecting its aspect ratio:

Vertical Fit:
Adjusts the image's size so that its height matches the scene's height, without
affecting its aspect ratio.

This has the opposite effectto the fit parameter. The
image's smallest dimension
will be made to fit the scene
frame's matching dimension,and the image's largest
dimension will be adjusted
proportionally, making theimage fill the entire scene
field, and bleed past its
boundaries it if its aspectratio does not match the101Chapter 1: Dialog Boxes

Actual Size: Imports the image in its actual size, without adjusting its size relative
to the scene's resolution. For example, if the image's dimensions in pixels are halfof the scene's resolution in pixels, then the image's dimensions will appear to behalf of the scene field's dimensions.
Transparency
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.

Alpha

Straight: Pixels at the edge of an image are blended with black, white and greys.
Clamp Colour to Alpha:Premultiplies the colour value with the alpha value. Whenthe colour is clamped to the alpha, the colour value cannot be higher than thealpha value. It calculates the real colour value faster. When the RGB values are
multiplied with the alpha value, that is to say, if you have a pixel of value R=247,
G=188, B=29 and the alpha is 50% or the image has a 50% transparency, thenthe actual RGB values that are output would be half of the amounts listed above.

Vectorization

Black and White

Vectorizes drawings with a solid black line. This creates a 100% vector-based
drawing and paints it with the Vectorized Line colour swatch from your scene's
palette.

Grey

Vectorizes the 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.

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New Preset

Lets you create a new preset.

Delete Preset

Lets you delete any preset in the list.

Edit Preset

Lets you edit the vectorization parameters for the selected preset.

103Chapter 1: Dialog Boxes

Interpolation Grid Wizard Dialog Box
T-HSCP-003-006
The Interpolation Grid dialog box allows you to create a 2D point Master Controller which can be used toposition a character model based on a grid of poses.

To use the Interpolation Wizard, you must first create enough poses to make a grid of poses. For example, key
poses of a character's head looking in every direction can be laid out in a grid:Once you've done that, you need to select the layers and/or groups you want your Master Controller to control
which, in this case, would be all the layers making the character's head. Then, you can open theInterpolation Grid Wizard.

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The Wizard will start out by displaying the Grid Parameters dialog, in which you can specify the vertical andhorizontal size of your grid in the Key Poses fields.

Optionally, you can also select its centre point and the size of its cells in the Center and Cell size fields. The
coordinates used for the center position and cell size are based on a 4:3, 12 fields traditional animation
grid. You display one over your character as a reference by adding a Grid node to your scene—see Grid NodeThen, the Interpolation Grid dialog will generate a grid with the specified size in the specified position and withthe specified cell size. Each point in the grid will be represented by a red dot. You must select each of these dots
and associate them with the frame number containing the pose you want the point to represent. Once a point
is associated to a pose, it becomes green.

When you click on Create, this grid of poses will be stored in a pose database and a 2D point Master Controller
will be created. This Master Controller will use this pose database to change your character's pose when you
move the 2D point around in the Camera view.

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How to access the Interpolation Grid Wizard
1. Do one of the following to add the Master Controller toolbar to your workspace:l

Right-click on an existing toolbar and select Master Controller.

l

In the top menu, select Windows > Toolbars > Master Controller.

The Master Controller toolbar appears.

1. In the Timeline view, select the layers and groups you want your Master Controller to control.
NOTE
If you select a group, all of the layers inside it will be added to the list of layers your
Master Controller will control.
2. In the Master Controller toolbar, click on theInterpolation Grid Wizard button.

Grid Parameters Dialog Parameters
Parameter

Description

PresetAllows you to select and load a grid preset you previously created. If you havenot created any, you can ignore this drop-down and set up a new grid in thefields below.

Key Poses

The numbers of columns and rows to create the Interpolation Grid with. The
product of these two amounts is the amount of poses you will need to provide
to the Interpolation Grid Wizard.

CenterThe coordinates of the centre of the Interpolation Grid, relative to the centre of
the scene, in horizontal and vertical fields.

Cell Size

The size of each cell in the Interpolation Grid, in horizontal and vertical fields.

OK

Dismisses the Grid Parameters dialog box and creates the grid with the selectedparameters in the Interpolation Grid dialog box, so that you can start
configuring the points in the grid.

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Interpolation Grid Dialog Parameters
Icon

Parameter

Description

Grid
Displays the Interpolation Grid.
Each point in the grid is represented by a coloured dot:ll

Red dots are dots that need to be assigned to a pose (frame
number).
Green dots are dots that are already assigned to a pose (frame
number).

You must fill each point in the grid with poses, until they are all
green, before you can create your Master Controller.
Grid View

To fill a point, simply click on it to select it. This will make the SelectFrame dialog appears, in which you can type in the frame number toassociate the point to.
Selecting a point makes the State Properties section of the dialog
appears. In this section, you can change the identifier and the frame
number of the point, and you can also modify its position in the grid.
The grid is laid out over a standard 12 fields 4:3 animation grid. This
grid is the same grid that displays in the Camera view if you add a
Grid node to your scene. Hence, by adding a Grid node to yourscene, you can use it as a reference to align the interpolation gridwith specific areas in the scene.
You can pan around the grid view by clicking and dragging on it.

Zoom In

Zooms into the grid view.

Zoom Out

Zooms out of the grid view.

Save Preset

Saves the current grid and all of its properties as a grid preset. This
allows you to quickly reload the current grid's size, its centre point,
its cell size, as well as each point's assigned frame and otherproperties into the Interpolation Grid Wizard later, when you want tocreate another 2D point widget. This can be very useful if you create
several character models in different scenes, with the same poses atthe same frames.
You can select a grid preset to use in the Grid Parameters dialog that107

Chapter 1: Dialog Boxes

Icon

Parameter

Description

appears when you open the Interpolation Grid Wizard.
Monitored Attributes
The list of nodes (ie: layers, pegs, deformation points, etc.) that will
be affected by the Master Controller. If you expand any of the listed
nodes, you will find the list of attributes (ie: position, angle, scale,
Attribute List

Add Selected Nodes

etc.)
The list is structured in a group/node/attributes hierarchy, with Top
representing the root of your scene. By expanding a group, you willfind all of the nodes inside that group. By expanding a node, you willfind all of its attributes.
If you first select groups nodes in the Timeline or Node view, you canclick on this button to add these nodes' attributes to the Monitored
Attributes list. This allows you to add more nodes to the list of nodes
that will be controlled by the Master Controller.
If you select a group, this button will add the group as well as every
node inside that group to the Monitored Attributes list.
Removes the groups, nodes or attributes that are currently selectedin the Monitored Attributes list from the Monitored Attributes list.
This allows you to remove nodes from the list of nodes that will becontrolled by the Master Controller.

Remove Selected Items

If you select a group, this button will remove the group as well as
every node inside that group from the Monitored Attributes list.
If you select specific attributes in a node, this button will only remove
these attributes from the Monitored Attributes list, and will leave theother attributes in the list. This allows you to make the Master
Controller only control specific attributes for a node and ignore
others.

Filter Static Attributes

Remove every attribute that does not change across any of the poses
added to the grid. This will optimize the performance of the Master
Controller as well as reduce the amount of storage space it uses
without impacting its functionality.

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Icon

Parameter

Description

NOTE
This option can only be used once you have filled your entire
grid with poses.

Node CountThe amount of nodes (layers, pegs, deformation points, etc.) that will
be controlled by the Master Controller.

Attribute CountThe amount of attributes (position, angle, scale, etc.) that will becontrolled by the Master Controller.

Pose Properties
Identifier

Allows you to type in a custom label for the currently selected point.

Frame

Allows you to view and update the frame number (pose) associatedwith the currently selected point.
Allows you to update the position of the selected point on the grid,in horizontal and vertical field coordinates.

Position

By default, all points in the grid are created to be at an equal distancefrom one another. By using these fields to edit the position of points,
you can make a fully customized grid.

OutputName

Allows you to enter the name for the Master Controller node that willbe created at the end of the process.
Displays the name of the corresponding states file name, based on
the Master Controller node name.

States Filename

Master Controller Name

The attribute values of the associated poses are recorded in an
external file. When the Master Controller node is created, thematching states file is created.
Displays the complete Master Controller node name including the
mc_ prefix.

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Icon

Parameter

Description

CreateGenerate the Master Controller and its database of poses.

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Interpolation Slider Wizard Dialog Box
The Interpolation Slider dialog allows you to generate a Slider Master Controller which can be used to position acharacter model based on a range of two or more key poses.
To use the Interpolation Slider Wizard, all you need to do is to provide it with a selection of layers and/or groups(ie: a character rig, or part of a character rig) as well as a range of frames. The Interpolation Slider dialog willstore all the poses for the selected layers in the selected range of frames in a file, and generate a Slider widget
which, when manipulated by the user, is scripted to apply one of these poses, or an intermediary between twoof these poses, onto these layers.
A good example of how this dialog can be used is by creating poses of your characters in key angles (ie: front,
3/4 front, side, 3/4 back and back, as well as the flipped versions of these angles), and creating a slider made tointerpolate between all these poses. If done properly, and provided that all the poses provided can beinterpolated, the result will be a slider widget that can be used to pose the character in any angle.

How to access the Interpolation Slider Wizard
1. Do one of the following to add the Master Controller toolbar to your workspace:l

Right-click on an existing toolbar and select Master Controller.

l

In the top menu, select Windows > Toolbars > Master Controller.

The Master Controller toolbar appears.

1. In the Timeline view, select a range of frames.
2. In the Master Controller toolbar, click on theInterpolation Slider Wizard button.

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Chapter 1: Dialog Boxes

Icon

Parameter

Description

Source Frame Range
First Frame

The frame number of the first frame in the selection.

Last Frame

The frame number of the last frame in the selection.

Slider Properties

Invert Direction

By default, the slider will interpolate from the first pose to the last
post by sliding the handle from bottom to top, or from left to right if
the Horizontal Layout option is checked. If this option is checked, theslider will interpolate from the first pose to the last pose by sliding
the handle from the top to the bottom, or from right to left.

Horizontal Layout

By default, the slider will slide on a vertical axis. If this option ischecked, it will slide on a horizontal axis.

Monitored Attributes

Attribute List

Add Selected Nodes

The list of nodes (ie: layers, pegs, deformation points, etc.) that will
be affected by the Master Controller. If you expand any of the listed
nodes, you will find the list of attributes (ie: position, angle, scale,etc.)
The list is structured in a group/node/attributes hierarchy, with Top
representing the root of your scene. By expanding a group, you willfind all of the nodes inside that group. By expanding a node, you willfind all of its attributes.
If you first select groups nodes in the Timeline or Node view, you canclick on this button to add these nodes' attributes to the Monitored
Attributes list. This allows you to add more nodes to the list of nodes
that will be controlled by the Master Controller.
If you select a group, this button will add the group as well as every
node inside that group to the Monitored Attributes list.

Remove Selected Items

Removes the groups, nodes or attributes that are currently selectedin the Monitored Attributes list from the Monitored Attributes list.
This allows you to remove nodes from the list of nodes that will becontrolled by the Master Controller.

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Icon

Parameter

Description

If you select a group, this button will remove the group as well as
every node inside that group from the Monitored Attributes list.
If you select specific attributes in a node, this button will only remove
these attributes from the Monitored Attributes list, and will leave theother attributes in the list. This allows you to make the Master
Controller only control specific attributes for a node and ignore
others.

Filter Static Attributes

Remove every attribute that does not change during the selected
frame range. This will optimize the performance of the Master
Controller as well as reduce the amount of storage space it uses
without impacting its functionality.

Node CountThe amount of nodes (layers, pegs, deformation points, etc.) that will
be controlled by the Master Controller.

Attribute CountThe amount of attributes (position, angle, scale, etc.) that will becontrolled by the Master Controller.

Name

Allows you to type in a base name for your Master Controller.

States Filename

Displays the path and name of the file where the poses database will
for the Master Controller will be stored. This path is relative to thescene directory.

Master Controller Name

Displays the name of the Master Controller node that will be added toyour scene. This is the name of your Master Controller the prefix mc_.

CreateGenerate the Master Controller and its database of poses.

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Chapter 1: Dialog Boxes

Manage Local Cache Dialog Box
The Manage Local Cache dialog box displays a list of all the Harmony Server scenes for which you have cacheddrawings. In this dialog, you can check if the drawings you have in a scene's cache match the drawings in the
database server, you can delete unused caches and you can change the directory in which scene data iscached.

NOTE
A scene's data is cached on your computer when you check the Cache scene assets locally option
in the Database Selector before opening the scene—see Database Selector Dialog Box on page 55.

How to access the Manage Local Cache dialog box
1. In the top menu, select File > Manage Local Caches.
The Manage Local Caches dialog appears.

Parameter

List ofscene
cachesLocal Cache

Description

The list of caches stored on your computer. There is one item for each scene for which there iscached data. Each item is identified by the scene's environment, followed by its job, then its name,in this format:
Environment/Job/Scene
If you select a scene cache in the list, the Manage Local Caches dialog will compare the drawings
that are cached on your computer to the drawings in the actual scene in the database, and report if
they are identical or not in the Local Cache Status field.
If you select a cache, the Manage Local Cache dialog will analyze whether the data in the selected114Harmony 16.0 Premium Reference Guide

Parameter

Description

cache matches the data in the actual scene in the Harmony Server database.
If it displays Scene's Local Cache is identical to the database, then the drawings in the selectedcache on your computer are identical to the drawings in the corresponding scene in the database,meaning that your cache and that the database are up to date.
If it displays Scene's Local Cache is different than database, then some drawings in the selectedcache on your computer are different from the drawings in the corresponding scene in the
database. This usually means one of the following:
Statusll

Local Cache
Root Folder

If the selected cache is the cache of the currently opened scene and you just saved yourscene, Harmony may still be uploading the updated drawings to the database. In this case,
you can close the dialog, wait a few seconds, and reopen it to see if Harmony is done
uploading the drawings. If it is, it will report that the cache is identical to the database.
If this is not the cache of the currently opened scene, it is likely that the database scene has
been changed by someone else since the last time you opened it. That would mean that the
database version is more up to date than your cache. This is not a problem, as next time you
open the scene, your cache will be updated.

Indicates where scene caches are stored on your computer. By default, scene caches are stored in afolder named Toon Boom Harmony Local Cache, inside your Documents folder.
Allows you to change the folder where caches are downloaded when you open a scene.

BrowseNOTE
The caches that are currently stored on your machine will not be moved to their new location.
Hence, when you change the local cache root folder, the list of scene caches will become
empty until you open a scene.

Deletes the selected scene cache from your computer.

RemoveNOTEThis button is greyed out if the selected scene cache is for the currently opened scene, as thiscache is currently in use by Harmony.

Close

Closes the dialog.

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Chapter 1: Dialog Boxes

Manage Tool Presets Dialog Box
The Tool Presets window lets you create new tool presets and manage them.

How to access the Manage Tool Presets window
1. Do one of the following:l

From the top menu, select Windows > Toolbars > Tool Presets.

l

Right-click an empty area below the top menu and select Tool Presets.

2. In the Tool Presets toolbar, click the Manage Presets button.

Parameter

Description

Icon

Lets you select a preset to manage.

ImportLets you import an existing preset.

ExportLets you export a preset for use in other projects.

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DeleteRemoves the preset from the list of tool presets.

Name

Lets you change the name of the preset.

Icon list

Lets you select an icon for the preset.

Folder icon

Lets you select an image for the preset.

ShortcutLets you assign a keyboard shortcut to the new preset.

ColourSaves the current colour into the tool preset.

Tool

If you disable this option, only the colour will be associated. You could, forexample, set three different colours with shortcuts not associated with any
tool. The colour preset would then work on any selected tool. Selecting thebrush tool was only a vehicle to get into the New Tool Preset dialog box.

UpdateAfter adjusting the settings for a preset, the current properties are applied tothe presets, as well as any other changes you made in the Manage Tool
Presets window.

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Chapter 1: Dialog Boxes

Marker Colour Dialog Box
The Marker Colour dialog box lets you set the colour of scene markers that are displayed at the top of theTimeline view (in the frame counter area). Using colours for scene markers helps to differentiate them visually,making them easy to identify in the Timeline view.
You can select a colour by choosing from a basic set of colours, using the colour wheel or by specifying the HSV
or RGB values. Once you have selected a colour, you can adjust its intensity and save it as a custom colour thatyou can reuse.

How to access the Marker Colour dialog box
1. In the frame counter area of the Timeline view, select a frame range to mark.

2. Right-click and select Create Scene Marker.
The Timeline Scene Marker dialog box opens. The Colour box displays a black colour swatch, or thecolour of the last scene marker you created.

3. Click the colour swatch.
The Marker Colour dialog box opens.

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Parameter

Description

Basic colours

A basic set of colours to choose from.

Custom colours

Displays the custom colours you previously stored using the Add to Custom
Colours button.

Add to custom colours

Lets you add the selected colour to the Custom colours list above.

Colour wheel

Lets you select a colour by dragging the T-shaped pointer.

Value slider

Once you select a colour, you can drag the slider to change the intensity and see
it previewed in the Colour Preview window below..

Colour Preview

Displays the colour you are currently selecting. To apply the colour, click OK.

Hue, Saturation, Value

Lets you set the hue (colour), saturation (amount of colour) and brightness(value) of the colour.

Red, Green, Blue

Lets you set the red, green and blue values.

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Mini Playback Dialog Box
The Mini Playback dialog box alllows you to configure and start Mini Playback. Mini Playback allows you toquickly preview a short span of animation starting a few frames before the current frame and ending a few
frames after the current frame, at a customizable frame rate.

How to access the Mini Playback dialog
1. Do one of the following:

Icon

l

In the top menu, select Play > Mini Playback.

l

In the Mini Playback toolbar, click on the

Mini Playback Dialog button.

Parameter

Description

Frame Rate

The speed at which Mini Playback should play your animation. By default, it is set toSame as Scene to play at the same pace as your scene's frame rate. Otherwise, you canchoose among a set of commonly used frame rates.

Before

The amount of frames before the current frame at which to start Mini Playback.

Play

Starts Mini Playback. Playback will start at the amount of frames in the Before field
before the current frame, and end at the amount of frames in the After field after thecurrent frame, at the frame rate in the Frame Rate drop-down.

After

The amount of frames after the current frame at which to end Mini Playback.

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QuickTime Movie Settings Dialog Box
The Movie Settings dialog box lets you set the compression settings for the movie you will export.

NOTE
This dialog can only be accessed on Windows and macOS. On Windows, Apple QuickTime must be
installed to be able to export QuickTime Movie (.mov) files.

How to access the Movie Settings dialog box from the Export Movie dialog
1. From the top menu, select File > Export > Movie.
The Export Movie dialog box opens.
2. Set Movie Format to QuickTime Movie (*.mov).
3. Click on the Movie Settings button.

How to access the Movie Settings dialog box from the Write node Layer Properties
1. In the Node view, locate your scene's Write node.
2. Open the Write node's Layer Properties by doing one of the following:lClick on the yellow square at the left end of the Write node.

121

Chapter 1: Dialog BoxeslRight-click on the Write node, then select Layer Properties.

3. In the Write node's Layer Properties, enable the Movie option.
1. To the right of the Movie check box, open the drop down menu and select QuickTime Movie(*.mov).
2. To the right of Movie Options, click on Customize.

Parameter

Description

Video

Settings

FilterOpens the Standard Video Compression Settings dialog box. This is where you
can set the video compression settings for the movie you will export—see
QuickTime Standard Video Compression Settings Dialog Box on page 187.
Opens the Choose Video Filter dialog box, where you can select from a range offilters to apply to your video export.

Size

Opens the Export Size Settings dialog box. This dialog is available because of theway the Apple QuickTime interface is designed, but its settings are not taken inaccount by Harmony. The size of the exported video is determined by Harmony.

Settings

Opens the Sound Settings dialog box. This is where you can you set the soundcompression settings for the movie you will export—see QuickTime Sound
Settings Dialog Box on page 185.

Sound

If this option is enabled, the video will be optimized to start playing while it isdownloading, as videos do in web browsers and web-based streaming
applications.
Prepare for Internet
Streamingll

Fast Start: The video plays as soon as enough data required to start
playback has been downloaded.
Fast Start - Compressed Header: Same as Fast Start, except the header iscompressed for an even faster start. Requires QuickTime 3.0 or later.

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Harmony 16.0 Premium Reference Guidel

Hinted Streaming: Allows you to optimize the movie file for streaming
through QuickTime Server Software. Click on the Settings button toconfigure how hints are created in your movie file.

123Chapter 1: Dialog Boxes

New Scene Dialog Box
The New Scene window lets you create a new scene.

How to access the New Scene window
1. Do one of the following:l

From the top menu, select File > New.

l

In the File toolbar, click the NewlPress Ctrl + N (Windows/Linux) or ⌘ + N (macOS).

button.

The New Scene dialog box opens.

Parameter

Description

Name

Lets you type in a name for the new scene.

Location

Lists the locations you used most frequently for storing scenes.

BrowseOpens a browser in which you can specify a location for the new scene thatis not listed in the Location list.

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Camera Size

Opens a list of resolutions.

+ (Create Custom
Resolution)

Opens the New Resolution window in which you can create a custom
resolution that is added to the Camera Size list.

- (Delete Custom Resolution)

Lets you remove a custom resolution from the Camera Size list.

Width

Indicates the width of the resolution you chose from the Camera Size list.

Frame Rate

Indicates the frame rate of the resolution you chose from the Camera Size
list.

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Chapter 1: Dialog Boxes

New Tool Preset Dialog Box
The New Tool Preset dialog box lets you create new tool presets and manage them.
Tool presets let you save a variety of settings and are very efficient for accessing the tools you use most often.
That way, the tool is already set with the desired properties, such as colour, line thickness, whether to enable
Draw Behind or Auto Flatten mode, and so on. You can create presets for these tools and many more: Brush,
Pencil, Eraser, Rectangle, Ellipse, and Line.
The difference between a tool preset and a brush preset is that when you save a tool preset, you have theoption of saving the colour and assigning a shortcut, which you cannot do with brush presets.

How to access the New Tool Preset dialog box
1. Do one of the following:l

From the top menu, select Windows > Toolbars > Tool Presets.

l

Right-click an empty area below the top menu and select Tool Presets.

2. In the Tool Presets toolbar, click the New Tool Preset button.

Parameter

Description

Name

Lets you give the preset a meaningful name.

Icon list

Lets you select an icon for the preset.

Folder icon

Lets you select an image for the preset.

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ShortcutLets you assign a keyboard shortcut to the preset.

ColourSaves the current colour into the tool preset.

Tool

If you disable this option, only the colour will be associated. You could, forexample, set three different colours with shortcuts not associated with any
tool. The colour preset would then work on any selected tool. Selecting thebrush tool was only a vehicle to get into the New Tool Preset dialog box.

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Chapter 1: Dialog Boxes

Onion Skin and Light Table Transparency Dialog Box
T-ANIMPA-006-009
This dialog box lets you adjust the Onion Skin and Light table transparency parameters.

How to access the Onion Skin and Light Table Transparency dialog boxl

In the Drawing view toolbar, click on the Top Lightbutton to open the Onion Skin and Light

Table Transparency dialog box.

Command

Description

Onion Skin Opacity

Sets the maximum opacity value for the onion skin opacity display. Moving theslider all the way to the left = 0% opacity. Moving the slider all the way to theright = 100% opacity.

Lighttable Opacity

Sets the maximum opacity value for the light table display. Moving the slider all
the way to the left = 0% opacity. Moving the slider all the way to the right =100% opacity.

LightTable Wash

Sets the washed-out value for the light table display. Moving the slider all theway to the left = 0% opacity. Moving the slider all the way to the right = 100%
opacity.

Bitmap Background
Wash

Sets the maximum opacity value for the background wash. Moving the slider all
the way to the left = 0% opacity. Moving the slider all the way to the right =100% opacity. Only works for bitmap layers.

Pencil Lines Opacity

Sets the maximum opacity value for central vector lines (lines made by the
Pencil or Shape tools). Moving the slider all the way to the left = 0% opacity.
Moving the slider all the way to the right = 100% opacity.

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Palette Browser Dialog Box
The Palette Browser dialog allows you to decide the level of palette list and palette storage to use when you
want to create, clone, link to or import a palette.
This dialog only appears if you have the Advanced Palette Lists preference enabled, which is disabled bydefault. When Advanced Palette Lists mode is disabled, Harmony automatically stores palettes in a scene's
palette list, inside the scene's palette-library subdirectory.

How to access the Palette Browser dialog box
1. Start Harmony and log in.
2. Close the Database Selector dialog box.
3. From the top menu, select Tools > Palette Operations.
1. In the Palette Operations dialog box that opens, select the palette you want to clone at the location andlevel in which it was stored.
2. Click Clone.
Parameter

Palette Location

Description
This allows you to browse for the physical location of the palette file in yourdatabase.
If you are using Harmony Stand Alone, you can still select the scene's own job or129

Chapter 1: Dialog Boxes

environment as a location. Stand alone scenes have a provisional job andenvironment storage space inside the scene's directory. The files in these storage
spaces can be imported into a database scene's actual job and environment whenimporting the scene to a Harmony database. If you never intend to use Harmony
Server, you should keep your palettes inside your scene or element's palette
libraries.
Stores the palette file in the selected environment's palette library. Environments
are typically used to contain a whole production, series or feature film.
Environmentll

In Harmony Server, this stores the palette in /USA_DB/environments/[environment name]/palette-library.
In Harmony Stand Alone, this stores the palette inside the scene's
directory, under environments/Digital/palette-library.

Stores the palette file in the selected job's palette library. Jobs are typically used tocontain episodes in a series, or any set of scenes that is intended to be put in thesame sequence.
Job
l

l

In Harmony Server /USA_DB/jobs/[job name]/palette-library.
In Harmony Stand Alone, this stores the palette inside the scene's
directory, under jobs/Digital/palette-library.

Scene

Stores the palette file in the selected scene's palette library, which is thepalette-library subdirectory of the scene's directory.

Element

Stores the palette file inside the selected element's palette library. This library is
located inside the scene's directory, under elements/[elementname]/palette-library.

PaletteThis lists the existing palettes in the selected location.

New Palette Name

If you are creating or cloning a palette, use this field to enter the palette file's
name. The palette will be listed under this name in your palette list. On your filesystem, it will be named after its palette name, followed by the extension .plt.
When creating a palette, you can choose between the following palette types:lPalette TypelColour: A colour palette can contain colours, gradients and bitmap
textures.
Pencil Texture: A pencil texture palette can contain textures to apply astransparency filters to pencil lines, in combination to their line colour, tocreate various styles of pencil lines.

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Palette List

Scene Palette List

This allows you to decide if you want the palette to be added to your scene's
palette list, or to the currently selected element's palette list.
Adds the palette to the scene's palette list. Palettes in the scene's palette list areavailable to all the elements in your scene. This is especially useful if you aredoing digital animation, where character models can be made of many layers thatneed to use the same palette.
Adds the palette to the currently selected element's palette list. Palettes in an

Element Palette List

element's palette list can only be used by the drawings in this element, and will
only be listed in the Colour view when this element is selected. This can be useful
if you are doing traditional animation, where each character is usually drawn on asingle layer, and you want each layer to have its own palette.

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Palette Operations Dialog Box
When you start Toon Boom Harmony connected to the database, you can access the Palette Operations dialog
box which lets you clone, rename, or delete palettes in your database, without having to open a scene orbrowse the database's file system in your operating system's shell.
In Harmony, palettes are individual *.plt files that can be copied, transferred and stored. When a palette is
created from Harmony, it needs to be stored somewhere. By default, the palette file is stored in the scene
directory in a palette-library folder unless you specify a different location.
There are four locations where you can find palette-library folders: Element, Scene, Job and Environment.

How to access the Palette Operations dialog box
1. Start Harmony and log in.
2. Close the Database Selector dialog box.
3. From the top menu, select Tools > Palette Operations.

Parameter

Description

Environment

The production, project, feature film or series.

Job

The episode and sequence from each environment.

Scene

The scenes from each job.

Element

The layers and columns in each scene.

PaletteThe scene palettes.

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Description

Notes, if any, of the project.

Clone

Opens the Palette Browser dialog box from which you can select the level inwhich to store the palette file.

RenameLets you rename a palette.
Lets you delete a palette.

DeleteNOTE
It is not recommended to disable the warning message that appears when
you are attempting to delete a palette as this operation cannot be undone.

Close

Closes the Palette Operations dialog box.

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Paste Preset Dialog Box
When pasting key frames and exposures, you can modify the existing presets to your liking. There are threepresets you can modify: the default presets for both key frames and exposures, key frames only and exposures
only.

Parameter

Description

Drawings
Never create drawing files: When adding exposures to a drawing layer, drawing
files will not be created.

Add/Remove
Exposure

Only create drawing files when they do not exist: When adding exposures to a
drawing layer, new drawings will be created only when drawings with the same
name do not already exist in the destination.
Always create drawing files: When adding exposures to a drawing layer, newdrawings will always be created. If drawing files with the same name alreadyexist, Harmony will create a new name for the drawing.

Enforce Key Exposure

If there are key exposures that exist on copied drawings, they are preserved when
pasting. No key exposures are added. This is the default behavior when pasting.

Fill Gap with
Previous Drawing

Fills selected area in the Xsheet or Timeline view with the previous drawing.

Fill to Next Key
Exposure

Fills selected area till the next key exposure.

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Keyframes
Motion: Copies the properties of the selected motion keyframe to the new frame.
Velocity: Copies the properties of the selected velocity keyframe to the new frame.

Add/Remove
Keyframes

Rotation: Copies the properties of the selected rotation keyframe to the newframe.
Scale: Copies the properties of the selected scale keyframe to the new frame.
Skew: Copies the properties of the selected skew keyframe to the new frame.
Force Keyframes at Function's Beginning and End: Adds a keyframe to thebeginning and end of the pasted function, reproducing the source function.

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Paste Special Dialog Box
The Paste Special dialog box lets you determine how templates and symbols are imported in the Timeline view.
When you import a template in the Timeline view, all layers are created as well as drawings and keyframes. You
can choose to import only the keyframes without the drawings or import only the drawings that are notalready in your layers. You can adjust the behaviour using the Paste Special dialog box.When you import asymbol in your scene, its full length is exposed by default. If you import a symbol in the Timeline view’s left side,
all the frames will be exposed. However, if you import it into an existing layer, you can use the Paste Special
dialog box to adjust the import behaviour to fit your requirements.Once you set the parameters, Harmony willreuse them each time you import a symbol in the Timeline view’s right side until you set new parameters.

How to access the Paste Special dialog box
1. In the Library view, select the symbol or template to import.
2. Do one of the following:lWhile holding down the Alt key, click and drag on the template, then drop it on the Timelineview, over the layer and at the frame where you want to paste it.

lPress Ctrl + C (Windows/Linux) or ⌘ + C (macOS). Then, in the Timeline view, click on theframe where you want to paste the template and press Ctrl + B (Windows/Linux) or ⌘ + B(macOS)

The Paste Special dialog box opens.

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Parameter

Description

Drawings
Do Nothing

Does not create or overwrite drawings.

Update Drawing
Pivot

Revises the drawing pivot in the destination to use the same drawing pivot as thefirst drawing in the template. If you have a range of drawings selected in thedestination, the pivot points of all selected drawings will be updated.
Never create drawing files: When adding exposures to a drawing layer, drawing
files will not be created.
Only create drawing files when they do not exist: When adding exposures to a
drawing layer, new drawings will be created only when drawings with the same
name do not already exist in the destination.
Replace existing drawings. Create drawing files when they do not exist: Replacedrawings with the same names to update a scene with new modified drawings
and preserve the animation.
Tip: If you don't want to lose the existing animation when pastinga template, such as when placing new drawings after the
animation, then delete the template's animation. It will still haveupdated the drawings but not override the existing animation.

Add/Remove
Exposure

Always create drawing files: When adding exposures to a drawing layer, newdrawings will always be created. If drawing files with the same name alreadyexist, Harmony will create a new name for the drawing.
Enforce Key Exposure: If there are key exposures that exist on copied drawings,
they are preserved when pasting. No key exposures are added. This is the default
behavior when pasting.
Fill Gap with Previous Drawing: Fills selected area in the Xsheet or Timeline view
with the previous drawing.
Fill to Next Key Exposure: Fills selected area till the next key exposure.
Paste all frames of the symbol (full movie): When enabled, the Paste Special command exposes all the symbol's frames instead of only the first one.

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Symbols
Copy symbols if they
do not exist

This is the default setting for this operation and will prevent Symbols in an Action
template from being copied.

Duplicate symbols

Creates a duplicate of the symbol instead of linking the Symbol instance to the original one. The new Symbol is created in the Library.

Paste all Frames ofthe symbol (fullmovie)

When enabled, the Paste Special command exposes all the symbol's frames
instead of only the first one.

Add Remove/Keyframes
MotionCopies the properties of the selected motion keyframe to the new frame.

Velocity

Copies the properties of the selected velocity keyframe to the new frame.

Rotation

Copies the properties of the selected rotation keyframe to the new frame.

Scale

Copies the properties of the selected scale keyframe to the new frame.

Skew

Copies the properties of the selected skew keyframe to the new frame.

Force Keyframes at
Function's Beginningand EndAdds a keyframe to the beginning and end of the pasted function, reproducing
the source function.

Offset Keyframes

When pasting functions, offsets keyframes from the function's last frame value
by the values in the pasted function. This will continue the progression of afunction instead of repeating the values.

Options
Do nothing: Does not create, overwrite, merge or link palettes.
Palettes

Reuse palettes. Copy palettes if they do not exist: Palettes in the destination
drawings are left as they are.
Copy and overwrite existing palettes: Overwrites destination palettes with thepalettes from the source drawings.

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Copy and create new palette files: Creates new palette files, placing them at thesame relative environment and scene level as the source. If the palettes in thetemplates were stored at the environment level of the source scene, the paste
operation will place the palettes in the environment level of the destination scene.
Copy and create new palette files in element folder: Creates new palette files inthe element folders of the destination scene, rather than in the same relative job or
environment.
Copy palette and merge colours. Add new colours only: Adds new colours to thedestination palettes and ignores colours that are the same in the two palettes.
Copy palettes and update existing colours: Adds new colours to the destination
palette and updates duplicate colours in the destination with colour values fromthe source.
Link to original palettes (colour model): Links the colour palettes in thedestination scene to the palettes in the source. Use this to link drawings to thepalettes in a colour model.
Copy scene palettes and merge colours. Add new colours only: Adds newcolours to the destination scene palettes and ignores colours that are the same in
the two palettes.
Copy scene palettes and update existing colours: Adds new colours to thedestination scene palette and updates duplicate colours in the destination withthe colour values from the source.
Normal (forward):Pastes your selection as is, starting with the first cell and ending with the last.

Cycles

Reverse: Pastes your selection in reverse, starting with the last cell and ending
with the first.
Forward > Reverse:Pastes your selection as a yo-yo, starting with the first cell,going to the last one and ending with the first cell.
Reverse > Forward: Pastes your selection as a reverse yo-yo, starting with thelast cell, going to the first one and ending with the last cell.

Nodes

Create New Columns: A new column is created when you copy and paste nodes
from the Node view or layer in the Timeline view. If the layers are linked tofunction curves, the function curves, drawings and timing will be duplicated.

Elements

Reuse existing elements: Lets you paste existing elements without creating new
ones. This should be used only when pasting within versions of the same scene.

Validation

Match by Node/Layer Name: When pasting a template with a hierarchy onto
another hierarchy, this option looks to match the pasting elements with the samelayer or node name, rather than the same hierarchical structure. This means that139

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even if the two hierarchies are different, a new pose of a character's body part will
still be pasted on the correct body part layer, as long as both layers are named the
same.

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Pose Copier Dialog Box
T-RIG3-007-007
The pose copier contains many buttons and other information to facilitate the insertion of poses in the
animation.

Parameter

Description

Preview Window

Based on master template's generated thumbnails, previews currently selected
frames.

Load Selected Template

Updates the template with the newly selected template.

Template Name

Name of the currently selected template.

Vertical Slider (SLV)

Linked to the slv- node of the node system.

Horizontal Slider 1 (SLH)

Linked to the slh- node of the node system. Default slider for the pose copier if
no guide layers are created.

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Horizontal Slider 2 (SLX)

Linked to the slx- node of the node system.

Fill to Next Key Exposure

Having this option checked will automatically extend the exposure of thepasted frame up to the next key.

Use Default Destination
ModuleWhen enabled, the pasted keys will automatically refer to the destination
defined in the option Set Default Destination Module.

Paste by Layer Name

When this option is checked the pasted layers will look for the individual layer
name instead of matching the hierarchy of the template.

Set Default Destination Module

Instead of selecting the destination every time, the layer set as default
destination will automatically paste the keys onto those layers.

Find

This will center on the default destination in the timeline.

Paste

Paste the current position of the pose copier onto the destination.

VerticalCurrently selected frame on the vertical slider. (based on frame name in slvnode)

Horizontal 1

Currently selected frame on the horizontal slider 1. (based on frame name inslh-node)

Horizontal 2

Currently selected frame on the horizontal slider 2. (based on frame name inslx-node)

Frame

Frame number of the selected frame within the master template.

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Preferences Dialog Box
The Preferences dialog box lets you adjust preferences to suit your work style, allowing you to work more
efficiently.
NOTE
To learn more about the individual preferences, refer to the Preferences guide.

NOTE
Some preferences require you to exit and restart the application, or close a view and reopen it.

How to access the Preferences dialog box
Do one of the following:lSelect Edit > Preferences (Windows/Linux) or Harmony Premium > Preferences (macOS).

l

Press Ctrl + U (Windows/Linux) or ⌘ + U (macOS).

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Recolour Drawings Dialog Box
The Recolour Drawing dialog box allows you to replace all instances of a colour or texture in drawings with adifferent colour or texture swatch in one of the scene's palettes. This replaces the colours or textures in thedrawings without requiring you to modify the palettes. You can use this dialog to perform colour replacement in
the current drawing, in all the drawings in one or several layers or in all drawings in your scene.
This dialog will replace the colour or texture that is currently selected in the Colour view with the colour or
texture that you select inside the dialog.

How to access the Recolour Drawings dialog
1. In the Colour view, select the colour or texture swatch you want to replace by doing one of thefollowing:lSelect the palette in which the colour or texture swatch is located, then select the swatch you
wish to replace.

l

If the drawing in the Camera or Drawing view contains the colour or texture you want toreplace, select the Dropper

tool in the Tools toolbar, then click on that colour or texture in

the drawing. The Colour view will automatically select that colour or texture's palette as wellas that colour or texture's swatch.

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2. Do one of the following:l

Right-click on the swatches list, then select Recolour Drawings.

lOpen the Colour view menu

Parameter, then select Colours > Recolour Drawings.

Description
Allows you to select which drawings will be affected by the colour replacement:ll

Replace Colour In

Current drawing: Replaces the selected colour in the currently selecteddrawing only.
All drawings in the currently selected layers: Replaces the selected colour
in all the drawings in the layer that is currently selected in the Timeline,
Xsheet or Node view.

NOTE
This option can work with several drawing layers selected.

lReplacement Colour

All drawings in the scene: Replaces the selected colour in every drawing
in the current scene.

Allows you to select the palette and colour or texture swatch to replace theselected colour or texture with.

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Remove Dirt Dialog Box
The Remove Dirt dialog box lets you select small dots and hairs on a drawing for removal.

When paper drawings are passed through a scanner, there can be some hair and dirt scattered across them.
These lines and dots need to be cleaned. Harmony provides different tools to help get rid of them quickly.

How to access the Remove Dirt dialog box
1. Do one of the following:l

From the top menu, select Drawing > Clean Up > Remove Dirt.

l

From the Camera or Drawing View menu, select Drawing > Clean Up > Remove Dirt.

l

Press Shift + D.

Parameter

Description
Lets you adjust the amount of detail removed from the layer.

SliderRaising the Remove Dirt level will select bigger dots. When selecting larger dots,
be careful not to lose small details like pupils and nostrils. Once you have chosen
the level, you can apply it to the current drawing or the entire animation sequence.
This is a quick way to get rid of most dirt and dust.
During this process, the dirt that will be removed is highlighted in red.

Apply to all drawings

Applies the operation to all drawings in the layer.

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Remove Hair Dialog Box
The Remove Hair dialog box lets you remove any small strokes created in the Colour Art layer from very thicklines or filled zones. Increasing the Remove Hair level value will select larger strokes for removal from thedrawing.

When paper drawings are passed through a scanner, there can be some hair and dirt scattered across them.
These lines and dots need to be cleaned. Harmony provides different tools to help get rid of them quickly.

How to access the Remove Hair dialog box
1. In the Timeline or Xsheet view, select the drawing containing the drawing to clean.
2. From the top menu, select View > Show > Show Strokes to display the invisible lines or press K.
3. In the top menu, select Drawing > Clean Up > Remove Hair.

Parameter

Description

SliderLets you adjust the number of length of hairs selected.

Apply to all drawings

Applies the operation to all drawings in the layer.

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Render 3D Model Dialog Box
The Render 3D Model dialog box allows you to render a 3D model into a 2D bitmap layer. In this dialog, you canpick the point of view and angle from which the model is rendered, as well as apply geometricaltransformations to the model before rendering it.

NOTE
For information on how to use this dialog, see the User Guide.

How to access the Render 3D Model dialog box
1. In Harmony, select File > Import > 3D Models.
The Import 3D Models dialog box opens.

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2. In the Files field, click on Browse.
An Open dialog appears.
3. Browse to an select your 3D model, then click on Open.
NOTE
If you want to import a 3D model as a rendered 2D image, you can only import a single
3D model at a time.

NOTE
You can only import .osb, .3ds, .obj, .fbx, .abc and .dae type 3D models.
4. In the Import 3D Models dialog, check the Convert to 2D checkbox.
5. Click on OK.
The Render 3D Model dialog appears.

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Parameter

Description

The preview area displays the 3D model as it will be rendered in the scene. Black bars
display around the area to mark parts of the areas that are outside of the camera frame.
In this area, you can:llEither click and drag on the vertical slider to the right or scroll the mouse wheel up or
down to adjust the distance between the camera and the model.
Hold Ctrl + Shift (Windows/Linux) or ⌘ + Shift (macOS), then click and drag on thepreview area to rotate the camera.

Preview Areal

Hold Spacebar, then click and drag on the preview area to pan the camera laterally.

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Parameter

Description

Camera
The angle of the camera cone used to render the 3D model. A wide angle will render themodel with less perspective, and a narrow angler will render it with exaggerated perspective.
Focal
LengthNOTE
Increasing this setting will also decrease the perceived size of the 3D model, anddecreasing it will increase its perceived size. You must then adjust the camera's
distance from the model or the model's scaling to compensate.

Transformation
The position of the 3D model relative to the center of the stage:l

X: The horizontal position of the 3D model, from west to east.

l

Y: The vertical position of the 3D model, from south to north.

l

Z: The position of the 3D model relative to the camera, from near to far.

Translation

The angle of the 3D model relative to its default angle:l

X: The rotation angle of the model around the horizontal axis.

l

Y: The rotation angle of the model around the vertical axis.

l

Z: The rotation angle of the model around the z-axis.

Rotation

The size of the 3D model relative to its default size:
Scalingl

Lock Scaling Axis: When enabled, you can use the X scaling field to set the scalingof the 3D model on all axes, preserving its proportions.

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Parameter

Descriptionl

X: The horizontal scaling of the model.

l

Y: The vertical scaling of the model.

l

Z: The scaling of the model on the z-axis.

Fit Model to View

Click on this button to automatically adjust the model's Truck, Translation X and Translation
Y parameters so that the model fits inside the camera field and is positioned in its centre.

Render to Scene

Rasterize the 3D model into a bitmap layer and add it to the current panel.

CancelDismiss this dialog and do not import the 3D model.

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Render Write Nodes Dialog Box
The Render Write Nodes dialog box lets you configure your scene to render locally or sent it to a render farm soother computers can render your scenes while you continue working on your station.
In Harmony Stand Alone, the Render Write Nodes dialog box will look as follows:

In Harmony Server, the Render Write Nodes dialog box will have an additional section, Batch Composite
Options, which allows to set parameters for the server's batch rendering service:

There are two approaches to rendering a scene in Harmony Server:lLocal Rendering is done directly by your machine in your Harmony session. Hence, it uses yourmachine's resources and will prevent you from working on the scene until the render is done. You will
see the render progress in real time and will be able to preview the results right after it's finished.

lBatch Rendering is done by sending a scene to the server's render queue so it can be processed by therender farm. This allows you to keep working on your scene while the render is being done. The
rendering progress can be monitored in Control Center and, when finished, the results can bepreviewed in Play. Batch Rendering gives you access to additional rendering options.

In either case, the render will be output in the same folder and in the same file formats, as those are determinedby the scene's Write nodes. However, batch rendering supports additional options, such as rendering inchunks, or in different resolutions than the scene's resolution.

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How to access the Render Write Nodes dialog box
1. Do one of the following:l

From the top menu, select File > Export > Render Write Nodes.

lPress Ctrl + Shift + Y (Windows/Linux) or ⌘ + Shift + Y (macOS).

The Render Write Nodes dialog box opens.

Parameter

Description

Range
All Frames

Sends all the frames in the scene to be rendered.

Selected Frames

Sends the specified range of frames to be rendered.

Batch Composite Options

Check this to send the scene to batch rendering and unlock batch rendering
options. Otherwise, the scene will be rendered locally.

Debug

Instructs the batch rendering service to log debug information. When this ischecked, the machine that processes the render will have more information about
the compositing process in its batch rendering service's log.

Chunk

When checked, this splits the render job sent to the server's render queue into
several smaller render jobs, allowing it to be processed by several machines in therender farm. Note that this only affects Frame renders. If the render includes amovie file, the movie will still be exported as a single file once all the frames havebeen rendered.

Size (Frames)

Specifies the amount of frames each chunk will include. For example, whenrendering a 50 frames scene by chunks of 30, this will make the first render job
render frames 1 to 30, and the second render job render frames 31 to 50.

CameraIf you created a scene with several Camera nodes, this allows you to specify
which one to use for the render.

Resolution

This allows you to set the width and height of the rendered images or movie,
either:By Name: Allows you to select between Default or one of the available resolution
presets. If Default is selected, the scene will be rendered in its own resolution.

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By Value: Allows you to set the width and height of the rendered images in
pixels.
Field Composite Options
Renders using the 3:2 pull-down technique. Every odd-numbered frame will berendered on 3 images, and every even-numbered frame will be rendered on 2
images.
The exported images will be named in pairs to indicate that they are to be
combined together. Therefore, the exported frames will follow this scheme:
Exported Image File

Rendered Frame

final-0001-f1.tga

Frame 1 of the scene

final-0001-f2.tga

Frame 1 of the scene

final-0002-f1.tga

Frame 1 of the scene

final-0002-f2.tga

Frame 2 of the scene

final-0003-f1.tga

Frame 2 of the scene

final-0003-f2.tga

Frame 3 of the scene

final-0004-f1.tga

Frame 3 of the scene

final-0004-f2.tga

Frame 3 of the scene

Add Pulldown

This makes a scene animated in 24 frames per second output in 60 images per
second. Hence, once the paired images are combined, this will make a 30 frames
per second render.

Automatic Combine

Combines each pair of images rendered with Pulldown by interlacing them
together.

Second Field First

By default, when images rendered with Pulldown are combined, the first image ina pair is rendered on odd lines (referred to as the first field), and the second isrendered on even lines (referred to as the second field). This does the
opposite: The second image in a pair is rendered on odd lines and the first one isrendered on even lines.

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Preview

When rendering locally, this opens the rendered image sequence in Play
immediately after the render is done.

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Save Dialog Box
The Save dialog box appears when you save a scene for the first time in Harmony Server.

How to access the Save dialog Box
1. Make sure you have the necessary rights to save the current scene version. If you do not, you canacquire the rights by selecting File > Rights to Modify Scene Version or Rights to Modify Scene in
the top menu.
2. Do one of the following:l

In the top menu, select File > Save.

l

In the File toolbar, click on thelPress Ctrl + S (Windows/Linux) or ⌘ + S (macOS).

Save button.

When saving the scene for the first time, the Save dialog box opens, prompting you to name theversion.

Parameter

Description

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This Version

Allows you to enter the name of the current version.

Description

Enter a short description of the current version.

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Scene Settings Dialog Box
The Scene Settings dialog box lets you select settings for the resolution of your scene, its alignment and theresolution of bitmap drawings and textured brush strokes.
You are already required to select resolution and alignment settings when creating a scene, but those settings
can also be modified later using the Scene Settings dialog box.

How to access the Scene Settings dialog box
1. In the top menu, select Scene > Scene Settings.
The Scene Settings dialog box opens.

Resolution Tab

The resolution tab allows you to set the width and height of your scene in pixels, the angle of the field of viewand the way elements are projected across the depth of your scene.
Icon

Parameter

Description
You can select your project’s resolution (camera frame size) from thispreset list.

Resolution Presetsl

HDTV_1080p24: The standard definition for high definition
television at 24 frames per second, mostly used in the Americas
and some Asian countries that used the NTSC standard for

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analogue television.
l

l

l

l

l

HDTV_1080p25: The standard definition for high definition
television at 25 frames per second, usually for broadcasting inEuropean, African, Asian and Australian countries that used the
PAL or SECAM standard for analogue television.
HDTV_1080p23.976: The standard definition for highdefinition television at 23.976 frames per second. This is useful
if the remainder of your pipeline uses the 23.976 framerate forlegacy reasons.
HDTV_720p24: The former standard high definition resolution
at 24 frames per second.
4K_UHD: A standard ultra HD (4K) format for television
productons. 4K implies that the width of the image is of, give or
take, 4000 pixels.
8K_UHD: A standard ultra HD (8K) format for television
productions. 8K implies that the width of the image is of, giveor take, 8000 pixels.

l

DCI_2K: A standard HD format for cinema.

l

DCI_4K: A standard ultra HD (4K) format for cinema.

l

l

l

l

l

l

l

l

l

film-2K: A standard HD format for film projectors with a low
aspect ratio.
film-4K: A standard ultra HD (4K) format for film projectors
with a low aspect ratio.
film-1.33_H: The standard resolution for the academy film
format that conforms to the standard 4:3 aspect ratio.
film-1.66_H: The standard resolution for widescreen film format
that conforms to the 16:9 aspect ratio.
film-1.66_V: The standard resolution for widescreen film
format, but with a vertical field of view.
Cineon: The standard format for 35 mm Kodak/Cineon film.
NTSC: The standard resolution and framerate for analogue
standard definition televisions in most of the Americas (except
Brazil, Paraguay, Uruguay and Argentina), Japan, Taiwan, South
Korea, the Philippines and Myanmar.
PAL: The standard resolution and framerate for analogue
standard definition televisions in Europe, Africa, Australia, mostof Asia, Brazil, Uruguay and Argentina.
2160p-240p: A series of standard widescreen presets named
after their resolution heights.

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l

l

l

l

l

low: A resolution based on NTSC with half of its standard
dimensions.
Web_Video: A legacy format for web streaming.
Game_512: A preset for the gaming pipeline, with a squarecanvas.
Game_512_Ortho: Like Game_512, except with Orthographic
projection so that elements moved on the Z axis do not appear
smaller or bigger.
WebCC_Preview: The preset used by WebCC to renderpreviews of scenes in a Harmony Server database.

llSelected Resolution Preset

HDTV: The standard definition for high definition television at
24 frames per second, with a horizontal fit field of view.
HDTV_Vertical: The standard definition for high definition
television at 24 frames per second, with a vertical fit field ofview.

Displays the name of the selected resolution preset just below thepresets list. If you have made any changes to the resolution sinceselecting a preset, this will display "(custom)".
Allows you to save the current resolution settings as a new preset. If
you have a resolution preset selected, this button is only available if
you have made changes to the resolution since selecting the preset.
You will be prompted to type in the name of the new resolution preset.
If using Harmony Server, you will also be asked to select in which partof the database you want the preset to be saved.

Save Resolution Setting

Resolution

The resolution of the scene defines the width and height of the canvasin pixels. By default, the scene will be rendered in this resolution. If
using bitmap layers or textured brush strokes, the definition of the
pixels in your artwork will also be based on the scene's resolution.

Scene Width

The width of the resolution for the scene, in pixels.

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Scene Height

The width of the resolution for the scene, in pixels.

Aspect Ratio

Displays the ratio between the horizontal and vertical dimensions of
the scene. For example, if the scene width and height are the samevalue, this ratio equals 1. The standard aspect ratio for widescreen
televisions is 1.777. For legacy displays, it is 1.333.
The angle of the field of view, which determines the size of the camera
cone as well as the way the field grid used to position elements isadjusted to fit the scene.
lField of ViewllHorizontal Fit: The field of view is automatically adjusted sothat the field grid and camera cone fit the horizontal length of
the scene.
Vertical Fit: The field of view is automatically adjusted so thatthe field grid and camera cone fits the vertical length of thescene.
Custom FOV: Enter the angle of the field of view manually. A
greater angle will make a wider camera cone and smaller fields.
A smaller angle will mean a more narrow camera cone andbigger fields.

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NOTES
l

Objects in Harmony are positioned in fields, based ona traditional animation grid which, by default, extends
to 12 fields from the center in each direction, andwhich has 4:3 proportions by default. In a scene with
4:3 proportions, this grid fits the camera field
perfectly. However, since most scenes have an aspectratio of 16:9, the grid does not fit the camera field
perfectly. If the field of view is Horizontal Fit, the grid's
width will match the scene's width, but will extend
beyond its vertical edges. If the field of view is VerticalFit, the grid's height will match the scene's height, will
not extends to its horizontal edges.

ll

To avoid distorting elements, the field of view angle isapplied directly to the vertical axis, and the one appliedon the horizontal axis is calculated proportionally tothe aspect ratio of the scene.
The field of view may affect the way 3D-rotatedelements and 3D objects are rendered. If too wide,
objects may appear distorted when seen from anangle. If too low, objects may seem flat and may lack
foreshortening.

The Projection settings allows you to modify the type of camera yourscene is using. You can either use a perspective camera (regularcamera) or orthographic camera (no perspective).
l

ProjectionlPerspective: Objects placed closer to the camera will be
displayed bigger and objects placed further away will be
displayed smaller. Elements that are 3D-rotated as well as 3D
objects will be rendered in a realistic perspective.
Orthographic: The size of objects does not depend on theirposition on the Z-axis. Moving an element forward or backward
will not change its apparent size, only its order relative to otherelements. 3D-rotated elements and 3D objects will have noforeshortening. This option is more often useful when using
Harmony for gaming, and more information about this option isavailable in the Gaming guide. This option can also be useful if
you don't need any perspective in your project and want to use
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TIP
In order to create scenes with the Orthographic camera
by default, you need to create a new custom scene
resolution.

The amount of animation frames to play each second. Increasing the
FPS will make your animation play faster, and decreasing it will make itplay slower.
llPreset: Allows you to select a frame rate for your scene among
one of many commonly used preset frame rates.
FPS:Allows you to type in the frame rate for your scene.

Frame RateNOTE
The standard framerate for film production is 24 frames per
second. However, televisions in some countries play at 25
frames per second. Some productions may use 23.976 frames
per second to preserve compatibility with legacy standard
displays.

Alignment Tab
The alignment tab is used to determine the aspect ratio, the position and the size of the field grid used toposition elements in the scene.

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In Harmony are positioned in fields, a unit used in traditional animation which traditionally ranges from 0 to 12
followed by a cardinal direction, and in which 0,0 is the center of the scene.
The default Alignment setting in Harmony is based on such a traditional 4:3 drawing grid. In a scene with an
aspect ratio of 4:3, this means that positioning an element 12 fields in any direction will make it reach one of
the edges of the camera field. For example, 12 North is the vertical position of the upper edge of the camera
field, and 12 East is the horizontal position of the right edge of the camera field.
However, since the most commonly used scene resolutions have an aspect ratio of 16:9, and the default grid isin a 4:3 proportion, the grid used to position element will not be in the same proportions as the camera field.
The way this is handled is determined by the Field of View setting in the Resolution tab. If your field of view is
set to Horizontal fit, the field grid will be made to fit the scene horizontally, and stretch beyond the verticaledges of the scene. This means that 12 East will still be the right edge of the screen, but the position of theupper edge of the scene will be about 9.36 North. Likewise, if the field of view is set to Vertical Fit, the upperedge of the field will be at 12 North, but the right edge will be at about 16 East.
Some artists or studios may prefer to use a square fields grid, where fields have the same size horizontally andvertically.

Parameter

Description
The list of alignment presets. By default, Harmony has these two alignment
presets:l

Alignment

4:3 12 Fields: Defines the units of your project to have a 4:3 ratio and sets
up 12 of these units to run both vertically and horizontally in four cardinalquarters (NW, NE, SW, SE). This is the default setting, and it corresponds
to an animation grid used in traditional animation. Hence, coordinates
based on a traditional animation grid can be entered in Harmony as is to165

Chapter 1: Dialog Boxes

position elements where they are expected to be.
l

Square 12 Fields: Defines the units of your project to have a 1:1 or squareratio and sets up 12 units to run both vertically and horizontally in four
cardinal quarters (NW, NE, SW, SE).

NOTE
When the Grid is displayed in the Camera and Drawing view, it is always
based on the 4:3 12 Fields alignment preset, regardless of your scene'salignment setting. To display the grid, from the top menu, select View

> Grid > Show Grid.

The aspect ratio of each field. This describes the proportional difference between
the width and the height of the field. By default, it is set to 4:3, which means thewidth of each field will take 4 unites of length for each 3 units the height of the
field takes. In other words, the width of a field is 1.333 times its height. If set to,for example, 1:1, the fields will be perfectly square.

Units Aspect Ratio

The number of fields the grid should have in each direction. In the Number ofUnits fields, enter the number of horizontal, vertical and depth units for yourscene’s grid.

Number of Units

The grid is a specific size based on the scene's resolution and field of view angle.
Changing the amount of units for each direction will not change the size of thegrid, but rather, the size of the units. Hence, if an element is offset at 3 North, 4
East, and you change the number of horizontal and vertical units from 24 to 12,
the element will become offset twice as far from the centre as it originally was.
The third setting in this field determines the amount of units across the Z axis.

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This determines how far each unit will take an element further or closer to thecamera when moved on the Z-axis. By default, the grid has 12 fields across the Zaxis, which is half the amount of fields on the X and Y axes by default. Hence,each field on the Z-axis is worth exactly twice the length of a field on thehorizontal axis.
Animators who are familiar with traditional animation method will understand thedefault setting of 24 units horizontal by 24 units vertical as it corresponds to a
traditional animation grid.

Coordinates at Centre

The offset for the centre of the fields grid. The centre of the fields grid is where
elements are positioned by default, when they themselves are at coordinates 0,0.
To change the centre, you must enter its offset from the actual centre of the gridin fields. For example, if your fields grid is 24 x 24, and you want the centre to beat the top-left corner, you should enter -12,-12.

Save

Saves your current Alignment settings and be able to select them later from the
list.

TIP
If you prefer working in pixel-based positions, you must set the aspect ratio of your units to be thesame as the aspect ratio of your scene resolution, set the horizontal number of units to the width ofyour scene in pixels, the vertical number of units to the height of your scene in pixels, and the depth
number of units to the width of your scene in pixels. This way, each unit will translate to exactly 1
pixel, in all directions.

NOTE
Each layer also has an alignment rule, which determines how it is positioned relative to the fields
grid. By default, it is set to "Centre First Page". However, this alignment rule is made to becompatible to 4:3 fields grids. Hence, if you change your scene's alignment rules, your layers will be
offset. To avoid this issue, change the alignment rules of your layers to "Centre" via the Advanced
tab of the Layer Properties view.

Drawing Resolution Tab
The drawing resolution tab is used to set the pixel density of bitmap drawings as well as of bitmap textures intextured brush strokes in vector drawings. Also, it is used to set the size of the canvas for bitmap drawings
relative to the size of the scene.

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NOTE
These settings are applied to newly created drawings in the scene, but not to existing drawings inyour scene. To change the pixel density of existing vector drawings, you must select Drawing> Change Vector Drawing Brush Resolution from the top menu. To change the pixel density andcanvas size of existing bitmap drawings, you must select Drawing > Change Bitmap Drawing
Resolution from the top menu.

NOTE
You can change the default drawing resolution settings for new scenes in the Drawing tab of thePreferences dialog.

Parameter

Description

Scene Resolution

This indicates the currently selected scene resolution preset and its dimensions in
pixels.

Default Texture Density for
Vector Drawings

Pixel Density:Determines the amount of pixels to store in textured brush strokes
for each pixel that displays when the drawing is not zoomed in or scaled up. For
example, at 100%, zooming in or scaling up textured brush strokes will makethem lose texture quality. If set to 200%, textured brush strokes can be zoomed inor scaled up until they're twice their original size without losing picture quality.

Default Canvas Size andWidth: The default width of the canvas when creating drawings in a bitmap

168Harmony 16.0 Premium Reference Guide

drawing layer. The percentage is relative to the width of the scene. Its default
value, 200%, makes the width of the canvas twice the width of the stage.

Pixel Density for Bitmap
Drawings

Height: The default height of the canvas when creating drawings in a bitmap
drawing layer. The percentage is relative to the height of the scene. Its default
value, 200%, makes the height of the canvas twice the height of the stage.
Pixel Density: Determines the amount of pixels to store for each pixel that
displays on the screen when the drawing is not zoomed in or scaled up. For
example, at 100%, zooming in or scaling up a bitmap drawing will make it lose
picture quality. If set to 200%, bitmap drawings can be zoomed in or scaled up
until they're twice their original size without losing picture quality.

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Scripts Manager Dialog Box
The Scripts Manager dialog allows you to create buttons in the Scripting toolbar. Each button you create canrun a specific function in one of your scripts. You can also choose an icon and a tool tip for the button, if you
want.

NOTE
For tasks related to this dialog box, see the User Guide.

How to access the Scripts Manager Dialog Box
1. In the Scripting toolbar, click on theManage Scripts button.

The Scripts Manager dialog box opens.

Parameter

Description

Files

A list of the available JavaScript files.

Functions

A list of the available functions for the selected script.

In Toolbar

The list of script functions already added to the Scripting toolbar.

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Runs the selected function.
ExecuteTIP
Press Esc to interrupt the execution of the script.

Customize Icon

Allows you to select an icon for the toolbar button. Clicking on this button will
open an Open dialog prompting you to browse for and select a .png, .jpg, .xpm
or .svg file.

Customize Tooltip

Allows you to type in a custom tooltip for the toolbar button.

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Select Colour Dialog Box
The Select Colour dialog box lets you set the colour of layers and columns. Using colours for layers and columns
helps to differentiate them visually, making them easy to identify. The colours you choose will be reflected in the
Node view.
You can select a colour by choosing from a basic set of colours, using the colour wheel or by specifying the HSV
or RGB values. Once you have selected a colour, you can adjust its intensity and save it as a custom colour thatyou can reuse.

How to access the Select Colour dialog box in the Timeline view
1. In the Timeline view, click the Change Track Colour

button of the layer you want to modify.

The Select Colour dialog box opens.

How to access the Select Colour dialog box in the Xsheet view
1. In the Xsheet view, select one or more columns to modify.
2. Right-click on the column’s header and select Colour > Change Columns Colour.
The Select Colour dialog box opens.

Parameter

Description

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Basic colours

A basic set of colours to choose from.

Custom colours

Displays the custom colours you previously stored using the Add to Custom
Colours button.

Add to custom colours

Lets you add the selected colour to the Custom colours list above.

Colour wheel

Lets you select a colour by dragging the T-shaped pointer.

Value slider

Once you select a colour, you can drag the slider to change the intensity and see
it previewed in the Colour Preview window below..

Colour Preview

Displays the colour you are currently selecting. To apply the colour, click OK.

Hue, Saturation, Value

Lets you set the hue (colour), saturation (amount of colour) and brightness(value) of the colour.

Red, Green, Blue

Lets you set the red, green and blue values.

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Selection Presets Dialog Box
As you're animating, you might find that you are constantly selecting the same pegs, drawing layers, bezier
points on a deformation envelope, part of a character rig, etc. You can create a preset that automatically selects
any defined element or group of elements.

How to access the Selection Presets dialog box
1. Add the Scripting toolbar to your interface:l

Go to the top menu and select Windows > Toolbars > Scripting.

lright-click on the empty space near the top of the interface and from the quick-access menu
selecting Scripting.

lright-click on the empty space near the top of a view and from the quick-access menu
selecting Scripting.

2. In the Scripting toolbar, click on the Manage Scripts

button to open the Scripts Manager

window.
3. In the Scripts Manager, in the Files section, select the file TB_SelectionPreset.js.
The functions associated with that file appear in the Functions section.
4. In the Functions section, select TB_SelectionPreset.
The Add script to toolbar

button becomes active.

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5. Click on the Add script to toolbar
The TB_SelectionPreset script

button.
button is added to the Scripting toolbar.

6. Click Apply.
7. Click OK.
8. In the Scripting toolbar, click on the TB_SelectionPreset

button.

The Selection Presets window opens.

Parameter

Description

RefreshRemoves any highlighted zones from the Group column.

Add Selection Preset

Opens the Save Selection As Preset dialog box. After entering a name for the newpreset and clicking OK, a new Selection Preset is added to the Selection Presets
list. Note: before clicking on the Add button, make a selection in your scene of theelements for which you wish to create a Selection Preset.

Delete Selection Preset

Deletes the selected Selection Preset from the list.

Group

Double-click in this area, next to the Selection Preset you wish to use, to selectthe elements defined by the preset.

Name

Displays the name of the preset.

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Apply to Selection

Selects the elements defined by the selected preset from the Name list.

Close

Closes the Selection Presets window.

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Sequence Fill Dialog Box
The Sequence Fill dialog box lets you Lets you create a numbered sequence over a selection. The sequence canbe forward, backward, single, double or higher increment, as a cycle, and so on. The selection can be over one
cell or a cell range in one column or more or an entire column or many entire columns.

How to access the Sequence Fill dialog box
1. In the Timeline or Xsheet view, select a cell range.

2. Do one of the following:l

From the top menu, select Animation > Cell > Sequence Fill.

l

In the Timeline view, right-click and select Exposure > Sequence Fill.

l

In the Xsheet toolbar, click the Sequence Fillbutton (you may have to customize thetoolbar to display it).
lPress Ctrl + M (Windows/Linux) or ⌘ + M (macOS)).

The Sequence Fill dialog box opens.

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Parameter

Description

Starting Value

The first number in the sequence.

Increment

Lets you type the number by which the drawing number will increase from frame
to frame. For example, an increment of 1 gives you: 1-2-3-4; an increment of 2
gives you: 1-3-5-7; and -2 gives you this: 8-6-4-2.

Hold

The exposure holding value.

Cycle

Enable this option to cycle the values and enter the number of cycles in the Cycle
field.

End Frame

Enable this option to stop the fill at a specific frame within the selection. Indicate
the frame number in the End Frame field.

Padding

Enable this option to add a 0 padding before the drawing name. In the Padding
field, enter as many hash symbols (#) as digit you want in your drawing name,including the value itself.

Add Key Exposure After

Inserts a key exposure on the frame following the last cell of the new fill selection.

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Set Ease for Multiple Parameters Dialog Box
The Edit Set Ease for Multiple Parameters dialog box lets you apply ease to multiple functions and keyframes.
You can display the function curve and modify the Bezier or Ease curve.

How to access the Set Ease for Multiple Parameters dialog box
1. In the Timeline view, select a keyframe on one or more layers.

2. Do one of the following:l

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

l

In the Timeline toolbar, click the Set Ease For Multiple Parameters

button.

The Set Ease For Multiple Parameters dialog box opens.

Parameter

Description

Filters
MotionMotion: Applies the easing parameters to the selected Position X, Position Y,
Position Z and 3D Path functions.

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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 applies to the Morphing velocity function found in theLayer Properties window, not the basic morphing ease in the Tool Properties
view.
Other: Applies the easing parameters to all the other the selected functions, suchas all functions created to animate effect parameters.

Left and Right Time Ratio

Lets you type the percentage value corresponding to the length of time you want
the easing to last. Stay between 0% and 100%. If you go beyond 100%, yourmotion will overshoot.

Left and Right Value Ratio

Lets you type the percentage value of how strong you want the easing out to be.
Stay between 0% and 100%. If you go beyond 100%, your motion will overshoot.

Apply/Previous

Applies the easing parameters to the selected keyframes and then selects theprevious keyframe in the timeline.

Apply

Applies the easing parameters to the selected keyframes.

Apply/Next

Applies the easing parameters to the selected keyframes and then selects the next
keyframe in the timeline.

Close

Close the dialog box. If you did not apply the modifications, they will becancelled.

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Harmony 16.0 Premium Reference GuideShow Hidden Columns Dialog Box
The Show Hidden Columns dialog box lets you display all the columns contained in the exposure sheet. It canbe used to hide individual columns.

How to access the Show Hidden Columns dialog box
1. In the Xsheet view, do one of the following:lClick the thick grey line that represents a hidden column.

lRight-click on the column header and select Show Hidden Columns.

lPress Alt + Shift + H.

The Show Hidden Columns dialog box opens.

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Parameter

Description

Show

Lets you select the hiddens columns to display in the Xsheet view.

Name

Name of the drawing.

Type

Indicates the column type such as column, timing, and expression.

Check

Selects all columns.

Uncheck

Deselects all selected columns.

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OpenQuickTime Sound Options Dialog Box
The OpenQuickTime Video Options dialog box is used to configure the audio compression settings whenexporting a QuickTime movie file on Linux.

On Windows and macOS, Harmony uses Apple QuickTime to export QuickTime movies, and hence uses
QuickTime's interface to configure video and audio compression settings for exporting movies. Since QuickTime
is not supported on GNU/Linux, Harmony uses the OpenQuickTime library to create QuickTime-compatible
movie files, which have a more limited set of compression settings.

How to access the OpenQuickTime Sound Options dialog box from the Export Movie
dialog
1. From the top menu, select File > Export > Movie.
The Export Movie dialog box opens.
2. Set Movie Format to QuickTime Movie (*.mov).
3. Click on the Sound Options button.

How to access OpenQuickTime Video Options dialog box from the Write node Layer
Properties
1. In the Node view, locate your scene's Write node.
2. Open the Write node's Layer Properties by doing one of the following:lClick on the yellow square at the left end of the Write node.

l

Right-click on the Write node, then select Layer Properties.

3. In the Write node's Layer Properties, enable the Movie option.

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4. To the right of the Movie check box, open the drop down menu and select QuickTime Movie(*.mov).
5. To the right of Sound Options, click on Customize.

Parameter

Description
Lets you select a codec. By default, the following codecs will be available:lA-Law 2:1: This codec uses logarithms to compress audio data. The
resulting audio stream requires half the disk space of uncompressed audio
data, but is of noticeably lower quality.

l

Codec
l

l

l

Sample rate

IMA 4:1: This codec compresses audio data to require a quarter of the disk
space required for uncompressed audio data. It is not supported by a lotof software.
Twos Complement - Little Endian PCM: A standard uncompressed audio
codec.
Twos Complement - Big Endian PCM: A legacy standard uncompressedaudio codec. This codec may be compatible with older editing interfaces.
(mu)-Law 2:1: Similarly to A-Law, this codec uses logarithms to compress
audio data. The resulting audio stream requires half the disk space of
uncompressed audio data, but is of noticeably lower quality.

The sample rate at which to export your scene's audio. The only available option
is 22050Hz.

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QuickTime Sound Settings Dialog Box
The Sound Settings dialog box lets you set the audio compression settings when you want to export a
QuickTime Movie (.mov) file.

NOTE
This dialog can only be accessed on Windows and macOS. On Windows, Apple QuickTime must be
installed to be able to export QuickTime Movie (.mov) files.

How to access the Sound Settings Dialog Box from the Export Movie dialog
1. From the top menu, select File > Export > Movie.
The Export Movie dialog box opens.
2. Set Movie Format to QuickTime Movie (*.mov).
3. Click on the Movie Settings button.
4. In the Movie Setting dialog box that opens, click Settings in the Sound section.

How to access the Sound Settings Dialog Box from the Write node Layer Properties
1. In the Node view, locate your scene's Write node.
2. Open the Write node's Layer Properties by doing one of the following:lClick on the yellow square at the left end of the Write node.

l

Right-click on the Write node, then select Layer Properties.

3. In the Write node's Layer Properties, enable the Movie option.

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1. To the right of the Movie check box, open the drop down menu and select QuickTime Movie(*.mov).
2. To the right of Movie Options, click on Customize.
3. In the Movie Setting dialog box that opens, click Settings in the Sound section.

Parameter

Description

Compressor

Lets you select a compression type. The default setting is None. This exports youraudio as is without performing any lossy compression or conversion, preserving
its fidelity. Other compressors can be used if you need your movie's audio track to
be exported in a specific format, or if disk space or download speed is critical, butthey may impact the quality of your movie's soundtrack negatively.

Rate

Lets you select the audio rate at which to export. It is best to export your audio at
a rate that matches the rate of your original sound files. 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 higher frequencies will be
missing, making it sound muffled. For reference, the standard sound quality is 48
kHz for broadcasting and DVD. Lower rates are liable to impact the quality of yourmovie's soundtrack negatively, but they can be useful if disk space or download
speed is critical.

Size

Lets you select the encoding size. Also known as Bit Depth, this determines theamount of precision used to record each wavelength in the audio track. The
standard size is 16-bit. If you choose 8-bit, the amount of disk space the audio
track of your movie file requires is halved, but the audio quality will besignificantly lower.

Use

Lets you decide whether to use the Mono or Stereo channel mode. Stereo soundhas a separate audio track for the left and the right speakers, allowing to make theorigin of each sound realistically match the origin of their corresponding action. If
you choose Mono, the audio track in the exported movie file may use less disk
space, but both the left and right channels will be merged into a single track.

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QuickTime Standard Video Compression Settings Dialog Box
The Standard Video Compression Settings dialog box lets you configure the video compression settings whenexporting a QuickTime Movie (.mov) file.

NOTE
This dialog can only be accessed on Windows and macOS. On Windows, Apple QuickTime must be
installed to be able to export QuickTime Movie (.mov) files.

How to access the Standard Video Compression Settings Dialog Box from the Export
Movie dialog
1. From the top menu, select File > Export > Movie.
The Export Movie dialog box opens.
2. Set Movie Format to QuickTime Movie (*.mov).
3. Click on the Movie Settings button.
4. In the Movie Setting dialog box that opens, click Settings in the Video section.

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How to access the Standard Video Compression Settings Dialog Box from the Write
node Layer Properties
1. In the Node view, locate your scene's Write node.
2. Open the Write node's Layer Properties by doing one of the following:lClick on the yellow square at the left end of the Write node.

l

Right-click on the Write node, then select Layer Properties.

3. In the Write node's Layer Properties, enable the Movie option.
1. To the right of the Movie check box, open the drop down menu and select QuickTime Movie(*.mov).
2. To the right of Movie Options, click on Customize.
3. In the Movie Setting dialog box that opens, click Settings in the Video section.

Parameter

Description

Allows you to select the codec to use for the video stream of your movie file. The
availability of codecs may vary between machines. If you are unsure of which
codec is best fit for you, it is recommended to use H.264 for maximum portability,
and to use Animation if quality is more important.
Compression TypeNOTEThe Animation codec, among a few others, allows you to set the colour
depth to Millions of Colors+, which supports transparency.

MotionFrame Rate

The amount of frames per second for the video stream. Leave this setting toCurrent to use your project's frame rate.

Key Frames

Some codecs compress the video by recording a limited amount of keyframes,
which are frames in which the entire picture is encoded, pixel by pixel and, inbetween, recording deltas, which are frames that are only defined by their188

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Parameter

Description

difference with the previous frame. This significantly reduces the size of themovie file. However, the less keyframes a movie has, the more it is likely to
encounter decoding errors, and the harder it is for players to scrub or jump to a
specific time in the video. This option allows you to decide when keyframes areinserted in the video stream.
Automatic: Lets the encoder decide when keyframes should be inserted.
Every ... frames: Allows you to set the exact interval, in frames, at which
keyframes should be inserted.
All: Encodes every frame as a keyframe. This option will significantly impact filesize, but will make it easier to scrub through the video without causing any
rendering error.

NOTE
If you are using the H.264 codec, you must set the Key Frames option toAll, or you will get an error message when you confirm the compression
settings.

Frame Reordering

Encodes frames in a different order than the one at which they are meant to be
displayed. This allows for more efficient compression, but may not be compatible
with some players.

Compressor
Allows you to set the colour depth for your video. A lower colour depth will
reduce the size of the video stream but will have significant impacts on picture
quality.
Depth

TIP
Set this to Millions of Colors+ if you want to export a video withtransparency.

Quality

Lets you choose a quality setting for the video compression. A higher quality
setting will increase the size of the movie file, but will look better. A lower quality
setting will reduce the size of the movie file, but will cause blurriness andcompression artifacts to appear in the picture.

Scan Mode /Interlaced

Allows you to choose between the following scan modes:

189Chapter 1: Dialog Boxes

Parameter

DescriptionllInterlaced: Frames are encoded starting with their odd-numberedscanlines, then their even-numbered scanlines.
Progressive: Frames are encoded whole, from the highest scanline to thelowest scanline.

NOTE
Some codecs will display a drop-down allowing you to select Interlaced or
Progressive, while others will simply have an Interlaced checkbox.

Allows you to select one of the following aspect ratios:
Aspect Ratio

Filterl

4:3: For output on standard definition displays.

l

16:9: For output to widescreen displays.

When exporting with the PNG compression type, this determines the algorithmwith which each pixel is encoded relative to other pixels. Leaving this option to
Best will export in the most space-efficient filter, without compromising picture
quality. Picking a filter may increase rendering speed a bit, at the expense of somedisk space.

Data Rate
Automatic

Lets the encoder use the optimal bit rate for your compression settings.
Allows you to specify the encoding bit rate.

NOTE

Restrict To

This setting will override other compression settings, so that the specified
bit rate is respected.

Optimize the encoding to be responsive depending on the intended viewing
method:l

Optimized Forll

CD/DVD-ROM: Optimizes the bit rate for a video that will be played using
an optical disc player.
Download: Optimizes the bit rate for a file that is going to be downloaded,then viewed from the user's hard drive.
Streaming: Optimized the bit rate for a video that will be streamed from190

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Parameter

Description

the web and played as the video is being downloaded.

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Timeline Scene Marker Dialog Box
The Timeline Scene Marker dialog box lets you create and manage scene markers in the Timeline view. Scene
markers are visual indicators displayed at the top of the Timeline view in the frame counter area. You can use it
to denote anything relevant to your work. You can indicate the frames you want to clean up, a change in action,
an impact, or where you intend to apply an effect. You can also add a note to a scene marker, which is displayedwhen you hover over the scene marker.

How to access the Timeline Scene Marker dialog box
1. In the frame counter area of the Timeline view, do one of the following:‣

Drag to select the frame range to mark.

‣

Right-click and select Scene Markers > Mark Current Frame.

Parameter

Description

Colour swatch

Opens the Mark Colour dialog box where you can select a colour for thescene marker.

Note (Tooltip)

Lets you type in a name for your scene marker. Making the name meaningful
will help you to quickly identify scene markers especially when there aremany of them in the frame counter area of the Timeline view.

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Tint Offset/Blend Dialog Box
You can offset, blend, or mix the colours in a colour palette using the sliders and increasing the Amount value.

How to access the Tint Offset/Blend dialog box
1. From the Colour View menu, select Palettes > Tint Panel or right-click and select Tint Panel.
The Blend/Offset Tint panel opens.

Parameter

Description

OffsetOffsets the selected colours by the adjustments made using the HSB and RGB
sliders. Use the Amount slider to adjust the degree of offset. Use the Alpha slider
to adjust the opacity of the selected colour.

Blend

Blends the selected colours with the colour swatch in the top-right corner. Use
the Amount slider to adjust the degree of blend. A blend of 100% turns theselected colours into the same colour as the swatch. Adjusting the HSB and RGB
sliders affect the swatch colour, which in turn affects the selected colours on theleft. Use the Alpha slider to adjust the opacity of the swatch.

Mixer

Select a Base and Tint colour to form a third colour swatch. Use the slider justbeneath to mix the Base and Tint colours by different amounts. This will affect themixed swatch whether it is selected or not. Select either the Tint or Base swatch
and use the HSB and RGB sliders to adjust its colour. This will affect the mixed

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swatch colour, which in turn affects the selected colours on the left.

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Toolbar Manager Dialog Box
The Toolbar Manager dialog box lets you customize the toolbar in any of the views. You can add your favourite
tools to a toolbar for an efficient workflow.

How to access the Toolbar Manager dialog box
1. Right-click on a toolbar in any view and select Customize. Note that the menu will not appear if you
right-click on a disabled icon.

Parameter

Description

Available Tools

Displays the complete list of tools available for customizing a toolbar.

Toolbar

Displays a list of the tools currently available on the toolbar.

Default

Restores the toolbar with its default items.

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Vectorization Parameters Dialog Box
The Vectorization Parameters dialog box lets you vectorize pencil drawings, along with any red, blue or green
pencil marks you may have used to indicate highlights and shadows. The drawing will be vectorized into pure
red, blue, green and black (RGB values), while creating colour art zones wherever lines connect. After painting
in your tones and highlights, change your pure RGB colours to transparent (0 Alpha) in the Colour Picker
window and watch the indicator colour zone lines disappear.

How to open the Vectorization Parameters dialog box
1. From the top menu, select File > Import > From Scanner.
You can also open it from any other import option that allows you to customize the vectorization
parameters (i.e. from the scanner).
2. In the Scan Drawings window, do the following:l

In the Layer section, decide on the layer options.

l

In the Import Options section, select the Convert to Toon Boom Vector Drawing
optionl

Click Preview.

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3. In the Vectorization section, click the Vectorization Parameters

button.

Options Tab
The Options tab contains the main vectorization settings. More settings are available in the Help tab.

Parameter

Description

Input

The input filters are applied to the bitmap image before it is vectorized.

One Pass

One threshold value is applied to both the Line and Colour Art. For drawings with
distinct vector-style lines of mattes, you only need one pass.

Two Passes

Applies a different threshold value to each layer. For greyscale drawings, you may
want to perform the vectorization process twice to apply different thresholdvalues to the Line and Colour Art layers.

Threshold

Determines which values in the scanned image are considered part of the Lineand Colour Art layer and what will be eliminated from the vectorized drawing; 0%
is white and 100% is black. The threshold is between these two values.

Expand Bitmap

Lets you enter a value to scale the bitmap to detect small variations in the line.
Use this option if you scanned a greyscale image and want to preserve small
variations in the texture to apply to the line art.

Jag Filter

Lets you enter a value to scale back the bitmap to remove some of the line’sroughness. This is useless when you have a drawing that appears quite rough;197

Chapter 1: Dialog Boxes

the Jag filter will eliminate excess strokes in the final drawing.

Line Art Threshold(%)

Determines which values in the scanned image are considered part of the Line Art
layer and what will be eliminated from the vectorized drawing; 0% is white and100% is black. The threshold is between these two values.

Colour Art Threshold(%)

Determines which values in the scanned image are considered part of the Colour
Art layer and what will be eliminated from the vectorized drawing; 0% is whiteand 100% is black. The threshold is between these two values.

OutputThe output filters are applied during the vectorization process.
No Colour Art

Does not generate filling zones in the Colour Art layer.

No Texture

Does not generate texture in the Line Art layer in the final images. Select thisoption to create solid lines in the final line art.

Generate Matte in
Underlay Layer

Creates an opaque zone behind your drawing’s lines to avoid seeing through thelayers.

Colour as Texture

Converts colour values into a texture layer.

Optical Registration

The optical registration options are used to automatically align drawings basedon the position of the peg holes on the animation paper. The peg holes must
appear in the scanned drawings for the optical registration to work.

DPI

Lets you enter the dots-per-inch value of your image. You must enter the samevalue as the DPI used to scan the image.

Peg Side

Lets you select the position of the peg holes on your drawings. Identify whether
they are on the top, bottom, left or right.
Determines how exact the location of the peg holes must be for the software torecognize them. There are two values to choose from:

Strictness

Strict: The peg holes must be in a tightly defined area to be recognized.
Loose: The peg holes can be recognized somewhere in a larger area. This is therecommended setting.

Field Chart

Lets you indicate the size of the animation paper, 12 or 16.

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Post Processing

The Post Processing filters are applied to the final vector images.

Remove Holes

Removes holes of a specified value that might make painting difficult.

Remove Dirt

Removes stray marks and dirt of a specified value. Try a value around 500.

Remove Hair Size

Removes small strokes that have no line art.

Remove Hair: Number
of Passes

The number of times the drawing will be analyzed to identify hair marks.

Miscellaneous
Close Gaps

Closes gaps in the Colour Art so you can paint it.

Smooth Passes forLine Art Before
Breaking Triangles

The number of times the smoothing operation runs before creating the triangles
that break lines in the drawing. If unnecessary triangles are appearing in thedrawing, increase this value.

Smooth Passes for

The number of times the smoothing operation is performed after the triangles

Line Art

have been created. This further smooths the line art.

Preview
Show Strokes

Shows the strokes in the Vectorized Image panel.

Stroke Thickness

Shows the size of the strokes.

Help Tab
The Help tab contains the most advanced vectorization settings which you type in the Advanced Option fields
at the bottom of the Vectorization Parameters dialog box.

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File IO Options-file <filename (including extension)> [ options ]-infile <filename (including extension)>; same as -file-outfile <filename>; alternate output file-informat <format>; the input format. Used if reading from stdin-debug; turn on debug mode
-noforce; don't force output if image is inconsistent-version; print version information and quit
-output_version <version>; output files of this version. Valid versions can be: 0 or 604-force_unamed_palette_for_texture; will generate a texture in TVG's internal palette

Registration Options-register <dpi side strictness>; perform optical registration.
• Side can be one of left, right, top, bottom or l, r, t, b.
• Strictness can be either loose, strict or l, s.
-register_center_peg_holes; will use only round holes in 16 fields page-rcph; short form of register_center_peg_holes-registration_looseness_factor <factor>; registration looseness factor (default 2.000000)-rlf; short form of registration_looseness_factor-rdebug; output registration debug messages-pegpitch <inch (default 8.000000)>; distance between peg bars
-threshr < (default 0.500000)>; threshold for optical registration; range 0.0 to 1.0

200Harmony 16.0 Premium Reference Guide-rmargin <inch (default 1)>; region size where to look for peg bars
-peg_distance_from_center <inch (default 5.25)>; peg distance from centre of the image-pdfc; short form of -peg_distance_from_center-out_peg_position <side (default same)>; wanted position of the peg on the drawing.
• Can be one of right, left, top, bottom (or r, l, t, b) or same.
• A rotation will be performed if it is different from the side passed to -register.
-output_peg_matrix; output the peg transformation matrix on standard output.
-scanner_calibrate; < (default 1.0000 1.0000) > x and y scale factors to be applied to scanner image.

Filtering Options-pixel <pixel_shape (default '4x3')>; Valid values: 4x3-gap <worldUnits (default 10)>; close gaps up to this big-pencil; generate line art only
-keep_dirt; don't filter out dirt
-thresh <threshold (default 0.2)>; range 0.0 to 1.0-rmv_hairs <worldUnits (default 1)> <passes (default 1)>• remove hairs of size smaller than "size" in "passes" passes-rmv_holes <area (default 7)>; remove holes smaller than "area"-rmv_dirt <area (default 1)>; remove dirt smaller than "area"• try values between 100 and 500 for rmv_holes and rmv_dirt. The area is in world units squared-rmv_triangles <worldUnits (default 30.000000)>; remove triangles at "pixels"• distance from each other. Use -no_break to remove all triangles-no_texture; don't generate textured strokes-color_as_texture; will vectorize the alpha channel and put the RGB colour in a textured colour-noclosegap; disable all gap closing algorithms-no_break; disable the breaking of line art-jag_filter <pixels (default 0>; expand the pixels in the vectorization bitmap-expand_bitmap <pixels (default 0>; expand the pixels in the vectorization bitmap-fit_errorc <error (default 1.000000>; fitting error for the colour art-fit_errorl <error (default 1.000000>; fitting error for the line art-smoothl <passes (default 1>; number of smooth passes for line art
201Chapter 1: Dialog Boxes-smoothc <passes (default 1>; number of smooth passes for colour art-first_smooth <passes (default 0>; number of smooth passes for line art before breaking triangles-first_smoothl <passes (default 0>; number of smooth passes for line art before breaking triangles-first_smoothc <passes (default 0>; number of smooth passes for line art in colour art pass (needs -2pass)-2pass; specify two sets of parameters; one for line art "l", one for colour art "c"(-thresh, -rmv_holes and -rmv_dirt will be overridden by -threshl, threshc, -rmv_holesl,-rmv_holesc, -rmv_dirtl and -rmv_dirtc)-threshl <threshold for line art (default 0.5)>; range 0.0 to 1.0-threshc <threshold for color art (default 0.5)>; range 0.0 to 1.0-jag_filterl <pixels (default 0>; expand the pixels in the vectorization bitmap for line art-jag_filterc <pixels (default 0>; expand the pixels in the vectorization bitmap for colour art-expand_bitmapl <pixels (default 0>; expand the pixels in the vectorization bitmap for line art-expand_bitmapc <pixels (default 0>; expand the pixels in the vectorization bitmap for colour art-rmv_holesl <area (default 7)>; remove line art holes smaller than "area"-rmv_holesc <area (default 7)>; remove colour art holes smaller than "area"-rmv_dirtl <area (default 1)>; remove line art dirt smaller than "area"-rmv_dirtc <area (default 1)>; remove colour art dirt smaller than "area"
try values between 100 and 500 for rmv_holesl, rmv_holesc, rmv_dirtl and rmv_dirtc. The values are inworld units squared-margins <inch (default 0.25)>; remove margin around bitmap-top_margin <inch (default 0.25)>; remove margin at top of bitmap-bottom_margin <inch (default 0.25)>; remove margin at bottom of bitmap-left_margin <inch (default 0.25)>; remove margin at left of bitmap-right_margin <inch (default 0.25)>; remove margin at right of bitmap-remove_peg_bars; remove the peg bar holes-field_size <fields (default 12 or use value in scan file)>; set the drawing to this field size
-fs; short hand for -field_size-peg_bar_size <inch (default 1)>; the size of the peg bar region-noframe; do not put a frame around the colour art-frame_fields <default -1.000000>; put a frame of the specified dimension around the colour art-downscale_input <default 1>; downscale the raw input by this integer factor
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Harmony 16.0 Premium Reference Guide-downscale_texture <default 1>; downscale the output texture by this integer factor-buildmatte; generate a matte on underlay for line test
-buildmatte_colourart; generate a matte on colour art for line test
NOTE
-buildmatte and -buildmatte_colourart are mutually exclusive-copystrokes; copy original strokes when building matte.

Options for bitmap that has no registration information-pixel_margins <inch (default 0)>; remove margin around bitmap-top_pixel_margin <inch (default 0)>; remove margin at top of bitmap-bottom_pixel_margin <inch (default 0)>; remove margin at bottom of bitmap-left_pixel_margin <inch (default 0)>; remove margin at left of bitmap-right_pixel_margin <inch (default 0)>; remove margin at right of bitmap-dpi <(default -1)>; dpi information of input bitmap

RGB Keying Options-rgb; generate separate zones for red, green and blue lines-rgb_alpha <value (default 255)>; generate red, green and blue colour with alpha of this value-no_red; ignore red colour in vectorization-no_green; ignore green colour in vectorization-no_blue; ignore blue colour in vectorization-flatten; flatten the drawing after generating colours-rmv_rgb_dirt <threshold area default 0.0>; remove red, green and blue regions smaller than area
-expand_bitmap_rgb <pixels (default 0>; expand the pixels in the vectorization bitmap for rgb-threshrgb <value> <threshold for rgb vectorization default 0.200000>;-threshsv <saturation threshold default 0.500000> <value threshold default 0.500000>; thresholds onsaturation and value to consider a pixel to be grey

Colour Vectorization Options-color_vectorize; perform a colour vectorization-file2 <colour art filename>; specify the colour art bitmap

203Chapter 1: Dialog Boxes-penstyle <center alpha (0.0-20.0)> <edge alpha (0.0-20.0)> <gamma (0-10)><centre pressure effect (0.01.0)> <edge pressure effect (0.0-1.0)><texture bitmap downscaling (0.2-20)> <texture bitmap file (valid
filename or "" if no file)>; generate brush texture for the line art-pressure_variation <strategy (0, 1 or 2)> <min pressure (0.0-1.0)> <max pressure (0.0-1.0)> <max variation(0.0-1.0)>; specify a pressure strategy for the centre line.
-blur_radius <pixels (default 0)>; blur the penstyle texture generated-color_contour_smooth_passes <times (default 3)>; perform number of smooth passes on contour before
computing texture-ccsp <times (default 3)>; short for -color_contour_smooth_passes-color_rmv_holesl <world units (default 0.000000)>; remove holes of this size when computing texture-color_fill_holesl <world units (default 0.000000)>; fill holes of this size for colour line art

Bubble Usage (implemented only for colour vectorization's line art)-create_bubbles; add bubbles into the LineArt. Implemented for colour vectorization only
-bubble_gap <value (default 3)>; max number of colour art points between 2 bubbles-bubble_length <value (default 10)>; max number of circles in a bubble-min_radius <value (default 1.5000)>; min radius of a circle in a bubble relative to the line thickness (must be >=1.0)-max_radius <value (default 3.5000)>; max radius of a circle in a bubble relative to the line thickness (must be>= 1.0)-uniform_gap; the space between bubbles is constant

4 Colour Vectorization-4colours [key:value] ... [key:value] ; The key value list can be empty. The list of keys is:
rgbdiff:value ; between [0.0-1.0] or [0-255]
dark:value ; between [0.0-1.0] or [0-255]
grey:value ; between [0.0-1.0] or [0-255]
white:value ; between [0.0-1.0] or [0-255]
dirt:value ; dirt area. 200 is a good value
rt:value ; between [0.0-1.0] or [0-255]
gt:value ; between [0.0-1.0] or [0-255]
bt:value ; between [0.0-1.0] or [0-255]

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NOTE
There must be no space between the colon and the key/value. For example: -4colours rgbdiff:20
dark:20 grey:120 white:250 dirt:200 rt:240 gt:240 bt:240

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Versions Dialog Box
The Versions window lets you delete any unnecessary versions of scenes when working with Harmony Server.
When working with multiple versions of a scene, you may to clean up the database by deleting the ones you nolonger need.

How to access the Versions window
1. Make sure you have the necessary rights. If you do not, select File > Rights to Modify Scene.
2. Select File > Manage Versions.

Parameter

Description

Existing Versions

Displays the different versions of a scene that you can delete.

Description

Displays information about the selected version.
Removes the selected version of a scene.

DeleteIMPORTANTThis operation cannot be undone.

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OpenQuickTime Video Options Dialog Box
The OpenQuickTime Video Options dialog box is used to configure the video compression settings whenexporting a QuickTime movie file on Linux.

On Windows and macOS, Harmony uses Apple QuickTime to export QuickTime movies, and hence uses
QuickTime's interface to configure video and audio compression settings for exporting movies. Since QuickTime
is not supported on GNU/Linux, Harmony uses the OpenQuickTime library to create QuickTime-compatible
movie files, which have a more limited set of compression settings.

How to access the OpenQuickTime Video Options dialog box from the Export Movie
dialog
1. From the top menu, select File > Export > Movie.
The Export Movie dialog box opens.
2. Set Movie Format to QuickTime Movie (*.mov).
3. Click on the Video Options button.

How to access OpenQuickTime Video Options dialog box from the Write node Layer
Properties
1. In the Node view, locate your scene's Write node.
2. Open the Write node's Layer Properties by doing one of the following:lClick on the yellow square at the left of your Write node.

l

Right-click on the Write node, then select Layer Properties.

3. In the Write node's Layer Properties, enable the Movie option.
4. To the right of the Movie check box, open the drop down menu and select QuickTime Movie(*.mov).
5. To the right of Video Options, click on Customize.

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Parameter

Description
Lets you select a codec. By default, the following codecs will be available:llMotion-JPEG A: A very portable codec that performs lossy
JPEG compression and interlaces the frames. Motion-JPEG A
compression is less efficient than Photo JPEG in terms of quality and filesize, but may be a more portable alternative for software that does notsupport Photo JPEG.
Photo JPEG: Encodes the movie as a sequence of JPEG images. JPEG
images have lossy compression. This is the most efficient codec for file
size.

Codec

l

l

l

Portable Network Graphics (PNG): Encodes the movie as a sequence of
PNG images. PNG images have lossless compression.
Tag Image File Format (TIFF): Encodes the movie as a sequence of
uncompressed TIFF images. This codec is lossless.
Uncompressed (RGB): Encodes the movie as uncompressed bitmap data.
This codec is lossless.

Quality

For JPEG-type codecs, lets you set the JPEG compression quality. By default, thiswill be set to 85. Possible values range from 0 to 100. The higher the quality, themore disk space the resulting video file will take.

fieldDominanceFor codecs with interlacing. This is set to 1 by default. If set to 1, the first field will
be encoded on odd frames, and the second field will be encoded on even frames.
If set to 2, the first field will be encoded on even frames, and the second field will
be encoded on odd frames.

compression

The amount of lossless compression to perform when exporting in PNG format.
PNG compression is lossless, but higher compression settings will take longer toencode and decode.

packbits

For TIFF movies, this option adds extra lossless compression to the encoding.

lendianEncodes data in little endian byte order, instead of big endian.

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Windows Media Video Settings Dialog Box
The WMV Settings dialog box lets you set the video and audio settings when exporting a Windows MediaVideo (.wmv)movie.

NOTE
The option to export to Windows Media Video is only available on Windows.

How to access the WMV Settings dialog box from the Export Movie dialog
1. From the top menu, select File > Export > Movie.
The Export Movie dialog box opens.
2. Set Movie Format to Windows Media Video (*.wmv).
3. Click on the Movie Settings button.

How to access the WMV Settings dialog box from the Write node Layer Properties
1. In the Node view, locate your scene's Write node.
2. Open the Write node's Layer Properties by doing one of the following:lClick on the yellow square at the left end of the Write node.

l

Right-click on the Write node, then select Layer Properties.

3. In the Write node's Layer Properties, enable the Movie option.
1. To the right of the Movie check box, open the drop down menu and select Windows Media Video(*.wmv).
2. To the right of Movie Options, click on Customize.

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Parameter

Description

Video
Variable Bit Rate
Quality

Lets you choose a quality setting ranging from 5 to 100 for the video stream. The
higher the quality of the export, the larger the resulting file.

Sound
Lets you choose among preset combinations of audio sample rates, sample sizes
and channel modes for the audio stream:llSample rate: Available sample rates are 8000 Hz, 16000 Hz, 22050 Hz
and 44100 Hz. The default setting is 22050 Hz. It is best to export youraudio at a rate that matches the rate of your original sound files. For
example, if your file has an audio sample rate of 48000 Hz and you choosea sample rate of 22050 Hz, the sound will play at the same speed, buthigher frequencies will be missing, making it sound muffled. For
reference, the standard sound quality is 44000 kHz for films, and 48000
kHz for DVD. Lower rates are liable to impact the quality of your movie'saudio track negatively, but they can be useful if disk space or download
speed is critical.
Sample size: Also known as Bit Depth, this determines the amount ofprecision used to record each wavelength in the audio track. The standard
size is 16-bit. If you choose 8-bit, the amount of disk space the audio
track of your movie file requires is halved, but the audio quality will besignificantly lower.

ProfilelChannel mode: Stereo sound has a separate audio track for the left and theright speakers, allowing to make the origin of each sound realisticallymatch the origin of their corresponding action. If you choose Mono, theaudio track in the exported movie file may use less disk space, but boththe left and right channels will be merged into a single track.

NOTE
Exporting in 8-bit audio requires Apple QuickTime to beinstalled.

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Xsheet Column Width Dialog Box
The Xsheet Column Width dialog box lets modify the width of a column in the Xsheet view and use it as thedefault column width.

How to access the Xsheet Column Width Dialog Box
1. In the Xsheet view, select a column.
2. From the Xsheet menu, select View > Set Columns Width.
The Xsheet Column Width dialog box opens.

Parameter

Description

Columns Width (pixels)

Lets you set the width of the selected columns (in pixels).

Apply

Applies the value you entered to the selected column without closing the dialog
box.

Set As Default

Uses the value you entered as the default for all columns in the Xsheet.

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Chapter 2: Menus
The Menus section covers all the menu entries available in Harmony. There are several types of menus in
Harmony: main menus, quick-access menus and view menus. Menus contains most of the functions available.
They may also have a toolbar button or keyboard shortcut equivalent.
Main Menus

214

Animation Menu

215

Drawing Menu

225

Edit Menu

233

File Menu

237

Help Menu

241

Insert Menu

243

Play Menu

245

Scene Menu

247

View Menu

249

Windows Menu

255

View Menus

257

3D Graph View Menu

258

Camera View Menu

260

Colour View Menu

277

Drawing View Menu

280

Function View Menu

292

Library View Menu

294

Model View Menu

296

Node View Menu

298

Node Library View Menu

303

Onion Skin View Menu

304

Perspective View Menu

306

Script Editor View Menu

312

Side View Menu

317

Timeline View Menu

322

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Top View Menu

327

Xsheet View Menu

332

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Main Menus
The top menu contains most of the commands available in Harmony. Depending on the view you're working inand the selected element, some commands are available and others not. The top menu is always located at thevery top of the interface.

On macOS, there is also a Harmony Premium category that contains the following commands: Preferences,
About, and Quit.
Animation Menu

215

Drawing Menu

225

Edit Menu

233

File Menu

237

Help Menu

241

Insert Menu

243

Play Menu

245

Scene Menu

247

View Menu

249

Windows Menu

255

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Animation Menu
The Animation menu lets you access tools, adjust animation timing, set deformation, morphing and IK
parameters, lock or unlock layers, and select elements in the Xsheet and Timeline views.

How to access the Animation menulAt the top of the interface, select Animation.

Command

Description

AnimateWhen this option is selected, every time you use theTransform,
Advanced Animation orInverse Kinematic tools
Animate Current Frame

to manipulate an element in your scene, the position of the element
will be stored in a keyframe at the current frame. This allows you toanimate elements in your scene without creating keyframes manually.

When this option is selected, if you use theTransform or
Advanced Animation tools to make transformations to an

Animate Onion Skin Range

element in your scene, the transformations will be stored as keyframes
at the beginning and at the end of the current Onion Skin range, as
well as on every existing keyframe in-between. This can be useful if
you want to reposition an element that you have already animated, but
only during a specific range of frames, which you can define byenabling Onion Skin and setting the Onion Skin range to cover that
range of frames.

When this option is selected, if you use theTransform or
Advanced Animation tools to make transformation to an
Animate Off

element in your scene, the transformations will affect the element
throughout the whole scene. This can be useful if you want toreposition an element after you have already animated it.

Stop-Motion Keyframe

Sets a stop-motion keyframe which there is no computer-generated
motion between two keyframes. The segment is constant or flat. The
drawing remains still until the playback reaches the next keyframe,then the drawing pops to its new location.

Delete Keyframe

Deletes the selected keyframes.

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Tools

Transform

Allows you to select drawing layers and position, rotate, scale andskew them.

Inverse Kinematics

Allows you to pose a character model by pulling on its extremities,
such as hands and feet, and have the other connected limbs follow.
Can be used on any piece connected in a hierarchy.

TranslateLets you move the selected element along the X and Y axes.

RotateTurns a selected element around its pivot point.

Scale

Increases or decreases the size of a selected element. You can scale an
object up to make it larger or down to make it smaller. Press Shift toscale the element while maintaining its proportions.

Skew

Slants the selected element.

Maintain Size

Keeps elements the same size aspect ratio in the Camera view as you
move them towards or away from the camera.

Spline Offset

Lets you reposition the visual trajectory without offsetting or
modifying your animation. By default, the trajectory is located at 0,0,0
fields. If your elements were drawn in a different location than thecentre of the drawing area, it will look like the trajectory is not alignedwith your drawing. Also, if you have several elements attached to one
trajectory, you might want your trajectory to be at a different location
to represent the group's motion better.

Reposition Drawing

Lets you reposition, scale, rotate or skew all drawing strokes on every
drawing included in a layer.

Increase Exposure

Adds one more exposure to a selected cell; repeating this action adds
an extra cell each time. This is an efficient way to extend a drawing's
exposure and is always set in Insert mode. Increasing an exposure
pushes the existing exposure forward.

Decrease Exposure

Decreases exposure of a selected cell by one; repeating this action

Cell

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decreases one exposure adds an extra cell each time. This is anefficient way to shorten a drawing's exposure. Decreasing an exposure
pulls in the existing exposure.
Set Exposure to

Extend Exposure

Lets you set the exposure to 1, 2, 3 or a custom exposure.
Lets you enter the frame up to which you want to extend the exposure.
You can expose the drawing in the frames and replace the drawings
that were originally there or move the subsequent frames forward intime.

Add Key Exposure

Adds a key exposure to the selected cell.

Remove Key Exposure

Removes only the key exposure (key frames) not all the exposures. The
existing key exposure is replaced by the preceding exposure.

Remove Duplicate Key Exposure

When working with drawings to adjust the timing of a mouth in alipsync, for example, and forcing the use of specific key exposures,
unnecessary key exposures will be created. You can delete these
duplicates without affecting the rest of the drawing. The first drawingof the selection will be used for the range.

NOTE
Duplicate key exposures may occur when pasting with the
Enforce Key Exposure option selected.

Fill Empty Cells

Lets you fill empty cells to extend the exposure of single frame
drawings to fill the range of empty cells after each one.When creatingdrawings on cells that are not side-by-side, the exposure of the firstdrawing no longer fills automatically. You must select the frame range
where you want your drawings to hold their exposure up to the next
drawing and use the Fill Empty Cells command.

Insert Blank Cell

Adds an empty cell between other cells.

Clear Exposure

Removes the exposure from the selected cell.

Clear Exposure and Pull

Replaces the exposure from the selected cell with exposures that
follow it.

Fill Selection

Lets you fill the same value over an entire selection. The selection can

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be over one cell, a cell range in one column, a cell range over manycolumns, an entire column, or many columns. You can use numbers,
words, letters, or any alphanumeric value.

Sequence Fill

Lets you create a numbered sequence over a selection. The sequencecan be forward, backward, single, double or higher increment, as acycle, and so on. The selection can be over one cell or a cell range in
one column or more or an entire column or many entire columns.

Fill Cells Randomly

Lets you fill in random values over a selection. You can give amaximum and a minimum value and create a range for Harmony tochoose the random values from. The selection can be over one cell or acell range in one column or more or an entire column or many entire
columns.

Hold Exposure

Lets you expose a drawing for three, four, or five cells and so on.

Deformation
Set Curves and Offsets
Independent from Parent

When you transfer a curve's position to its parent offset, first you
must to set curves and offsets independent from parent.

Transfer Curve Values to Offset

Lets you transfer all of the information from first curve deformer to its
parent Offset node. This is useful for a legacy scene created using
Curve deformations where the Offset's position has been placed far
away from the drawing to make sure it doesn't affect the drawing's
deformation. You can bring back the offset and give it the first curve's
position. The Envelope deformation lets you animate the offset of eachcurve separately. The offset no longer needs to be placed far away.

Convert Elliptic Deformation ROI
to Shape

After you have created a deformation chain using Elliptic as the Zoneof Influence type, you can select your deformer and click on thisbutton to convert it to a Shaped type. Control points will appear
around the shape making it easy to customize.You can also convert
the Elliptic zone of influence to a shape. Select Animation >Deformation > Convert Elliptic Deformation ROI to Shape. This will
create a much smaller initial zone of influence than if you were toconvert it directly to a shape.

Convert Deformed Drawing toDrawings

Convert deformation animations to drawing sequences, so you canadjust the drawings using the drawing tools. You may also want tochange the timing and set it on double frames instead of single frame.

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Convert to New Drawing and
Add Deformation Chain

Takes the pose/drawing and the deformer of the selected frame andconverts it to a new pose/drawing with the corresponding deformer.

Envelope Creator
Opens the Envelope Creator dialog, which allows you to automaticallygenerate a deformation chain based on the artwork in the current layer.
Create Envelope

Among other things, the Envelope Creator dialog allows you to set theparameters for the amount of deformation points in the envelope aswell as its shape and type.

Draw Envelope

Opens the Envelope Drawer dialog, which allows you to draw a
deformation chain in the Camera view using a mouse or pen tablet.
The deformation chain will be created as a parent of the current layer.
Among other things, the Envelope Drawer dialog allows you to set theparameters for the amount of deformation points are created and how
the shape of your drawing is processed.

Exposure Fill
Modifies the timing (exposure) of the selected layer, lets you adjust theUsing Render Change

parameters to assign when the texture exposure changes will occur.
You can adjust the type of filter to use for the motion detection, as wellas threshold values to indicate what will be considered a big enoughmotion variation for an exposure change.

Master Controller

Launch Interpolation Grid
WizardOpens the Interpolation Grid wizard, which allows you to create a 2D
point widget Master Controller that can pose your rig, or part of yourrig, according to a grid of preset poses—see Interpolation Grid Wizard
Dialog Box on page 104.

Launch Interpolation Slider
WizardOpens the Interpolation Slider wizard, which allows you to create aslider widget Master Controller that can pose your rig, or part of yourrig, according to a line-up of 2 or more poses—see Interpolation Slider
Wizard Dialog Box on page 111.

Morphing

Create Morphing

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automatically generate the in-betweens between two drawings in thecurrent layer.
Insert Morphing Key Drawing

Creates a morphing keyframe from a selected morphing frame.

Delete Morphing

Once a cell is selected in a morphing sequence, deletes the entire
sequence between the two keyframes.
Lets you convert your morphing inbetweens to real drawings you canConvert Morphing to Drawing

Contour Hint

edit. This is useful when manually editing a morphing sequence or if
you prefer to have animation timing in double frame (on twos) insteadof single frame (on ones).
The Contour Hint point is used on the colour fill zone and brush lines;
in other words, on Contour vectors. It allows you to control the line
thickness and contour position. Also, if a contour is not animatedcorrectly, you can use hints to correct the animation. For example, if aflag is not waving properly.
When adding a Contour Hint point, make sure to place it far enoughaway from the contour so you can see it snap to the contour.
Contour Hint points are yellow.

Zone Hint

The Zone Hint point is used on a colour zone to control the proximity
rule. The Zone Hint is placed in the centre of the colour zone.
Sometimes a colour zone is not associated with the corresponding
one by default. For example, in a splash animation there are many
water droplets that are the same colour. Harmony automaticallymorphs the droplet to the nearest one. This is not always the one you
may have predicted. A Zone Hint will force a colour zone to morph
with another one.
Zone Hint points are cyan in colour.

Pencil Hint

A Pencil Hint point is used to control a pencil line, also known ascentral vector. It can be used on drawings that were done using thePencil, Polyline, Ellipse, Line and Rectangle tools. Like the Contour
Hint, the Pencil Hint snaps to the central vector. Make sure to place it
far enough away from the line so you will see it snap when you moveit.
Pencil Hint points are magenta in colour.

Appearing Point Hint

An Appearing Point Hint is used to control the trajectory of an
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there is no corresponding shape in the source drawing. If you do notplace an Appearing Point Hint to control the point of appearance, theshape will appear from its centre and expand outwards.
Appearing Point Hint points are violet in colour.

Vanishing Point Hint

A Vanishing Point Hint is used to control the trajectory of a vanishing
shape. A shape will vanish from the source drawing when there is nocorresponding shape in the destination drawing. If you do not place a
Vanishing Point Hint to control the point of disappearance, the shapewill vanish into its centre.
Vanishing Point Hint points are green in colour.

Switch Between Morphing Key
Drawings

Toggles between the two key drawings in your morphing sequence.
This option is useful while setting hints. You can use the default
keyboard shortcut F4 to toggle between your drawings.

Go to First Frame

Goes to the first frame of your morphing sequence.

Go to Previous Frame

Goes to the previous frame of the selected frame in the morphing
sequence.

Go to Next Frame

Goes to the next frame of the selected frame in the morphing
sequence.

Go to Last Frame

Goes to the last frame of your morphing sequence.

Suggest Hints

Automatically sets hint points on key drawings as a help tool. If you're
not sure where to set hints, you can use this option. It will set the main
hints which you can then fine tune.

Hide Hints

Temporarily hides the hint points from the key drawings. Use thisoption when you have a series of hint points hiding some lines you
would like to see.

IK Constraints
Set IK Nail

Blocks the X, Y and Z positions.

Set IK Hold Orientation

Blocks the angle.

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Set IK Hold X

Blocks only the X position.

Set IK Hold Y

Blocks only the Y position.

Remove All Constraints

Removes all nails except the minimum and maximum angles.

Lip-Sync

Change Mouth Shape toLets you change the mouth shape to one of the following: A, B, C, D,
E, F, G, X.

Auto Lip-Sync Detection

Generates a sound detection for lip-sync.

Map Lip-Sync

Automatically maps drawings in an element to the mouth chart you
have generated for a sound. This can save time when you are lipsynching a voice track.

Flip Horizontal

Flips the selection horizontally.

Flip Vertical

Flips the selection vertically.

Flip Scale X

Once your drawing layer is rotated, the original horizontal and verticalaxes change. The Flip Scale X and Flip Scale Y will perform a flip on
your drawing layer following its original axis.Remembers the original
X-axis of the layer and flips the element following it.

Flip Scale Y

Remembers the original Y-axis of the layer and flips the element
following it.

Flip

Linear Motion

Switches between a linear and curved corner.

Lock in Time

Indicates whether the point is locked to a specific frame (keyframe) or
only locked to a specific position and the curve can flow through it
freely as other points are being added, moved, or adjusted (control
point).

No Z Dragging

Keeps the Z value constant when you drag a character using theTransform or Translate tool.

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Substitute Drawing Previous

Replaces the drawing or cell's symbol on the current frame by theprevious drawing.

Substitute Drawing Next

Replaces the drawing or cell's symbol on the current frame by the next
drawing.

Go to Previous Keyframe

Goes to the previous keyframe.

Go to Next Keyframe

Goes to the next keyframe.

Select Previous Keyframe /Point

Select the previous keyframe/point.

Select Next Keyframe /Point

Select the next keyframe/point.

Select Child Skipping Effects

Lets you select the first element parented to the selected peg elementin the Timeline view skipping effects in the hierarchy.

Select Child

Lets you select the first element parented to the selected peg elementin the Timeline view.

Select Children

Lets you select all elements parented to the selected peg element in theTimeline view.

Select Group Content

Selects all of the contents of the group.

Select Parent Skipping Effects

Lets you select the parent of the selected element in the Timeline view
skipping effects in the hierarchy.

Select Parent

Lets you select the parent of the selected element in the Timeline view.

Select Previous Sibling

Lets you select the previous element (above current element) in theTimeline view.

Select Next Sibling

Lets you select the next element (below current element) in theTimeline view.

Lock
Lock

Locks one or a multiple selection of layers.

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UnlockUnlocks one or a multiple selection of locked layers.

Lock All

Locks all the layers in the Timeline view.

Unlock All

Unlocks all the layers in the Timeline view.

Lock All Others

Locks every layer except the selected ones.

Reset

Returns the value of the selected element to the initial value of theactive tool. For example, if the Rotate tool is active, the transformation
angle will be reset to 0 and if the Transform tool is active, all thetransformation values will be reset.

Reset All

Resets all transformations on the current frame in a selected layer.
Your keyframe will remain, but all the values will return to the starting
value. All transformations are reset regardless of the tool you're using.

Reset All Except Z

Resets all transformations on the current frame except the Z position.
This is useful when doing cut-out animation. Cut-out puppets often
have a particular Z ordering for the different views of a character. Youmight want to reset the transformation, but not necessarily the Z
position.

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Drawing Menu
The Drawing menu lets you access many tools related to drawing, painting, dirt removal, optimizing strokes,
and more.

How to access the Drawing menulAt the top of the interface, select Drawing.

Command

Description

Drawing Tools

Allows you to select one of the drawing tools available in Harmony.

SelectAllows you to select and reposition, scale, rotate and skew brush strokes,
pencil lines, shapes and other parts of your artwork.

Contour Editor

Allows you to edit the vector contours of brush strokes, pencil lines andshapes in your artwork. You can add, remove, tweak and move vector points,
move the Bezier handles of the vector points as well as deform vector outlines.

Centerline Editor

Allows you to tweak and deform a brush stroke by manipulating the points atthe centre of its line rather than its contour.

Pencil Editor

Allows you to adjust the thickness of a pencil line at its different points andcorners, tweak the shape of its extremities and scale its texture.

CutterAllows you to cut a part of your artwork, then reposition, scale, rotate andskew it.

Smooth Editor

Allows you to optimize contours and lines by removing its extra points, making
them easier to edit.

Perspective

Allows you to deform artwork by applying a perspective effect on it.

Envelope

Allows you to deform and warp artwork by moving points and tweaking lines
in a grid.

Reposition All Drawings

Allows you to reposition, scale, rotate and skew all drawings in the current
layer.

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Drawing Pivot

Allows you to position the pivot on a drawing layer by clicking where you want
its location to be.

Brush

A pressure-sensitive tool for creating a contour shape with a thick and thin line
effect, as if created with a paint brush.

PencilA pressure-sensitive tool for drawing outlines. Pencil lines are made of central
vector lines, making them easier to tweak and edit than brush strokes.

Text

Allows you to add text and to format it.

EraserA pressure-sensitive tool for erasing parts of a drawing.

Dropper

Allows you to select a colour by clicking on a colour in your artwork.

Morphing

Allows you to create and configure a morphing sequence, which willautomatically generate the in-betweens between two drawings in the current
layer.

Line

Draws a straight line segment going from one point to the other.

Rectangle

Draws a rectangle.

EllipseDraws an ellipse.

Polyline

Allows you to draw shapes, segmented lines or complex curved lines byclicking to create each point in the sequence of line segments.

Paint

Allows you to fill colour zones with a colour or texture.

Ink

Allows you to recolour pencil lines with precision by changing the colour of
one segment at a time.

Repaint Brush

Like the Brush tool, but only paints over existing brush strokes.

Close Gap

Allows you to close open shapes so that they can be filled with the Paint tool.
By drawing a stroke near a small gap in a shape, this tool will create a small
invisible stroke connecting the two closest points around the gap.

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StrokeAllows you to create invisible lines that can serve as colour zones that can be
filled, or close the gaps in existing colour zones.

Edit Gradient/Texture

Allows you to adjust the position, angle and size of gradients and textures in acolour zone.

Hand

Allows you to pan the Camera and Drawing views.

Zoom

Allows you zoom in and out of the Camera and Drawing views.

Rotate View

Lets you rotate the Camera and Drawing views just like with a real animation
disc.

Shift and Trace

Allows you to temporarily move drawings so you can trace over them in otherdrawings using Onion Skin.

Clean Up

Remove Dirt

Opens the Remove Dirt dialog box where you can specify the number and sizeof dots removal from a selected drawing.

Remove Hair

Opens the Remove Hair dialog box where you can specify the number andlength of hairs for removal from a selected drawing. This removes any small
strokes created in the Colour Art layer from very thick lines or filled zones.
Increase the value to select larger strokes for removal from the drawing.

Close Gaps

Closes small gaps in a drawing by creating small, invisible strokes between thetwo closest points to close the colour zone. You do not need to trace directly
over the gap. You can draw it a few millimeters away. The two closest points
automatically close the gap.

Remove Art Inside
Selection

Removes any art inside a selection. It is recommended that you clean your
Colour Art level as well. If you have a stroke accumulation in the Colour Art, it
can result in large output files, especially if you work in high definition
resolutions.

Remove Art Inside
Selection on All
Drawings

Removes any art inside all drawings selected with the Permanent Selection
option in the Select tool.

Remove Art Outside

Removes any art existing outside a selection. It is recommended that you clean

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Selection

the Colour Art level as well. If you have a stroke accumulation in the Colour Art,
it can result in large output files, especially if you work in high-definition
resolutions.

Remove Art Outside
Selection on All
Drawings

Removes any art outside all drawings selected with the Permanent Selection
option in the Select tool.

Paint

NOTE
The Paint commands require you to use the Permanent Selection option in the Select tool so you can maintain aselection over multiple drawings.

Unpaint Selection

Unpaints any art existing inside a selection.

Unpaint Selection on All
Drawings

Unpaints all art contained inside a selection on all the drawings within thesame layer.

Unpaint Outside

Unpaints any art existing outside a selection. If no selection have been drawn

Selectionusing the Select tool, the entire drawing will be unpainted.

Unpaint Outside
Selection on All
Drawings

Unpaints all art outside a selection on all the drawings within the same layer.

Repaint Selection

Repaints any art inside a selection.

Repaint Selection on All
Drawings

Repaints any art inside a selection on all the drawings contained within thesame layer.

Repaint Outside
Selection

Repaints any art outside a selection. If no selection has been drawn using the
Select tool, the entire drawing will be repainted.

Repaint Outside
Selection on All
Drawings

Repaints any art outside a selection on all the drawings contained within thesame layer.

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Pencil Lines to Brush
StrokesConverts the selected centreline pencil strokes into contour strokes brushlines.

Brush Strokes to Pencil
Lines

Converts selected contour strokes into centreline pencil strokes. The brushstroke thickness will be lost.

Strokes to Pencil Lines

Converts the selected invisible line to a pencil line.
Text is treated as a single drawing object. This separates the text so each

Break Apart Text Layers

character becomes an individual drawing object you can select and modify
independently.

Optimize

FlattenMerges drawing objects and brush strokes into a single layer. If you draw newlines to fix a drawing or line with many brush strokes, it can be useful to flatten
them all into a single shape. By default, lines are drawn one on top of eachother. If you intend to repaint the lines or modify their shape, it will be easier ifthey are flattened.

SmoothSmooths selected drawing strokes and removes extra points.

Create Contour Strokes

Adds a permanent invisible line around a shape that was drawn directly inHarmony. This allows you to unpaint lines with the Paint tool but maintain the
shape of the lines, should you need to repaint later.

Remove Contour
Strokes

Remove any permanently invisible lines that were created while scanning andvectorizing drawings or manually adding contour strokes. This is useful for
removing the intersection triangles created during vectorization.

Remove Extra Strokes

Removes strokes inside painted area. This option only works after the painted
drawing is flattened.

Optimize

Reduces the number of layers, such as overlapping brush strokes, in theselected drawing objects. Drawing objects will only be flattened and optimized
if the selected objects do not change the appearance of the final image when
they are merged.

Crop Brush Textures

Crops an unnecessarily large texture bitmap that lies unseen beneath the vector
contour of a textured line. This often occurs when you cut and paste textured
lines from one drawing into another. If you cut a portion from a textured line

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and paste it into a different drawing, Harmony pastes the entire unseen texture
bitmap from the source drawing into the new one, even if you only took a small
portion of the source drawing. Using the Crop Brush Texture command will
crop away extraneous texture that does not touch the vector area. If there aremany textured lines in your scene, this will greatly reduce the file size.

Reduce Drawing
Texture Resolution

When you import and vectorize as texture (colour) a high resolution image, thesize of your drawing can be heavy. You can reduce the size and resolution of
the textures in a drawing.

Transform
Flip Horizontal

Flips the current selection horizontally.

Flip Vertical

Flips the current selection vertically.

Rotate 90 CW

Rotates the current selection 90 degrees clockwise.

Rotate 90 CCW

Rotates the current selection 90 degrees counter-clockwise.

Rotate 180

Rotates the current selection 180 degrees.

Arrange
Bring to Front

Moves the selected art to the front (on top).

Bring Forward

Moves the selected art one level forward (closer to the front).

Send Backward

Moves the selected art one level lower (behind).

Send to Back

Moves the selected art behind everything (bottom / back).

Create Empty Drawing

Creates a drawing in the selected cell, replacing any drawing that may alreadybe exposed in that cell and the following ones until it meets another drawing,
key exposure or a blank cell.

Duplicate Drawings

Lets you duplicate the drawing and work on a copy of it. This lets you modify
an existing drawing but retain the original. When duplicating a drawing, theselected cell is replaced with the new drawing. The exposure of the original
drawing that was on the current cell is removed. The original drawing is not

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deleted from the project folder or other cells in which it is exposed.

Delete Selected Drawings

Permanently removes selected drawings. Once you save your project, thesedrawings cannot be recovered.

Rename Drawing

Lets you give a selected drawing a new name.

Rename Drawing with Prefix

Lets you rename a drawing sequence with a prefix, which can be quite usefulfor cut-out puppet breakdown and deformation animation. This applies to any
deformation work done in pre-Harmony 12 versions.

Rename by Frame

Lets you rename a series of drawings relative to their frame position. This isuseful in hand-drawn animation.

Select Strokes with Current
ColourLets you select drawing elements and painted areas with the same colour as
the currently selected colour in your colour palette.

Distribute to Layers

Every selected stroke in the Camera view is placed on separate layers; one layer
per stroke. If artwork is composed of several strokes, you must group them to
put them on the same layer.
This operation cannot be done in the Drawing view.

Create Colour Art from Line Art

Lets you use the outline you traced on one of the four embedded layers (lineart, colour art, overlay, underlay) and create invisible strokes to paint yourdrawings on separate layers. This provides more inking and painting flexibility.
You can also configure this option to create the invisible strokes on any of thefour embedded layers.

Create Breaking Triangles

Useful for brush strokes, creates triangular breaks at natural line intersections.
These intersections are the probable locations where colour line breaks may
occur, such as where a sleeve meets a hand.
This makes it easier to soft trace lines in different colours when there areflattened or unflattened clean brush strokes.

Generate Auto-Matte

Adjust Line Texture Opacity

Fills colour based on currently selected colour swatch on different drawing
layers (overlay, underlay) so overlapping lines are more visible during a line
test.

Lets you adjust the contrast and opacity of textured lines in a drawing.

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Allows you to change the pixel density of textured brush strokes in vector
drawings in your scene.
Change Vector Drawing
Brush Resolution

NOTE
When you create a new vector drawing, its pixel density for textured
brush strokes is based on the settings in the Drawing Resolution tab of
the Scene Settings dialog.

Allows you to change the pixel density and canvas size of existing bitmap
drawings in your scene.
Change Bitmap Drawing
Resolution

Previous Drawing

Next Drawing

Previous Layer

Next Layer

NOTE
When you create a new bitmap drawing, its canvas size and pixel
density are based on the settings in the Drawing Resolution tab of the
Scene Settings dialog.

When a cell is selected in the Timeline or Xsheet view, displays the previous
drawing.
When a cell is selected in the Timeline or Xsheet view, displays the next
drawing.
When a cell is selected in the Timeline or Xsheet view, displays the previous
layer.
Once a cell is selected in the Timeline or Xsheet view, you can navigate
between the drawings, frames, and layers. Displays the previous drawing, next
drawing, previous layer or next layer.
When a cell is selected in the Timeline or Xsheet view, displays the next layer.

Colour Protection

Toggle Current Colour
Protection

Temporarily enables/disables the Colour Protection feature so you can quickly
correct wrongly inked or painted areas under protected colour without
readjusting the Current Colour Protection option.

Respect Colour
Protection

In the Colour view, you can protect a colour swatch to avoid repainting or
unpainting the zones linked to that swatch. If you using the Paint tool and thisoption is deselected, you will repaint or unpaint the protected colours on yourdrawings until you enable the option again.

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Edit Menu
The Edit menu lets you repeat and undo actions, cut/copy/paste selected objects, select and manipulate objects,
work with symbols, and access the Preferences dialog box.

How to access the Edit menulFrom the top menu, select Edit.

Command

Description

Undo

Removes the last change made to your project. Harmony supports
multiple undo, so you can undo changes you made in the order you
made them.

Redo

Redoes an operation you have undone. This command is active only
after you use the Undo command.

Cut

Removes selected objects. You can then paste the object or its
properties to another object.

Copy

Copies selected objects and properties.

Paste

Places an object you cut or copied into the location you select in a
view.

Paste Special

Opens the Paste Special dialog box which lets you determine howtemplates and symbols are imported in the Timeline view.
There are advanced paste options for drawings, timings, keyframes,
layers, as well as palettes and symbols.

Paste Special Again

Pastes new drawings with the previous Paste Special settings.

Paste Cycle

Cycles a portion of an animation. You can increase or decrease thenumber of cycles to paste and select a type of cycle: Normal, Reverse,
Forward-Reverse and Reverse-Forward.

Paste Reverse

Reverses the timing of drawings or keyframes in range of selection
after copying.

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DeleteRemoves selected objects.

Select All

Selects all drawing objects in the current drawing window in the
Drawing, Timeline and Camera views. This helps you manage multiple
objects as one when moving them.

Deselect All

Deselects all selected objects in the Drawing and Camera views.
Deselects the currently selected items and selects all other items that

Invert Selection

were not selected. For example, if some lines are selected in a drawing,
this command will deselect them and select any other lines in thedrawing that were not selected.

Auto-Apply

Automatically applies changes you make to a property window or
dialog box. Harmony applies the modification automatically anddisplays the result in the Camera view. When working on a heavy
scene, it is useful to turn off this option.If you want to always work in
Auto-Apply mode, you can deselect the Auto-Apply option in the
Preferences dialog box (General tab). Then, each time you start
Harmony, the Auto-Apply mode will be off. You must click the Apply
button to see any modifications.

Create Symbol

Creates a symbol from selected drawing elements in the Drawing or
Camera view, nodes in the Node view, or a layer or cells in the Timeline
view.

Open Merge Editor

Lets you bring together (merge) the layer or drawings from different
versions of the same scene.
Extracts a symbol's contents and places it on the root timeline. Its
contents will be copied and inserted into the root timeline. The symbol
will not be removed from the Timeline view once it is expanded.

Expand Symbol

The symbol's layers will be parented to it in case you created motions
and transformations on the drawing layer that contain the symbol.
Breaking the hierarchy could result in the loss of any scaling andanimation you may have created.

Expand Selected Symbol in Groups

Expands a symbol within a group to avoid crowding the timeline witha series of layers. When you expand the symbols, the layers will becontained in a group node that you can expand to see the content.

Duplicate Selected Symbol

Creates a duplicate of a selected symbol. If other symbols are nested

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inside the new symbol, they are not duplicated. If you modify them, theoriginal and other instances will also be modified.

Create Drawing from Drawing Selection

Breaks a character into its main body parts. There is no need to create
any layers prior to this process. Make sure your model is well centeredand sized in the Camera view.

Clone: Drawings Only

Creates a copy of the drawings in the selected layer in the Timelineview or column in the Xsheet view. The timing it not copied.

Clone: Drawings and Timing

Creates a copy of the drawings and their timings in the selected layer
in the Timeline view or column in the Xsheet view.

Duplicate

Duplicates a layer to have a copy of the drawings that are independent
from the original ones, as well as an independent timing (exposure).
When you need the drawings to be modified independently, you will
want to duplicate the layer instead of cloning it.
There are two methods of merging drawings.
l

You can merge selected drawings in adjacent elements. The
columns and layers will be left intact, and each new merged
drawing will reside in the frames of the left-most column or
lower layer.

Merge
l

You can merge elements. All drawings will be merged. Unused
columns and layers will be deleted, but the original drawing
files are still accessible.

Group
Group

Groups selected drawing objects in the Camera or Drawing view.

Ungroup

Ungroups a selected group of drawing objects in the Camera or
Drawing view.

Group Selected Layers

Groups selected layers in the Timeline view or nodes selected in the
Node view.

Ungroup Selected Layers

Ungroups a selected group in the Timeline or Node views.

Move to Parent GroupMoves selected nodes in the Node view up to the parent group level,
maintaining all connections.

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Edit Drawing Mode

When the Auto-Get Rights to Modify Drawings option is selected in
the Preferences dialog box (General tab), the system automaticallygets the rights to modify drawings when you select a drawing.
Otherwise, you must manually get the rights to modify drawings.

Edit Palette List Mode

When the Auto-Get Rights to Modify Palette option is selected in the
Preferences dialog box (General tab), the system automatically getsthe rights to modify palettes and palette lists when you select a colour
from a palette. Otherwise, you must manually get the rights to modify
a palette or palette list.

Get Rights to Modify Drawing

Manually releases the rights to modify a selected drawing.

Release Rights to Modify Drawing

Manually releases rights to modify a selected drawing.

Force Release Rights to Modify Drawing

This option is always available even if the Get Rights to Modify All
Scene Assets option is not selected in the Database Selector dialog
box.

Preferences

Opens the Preferences dialog box where you can set your preferencesfor Harmony.

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File Menu
The File menu lets you open, close, save, scan, print, and import and export files.

How to access the File menulFrom the top menu, select File.

Command

Description

New

Creates a new scene while closing any scene already open. The New Scene dialog box
opens, asking for directory, name, and resolution information.

Open

Displays the Open Scene dialog box where you can browse for a scene file. You can
open a new scene from the current one and the previous scene will close.

Open Recent

Displays a list of the most recently opened scenes.

Clear

Clears the list of recently opened scenes.

Close

Closes the currently opened scene, but does not close the Harmony application.

Save

Saves all changes made to the opened scene, drawings, palettes, and palette lists.
Lets you do the following:lAdvanced Savel

Save the scene as the current version.
Save different versions representing different stages of the production of yourscene.

lSave different versions representing different scene setups.

lChoose specific assets that you want to save, such as drawings or palettes.

Rights to Modify
Scene Version

Allows you to modify the selected version of the scene as well as to manage andoverwrite other versions. Other users will not be able to open a different version of thescene until you close the scene.

Rights to Modify
Scene

Allows you to modify the currently selected scene version only. Unless the Get rights tomodify the scene option is also checked, you will not be able to change other versions of
the scene. This allows other users to modify different versions of the scene while you areworking on the selected version.

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Determines which drawing files have been modified on disk since you loaded them. All
updated drawings will be reloaded.
Read Changed
Drawings

NOTE
Reloading a locked drawing will discard unsaved changes.

Manage Versions

Allows you to manage all the versions of the current scene.

Manage Local Cache

Opens the Manage Local Cache dialog, in which you can see all the Harmony Server
database scenes that were cached locally, delete unused caches and check if the data ina scene's cache matches the data on the database server.
Saves the current file with a different name and at a different location.

Save As

Saves the current state of a scene as another scene. The Save As window prompts you
for a new name and a different location for this scene before saving it. This will create acomplete scene directory for the new scene.

NOTE
The scene name cannot exceed 23 characters.

Save as New Version

Saves the current scene as another version. The Save Version dialog box prompts you togive a name for this new version. This will create a new .xstage file in your current project
directory.

Back Up Scene

Backs up the current scene to a location you choose.

Update Database
Scene

Updates your database with only the changes you made to the scene. To do this, youmust enter your host name and host port in the Preferences dialog box, General tab.

Download Database
Changes

If any changes were made to the scene you downloaded, you can perform an update by
downloading these changes, which will be integrated into your scene.

Remove Unused Files

Removes the unused palettes from the scene list.

ImportFrom Scanner

Imports drawings from a TWAIN scanner.

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ImagesImports bitmap images which you can choose to vectorize.

3D ModelsOnce you have exported a model using a 3D authoring software, you can import it andintegrate it in your 2D animation scene. You have the possibility to convert your 3Dmodels to *.osb files upon import to Harmony and save them as such. This will allow
Harmony to render 3D files with the associated textures without the need to copy them
manually (as long as the auxiliary files are linked correctly and named appropriately on
your disk).

Link to Images

Links to images stored on a centralizer server when working with Harmony Server.

Movie

Lets you convert a QuickTime movie to an image sequence and audio file.

Sound

Lets you import sound files into your project.

Colour Model

Lets you import TVG drawing file into your project. Once imported, it is display in the
Model view for use as a colour model which you can load into any Harmony scene.

SWF,
Illustrator Filesto LibraryLets you import SWF files into your project.

Movie

Exports animation as a QuickTime movie.

ExportRender Write
Nodes

Soundtrack

Renders all the Write nodes in a node structure.
When working with Harmony Server, you can send your scene to batch processing andto a render farm.
Exports a sound file as a merged soundtrack or series of individual files. The exported
soundtracks are generated as *.wav files.
Exports a Flash movie file.

SWF

Harmony supports exporting Flash movie files with a limited subset of vector and bitmap
effects, the latter which can be previewed in Render View

OpenGL
Framesmode.

Exports OpenGL frames (fast display mode) for a quick screen renders of a scene that
contain no transparency channel. Heavier scenes containing 3D, multiple effects andcamera moves can be fairly long to export.

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Layout Image

Exports all the elements in your scene to a layout .psd file.

Layout Image
from Selection

Exports only the selected elements to a layout .psd file.

XsheetPrints the exposure sheet so you can take it to your animation table, provide a copy tothe animator, or create your Xsheet skeleton directly in Harmony.

Node View

Prints the Node view for reference purposes.

Print

Quit

Closes the application.

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Help Menu
The Help menu lets you display the Harmony documentation, Welcome screen and end user license agreement,
as well as access the Toon Boom website, and identify the product name and version number.

How to access the Help menulAt the top of the interface, select Help.

Command

Description

Online Help

Opens the Harmony Help system, complete with instructions on how
to use the system. This requires an internet connection.

Getting Started

Opens the Harmony Getting Started Guide (in PDF format) in abrowser window. Requires Acrobat Reader.

Toon Boom on the Web

Opens the Toon Boom website, which features a Support andCommunity > Forum section.
The Customer Experience Improvement Program allows Toon Boom toCustomer Experience Improvement
Programcollect usage information. The data does not contain any personallyidentifiable information and cannot be used to identify you. The data
will consist of a basic hardware description, a project summary andusage information. The information is used only for software
improvement purposes, as well as for sharing with third parties for thesame reason.
This program is enabled by default but is voluntary. If you prefer not toparticipate, you can opt out when you first launch the software, byusing a global preference, or by a command line argument.

About

Identifies the product name and version number.

Show Welcome Screen

Displays the Harmony Welcome screen.

Show End User License Agreement

Displays the End User License Agreement.

Debug Mode

When enabled, information is logged in the Message Log view about
the preview generated in the Camera view, each time the preview isrefreshed. In OpenGL preview mode, summary information is logged
about the amount of nodes to process and the time it takes to generate

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the preview. In Render Preview mode, detailed information about eachcomposite and effect that is processed is logged.
Additionally, this option makes the Node view display information oneach of its node about the amount of time a node must be processedto generate the OpenGL preview, and the total amount of time (inmilliseconds) it takes for the node to process all its ingoingconnections.

This can be useful if the complexity of a scene is impacting application
performance, as it may help you identify the parts of your node systemthat have the most impact on the time it takes to generate the preview.

NOTE
The time indicated is cumulative from the top-down. Thismeans a child node will always indicate that it takes at least
as much time to process as its parent.

Shortcuts

Displays the complete list of keyboard shortcuts for Harmony.

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Insert Menu
The Insert menu lets you create empty symbols in the Library view, different types of layers in the Timelineview, keyframes and control points.

How to access the Insert menulAt the top of the interface, select Insert.

Command

Description

Create Empty Symbol in Library

Creates an empty symbol in the Library view to which you can edit
(add content).

Bone

Adds a new Bone layer to the Timeline view.

CameraAdds a new Camera layer to the Timeline view.

Colour-Card

Adds a new Colour-Card layer to the Timeline view.

Drawing

Adds a new Drawing layer to the Timeline view and a column in the
Xsheet view.

Game Bone

Adds a new Game Bone layer to the Timeline and Node views.

Group

Adds a new Group layer to the Timeline and Node views.

Kinematic Output

Adds dd a new Kinematic Output layer to the Timeline and Nodeviews.

Peg

Adds a new Peg layer to the Timeline and Node views.

Quadmap

Adds a new Quadmap layer to the Timeline and Node views.

Particle

Basic Particle System

Adds a new layer with a basic particle system in the Timeline andNode views.

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Basic Gravity-based System

Adds a new layer with a basic gravity-based particle system in theTimeline view.

Keyframe

Adds a keyframe to the selected cell in the Timeline view.

Keyframe and Duplicate Drawing

Adds a keyframe to the selected drawing layer cell in the Timeline viewand creates a duplicate of the drawing, which sits on top of theoriginal drawing.

Position Keyframe

Adds a position keyframe whereby keyframes will only be added on
the X, Y and Z parameters of the selected layer. Keyframes are notadded on the Angle, Scale and Skew parameters.

Control Point

Adds a control point to the trajectory of the selected element or peg in
the Camera view when the element or peg is in a 3D path. Note thatyou must have a 3D path in the peg portion in order to add a control
point.

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Play Menu
The Play menu lets you play back animation and sound. Use it to scrub the sound to create your lip-sync, loop
the playback, navigate through frames, and change the playback range and speed.

How to access the Play menulAt the top of the interface, select Play.

Command

Description

Play

Plays the scene in the Camera or Drawing view.

Render and Play

Renders your scene's frames, then opens the rendered frames in Playfor playback.
This allows you to preview your scene's animation in real time, withthe effects rendered and with no risk of slowdown.
Exports your scene as it appears in the Camera view into a movie file,then opens it in your workstation's default video player.

Record and PlayThis allows you to preview your animation without any risk of
slowdown, but it does not preview the effects in your scene. However,
it is much faster than Render and Play.
This button automates the usage of the Export OpenGL Frames dialog
see

Test SWF Movie

Quickly exports your scene as a Flash Movie (.swf), then opens it inyour workstation's default web browser.

Stop

Stops playback.

Mini Playback

Open the Mini Playback dialog. This dialog allows you to set theamount of frames before and after the current frame to playback whenusing Mini Playback, to set the speed of Mini Playback and to startMini Playback.

Start Mini Playback

Begins Mini Playback using the last settings entered in the Mini
Playback dialog. By default, Mini Playback will play 5 frames before
and after the current frame, at the scene's frame rate.

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Playback Speed

Opens the Set New Frame Rate dialog box where you can set theframe rate at which the playback plays.

Loop

If pressed, your scene will repeat indefinitely when playing. Otherwise,
it will stop when the end is reached.

Enable Sound

Turns on sound during playback.

Enable Sound Scrubbing

Turns on sound scrubbing during playback.

Start Frame

Opens the Set Playback Start Frame dialog box , in which you canenter the frame number from which to start playback.

Stop Frame

Opens the Set Playback Stop Frame dialog box, in which you can set
the frame number at which to stop playback.

First Frame

Moves the red playhead to the first frame.

Previous Frame

Moves the red playhead to the previous frame.

Next Frame

Moves the red playhead to the next frame.

Last Frame

Moves the red playhead to the last frame.

Go to Frame

Opens the Go to Frame dialog box where you can enter the frame
number on which the red playhead to be positioned in the Timeline
view.

Enable Playback
Top View

Plays back your animation in the Top view.

Side View

Plays back your animation in the Side view.

Perspective View

Plays back your animation in the Perspective view.

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Scene Menu
The Scene menu lets you set the scene length, add frames to the scene, view different displays of the scene, setrender options, access the Scene Settings dialog box and Elements Manager window, and verify the drawing
and palette files in your project.

How to access the Scene menulAt the top of the interface, select Scene.

Command

Description

Scene Length

Lets you set the length of the scene in frames.

Frame
Add Frames at Start

Adds the number of frames you specify to the beginning of the scene.

Add Frames at End

Adds the number of frames you specify to the end of the scene.

Add Frames Before Selection
Adds the number of frames you specify before or after your selection.
Add Frames After Selection
Remove Selected Frames

Deletes the selected frames from your scene.

CameraDefault Camera

Lets you select a camera. If you only add one camera to your scene,
you will only see Default Camera in your list.

Default Display
Display All
Display

Scene Settings

Shows the contents of a specific Display node, updating the contentsof the Camera, Top, Side, Perspective, and Timeline views.

Opens the Scene Settings dialog box where you can set the resolution,alignment, bitmap resolution and many other parameters.

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RenderAuto Render

Automatically recalculates the preview image whenever you modify aparameter. If your scene is heavy and you do not want the preview
rendered automatically, deselect the Auto-Render option and do thepreview update manually.Note that this will slow down Harmony as it
takes resources to update every frame.
Renders a frame each time the current frame is changed.

Auto Render Write

You must have a Write node in your node structure to use thiscommand.

Recalculate All

Refreshes the node structure and rerenders the display when the
Camera view is in render mode.

Recalculate Selected

Refreshes the node structure and rerenders the display of selected
elements when the Camera View is in render mode.

Cancel Preview Render

Cancels a render that was started.
Opens the Element Manager window where you can add, delete or

Element Manager

Check Files

modify elements (drawing folders) in your scene. If you have drawing
folders that are not linked to a column in your scene, use the Element
Manager to delete them if needed. See xref Reference > Windows >Element Manager.
Verifies the integrity of the drawing and palette files in your project.

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View Menu
The View menu lets you manipulate the view by zooming, panning, or rotating. You can also display the gridand change its size, use the onion skin feature to help with drawing, and set the preview resolution.

How to access the View menulAt the top of the interface, select View.

Command

Description
Cycles through the following display modes:lToggle Full ScreenllNormal Full-Screen: The main application window becomesfull screen.
View Full-Screen: The selected view becomes full screen andall other views are collapsed.
Normal: The main application window is restored to its original
size and collapsed views are expanded.

Zoom In

Zooms in the view.

Zoom Out

Zooms out the view.

Rotate View CW

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

Rotate View CCW

Rotates the Camera view 30 degrees counter-clockwise, like ananimation table.

Mirror View

Temporarily flips the Camera or Drawing view horizontally, allowing
you to view and edit your artwork as if it was being mirrored.

Reset Zoom

Resets the view’s zoom to its default position.

Reset Rotation

Resets the view’s rotation to its default position.

Reset Pan

Resets the view’s pan to its default position.

Reset View

Resets the view to its default position.

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Next Colour

Goes to the next colour in the Colour view.

Previous Colour

Goes to the previous colour in the Colour view.

Grid
Show Grid

Displays the grid.

Grid Outline Only

Displays the outline of the grid only.

Underlay

Displays the grid under the drawing elements.

Overlay

Displays the grid over the drawing elements.

Square Grid

Displays a standard square grid.

12 Field Grid

Displays a 12-field size grid.

16 Field Grid

Displays a 16-field size grid.

Onion Skin

Show Onion Skin

Lets you preview the previous and next drawings. By default, theprevious drawings appear in a shade of red and the next drawings are
displayed with a shade of green. You can change these colours in the
Preferences dialog box.

Add to Onion Skin

Adds a series of selected elements to the onion skin preview.

Remove from Onion Skin

Removes a series of selected elements from the onion skin preview.

Remove Unselected from Onion
Skin

Removes all elements except the ones selected from the onion skinpreview.

Add All to Onion Skin

Adds all of the scene's elements to the onion skin preview.

Remove All from Onion Skin

Removes all of the scene's elements from the onion skin preview.

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Onion Skinning by Frames

Selects the drawings to display in the Onion Skin by their frame
number relative to the current frame. For example, if the Onion Skin is
set to include 2 drawings before and after the current frame, it will
include the drawings up to two frames before and up to two frames
after the current frame, even if those drawings are the same as the one
in the current frame. This is more useful for cut-out animation as itallows you to position a drawing relative to its position in adjacentframes.

NOTE
This option only works in the Camera view.

Onion Skinning by Drawings

Selects the drawings to display in the Onion Skin by the amount ofdifferent drawings before and after the current frame. For example, if
the Onion Skin is set to include 2 drawings before and after the current
frame, this will display the nearest two different drawings before andafter the drawing in the current frame in the Onion Skin, even if thosedrawings are further than 2 frames away from the current frame. Thisis more useful for frame-by-frame animation.

NOTE
When this option is enabled, the handles allowing you toadjust the extent of the Onion Skin in the Timeline view are
not available.

No Previous Drawing

Removes the previous drawing's onion skin and displays only the next
drawing.

Previous Drawing

Displays the previous drawing.

Previous Two Drawings

Displays the previous two drawings.

Previous Three Drawings

Displays the previous three drawings.

No Next Drawing

Do not show the onion skin for all of the next drawings.

Next Drawing

Show the onion skin for the next drawing.

Next Two Drawings

Show the onion skin for the next two drawings.

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Next Three Drawings

Show the onion skin for the next three drawings.

Reduce One Previous Drawing

Reduces the number of previous visible drawings by one.

Add One Previous Drawing

Adds one drawing to the number of previous visible drawings.

Reduce One Next Drawing

Reduces the number of next visible drawings by one.

Add One Next Drawing

Adds one drawing to the number of next visible drawings.

Light Table

Turns on the light table so you can see the previous and subsequent
active layers in washed-out colours. It is useful for seeing the otherlayers when designing, animating or cleaning up your animation.

Backlight

Produces a silhouette effect by changing the drawing’s coloured areas
into a single dark, solid colour. Use this to verify the completeness of
the ink and paint process. Any unpainted zones can be seen as thelight shows through the unpainted areas of the silhouetted drawing.

Show

Symbol Pivot

Displays a symbol's pivot. The Symbol pivot is similar to the Drawing
pivot. Each symbol cell can have its own pivot and act the same as theDrawing pivot. The Symbol pivot can also be referred to as embedded
pivot. Inside a symbol, each drawing can have its own pivot.

Safe Area

Displays the TV safety zone and the centre of the camera frame. The
safe area adapts to the scene resolution, as well as the safety zone andframe’s centre.

Camera Mask

Displays a black mask around the scene’s frame to avoid seeing theunnecessary artwork. This option is handy when you're animating andsetting up the scene. It allows you to see your scene’s composition
better.

Control

Displays the controls of the selected element.

Current Drawing on Top

Displays the selected drawing on top of everything while you draw. By
enabling this option, each time you select a drawing tool, the selecteddrawing is displayed in front of everything in the Camera view. The
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enable this option once, it is not necessary to do it each time you
select a drawing tool.

Outline Locked Drawings

Displays drawing that are locked in the Timeline view (cannot be
selected in the Camera view) as wireframes.

Show Strokes

Displays the strokes in your drawings so that the invisible lines standout.

Show Strokes with Colour Wash

Displays strokes with washed-out colours.

Hide All Controls

Hides the controls of the selected element.

Deformation
Show Current Deformers andHide All Others

Shows all current deformers and hides all other manipulators
displayed in the Camera view.

ParticleShow Particles as Dots in
OpenGL

Preview Manager

Displays the particles as dots in the OpenGL preview mode. This
makes the playback speed faster for a heavy scene.
Opens the Preview Manager where you can set options for the qualityof previews, and clearing and updating the cache.

Preview Resolution
Same as Scene Resolution
3/4 of Scene Resolution
1/2 of Scene Resolution

Lets you choose a resolution for previewing a scene.

1/3 of Scene Resolution
1/4 of Scene Resolution

CustomLets you select a resolution from a list of presets or enter X and Y

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values for a custom preview resolution.
Let's you increase or decrease the preview quality of raw bitmap
images. By default, bitmap files imported in Harmony will display in a
low resolution in the Camera view to avoid hindering performance.

TIP

Bitmap File Quality

You can change the default resolution in which bitmap files
are displayed in the Camera view by changing the
Small Bitmap Resolution preference located in the Camera tabof the Preferences dialog.

NOTE
This only affects the way bitmap images display in the
OpenGL preview of the scene in the Camera view. The
preview quality of bitmap images does not affect the final
render.

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Windows Menu
The Windows menu lets you customize your workspace to suit your working style, save it as a new workspace,and load it from the Workspace toolbar. You can also show or hide the different toolbars and views in Harmony.

How to access the Windows menulFrom the top menu, select Windows.

Command

Description

Restore Default Workspace

Returns modified workspaces to their original default layout if you do
not like the current modifications or inadvertently closed some
windows.

Workspace

Workspace Manager

Opens the Workspace Manager where you can modify, create, delete,rename and reorder your workspaces.

Save Workspace

Saves the current workspace along with any modifications you made.

Save Workspace As...

Saves the workspace as a new version to avoid overwriting the current
one.

Workspace

Lets you open workspaces designed specifically for animating,compositing, hand drawing, scripting and the default workspace.

Toolbars

Lets you show or hide these toolbars: Tool Presets, Art Layer,
Playback, File, Edit, Advanced Animation, Scripting, Coordinate,
Control Point, Display, Tools, Flip, Onion Skin, Mark Drawing, Easy
Flipping, Workspace, Deformation, Drawing View, Camera View,
Xsheet View and Timeline View.

CameraShows or hides the Camera view.

ColourShows or hides the Colour view.

Coord. and Control Points

Shows or hides the Coordinates and Control Points view.

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Drawing

Shows or hides the Drawing view.

FunctionShows or hides the Function view.

Layer Properties

Shows or hides the Layer Properties view.

Library

Shows or hides the Library view.

Message Log

Shows or hides the Message Log view.

Model

Shows or hides the Model view.

Node LibraryShows or hides the Library view.

Node View

Shows or hides the Node view.

Perspective

Shows or hides the Perspective view.

Side

Shows or hides the Side view.

Timeline

Shows or hides the Timeline view.

Tool Properties

Shows or hides the Tool Properties view.

Top

Shows or hides the Top view.

XsheetShows or hides the Xsheet view.

3D Graph

Shows or hides the 3D Graph view.

Integrated Help

Shows or hides the Integrated Help view.

Metadata Editor

Shows or Hides the Metadata Editor view.

Script Editor

Shows or hides the Script Editor view.

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View Menus
A view menu contains commands specifically related to that view.

How to access a view menu
1. In the top-left corner of a view, click the Menu

button.

3D Graph View Menu

258

Camera View Menu

260

Colour View Menu

277

Drawing View Menu

280

Function View Menu

292

Library View Menu

294

Model View Menu

296

Node View Menu

298

Node Library View Menu

303

Onion Skin View Menu

304

Perspective View Menu

306

Script Editor View Menu

312

Side View Menu

317

Timeline View Menu

322

Top View Menu

327

Xsheet View Menu

332

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3D Graph View Menu
The 3D Graph View menu lets you access commands related to the 3D Graph view, such as selecting different
subnodes, disabling and enabling subnodes and inserting the 3D Kinematic Output node.

How to access the 3D Graph menul

In the upper-left corner of the 3D Graph view, click the menu

Commandbutton.

Description

Edit
Copies the name of the currently selected subnode. This can be useful if you
need to enter the name of a subnode in the properties of a 3D Kinematic Output
node.

Copy Subnode NameTIP
You can also automatically create a 3D Kinematic Output node with theselected subnode's name in its properties by selecting the subnode in
the 3D Graph view, then clicking on Add 3D Kinematic Output

inthe 3D Graph toolbar.

Select All

Selects all the listed subnodes.

Deselect All

Deselects all the subnodes.

Select Child Subnodes

Changes the selection to the first subnode that is a child of the currently
selected subnode.

Select Parent Subnode

Changes the selection to the parent of the currently selected subnode.

Select Next Sibling
SubnodeChanges the selection to the subnode just below the currently selectedsubnode in the list, provided that they have the same parent.

Select Previous Sibling
SubnodeChanges the selection to the subnode just above the currently selectedsubnode in the list, provided that they have the same parent.

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EnableEnables the selected subnode, making it and all its enabled children visible. You
can also enable a selection of multiple subnodes.

DisableDisables the selected subnode, making it and all its children invisible. You canalso disable a selection of multiple subnodes.

InsertWhen the 3D model is connected to a Subnode Animation node, this will add
Make Properties
Available

3D Kinematic Output

Extended Modethe properties (ie: position, angle, scale) of the selected subnode to the
Subnode Animation node's list of properties in the Timeline view. This is useful
if you want to add keyframes to a subnode before animating it or if you want tooutline which subnodes should be animated and which ones should not.
Creates a 3D Kinematic Output node and connects it under the 3D Model'sSubnode Animation node. This 3D Kinematic Output node will be configured
to use the currently selected subnode's animation. You can then connect this
3D Kinematic Output node to an element in your scene to apply the selectedsubnode's animation to that element.
Displays non-key subnodes in the subnode list. By default, those nodes are
hidden because they are not useful for animation and they can significantly
bloat up the subnode list. However, it may be useful to have access to thesenodes in order to debug issues with the visbility of parts of your 3D model.

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Camera View Menu
The Camera View menu lets you do many things in the Camera view, including selecting and editing objects indifferent views, changing the display, setting morphing parameters, accessing tools and many more.

How to access the Camera menul

In the upper-left corner of the Camera view, click the menu

Commandbutton.

Description

Edit

Cut

Removes selected objects. You can then paste the object or its properties toanother object.

Copy

Copies selected objects and properties.

Paste

Places an object you cut or copied into the location you select in a view.

DeleteRemoves selected objects.

Select All

Selects all drawing objects in the current drawing window in the Drawing,
Timeline and Camera views. This helps you manage multiple objects as one whenmoving them.

Deselect All

Deselects all selected objects in the Drawing and Camera views.

Select Stroke With
Current Colour

Select the strokes that contain the currently selected colour.

Invert Selection

Deselects the currently selected items and selects all other items that were notselected. For example, if some lines are selected in a drawing, this command will
deselect them and select any other lines in the drawing that were not selected.

Select Child Skipping
Effects

Lets you select the first element parented to the selected peg element in theTimeline view skipping effects in the hierarchy.

Select Child

Lets you select the first element parented to the selected peg element in theTimeline view.

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Select Children

Lets you select all elements parented to the selected peg element in the Timelineview.

Select Parent
Skipping Effects

Lets you select the parent of the selected element in the Timeline view skipping
effects in the hierarchy.

Select Parent

Lets you select the parent of the selected element in the Timeline view.

Select Previous
Sibling
Select Next Sibling

Lets you select the previous element (above current element) in the Timeline view.

Lets you select the next element (below current element) in the Timeline view.
Group: Groups selected drawing objects in the Camera or Drawing view.

Group

Ungroup: Ungroups a selected group of drawing objects in the Camera or
Drawing view.

View
Zoom In: Zooms in the view.
Zoom Out: Zooms out the view.
Rotate View CW: Rotates the Camera view 30 degrees clockwise, like ananimation table.

Navigation

Rotate View CCW: Rotates the Camera view 30 degrees counter-clockwise, likean animation table.
Reset Zoom: Resets the view’s zoom to its default position.
Reset Rotation: Resets the view’s rotation to its default position.
Reset Pan: Resets the view’s pan to its default position.
Reset View: Resets the view to its default position.

Switch to Colour Art

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layer without affecting the other one.
Preview Line
Art andColour Art

Open GL View

Displays all Art layers.

Switches the Camera view to fast display, letting you see your animation play inreal time. The OpenGL display requires less memory. The final look of your effects
is not shown in the OpenGL View Mode. You must switch to the Render View
Mode to see your effects.

Render View

Matte View

Switches the Camera view to a fully rendered display showing the final image ofthe current frame. If a modification is done to your current frame or if you move toa different frame, click the Update Preview button to update the display if yourpreview does not update automatically.The Render View Mode display lets you
see the final look of your frames including effects and antialiasing. You cannot
play back your scene in Render View Mode. To see your scene fully rendered andto play it back, you must press the Render and Play button in the Playback toolbar.
Switches the Camera view to a matte display showing the alpha channel of theelements in your scene. The transparency level ranges from 0 to 100 percent. Zeropercent is completely transparent and represented by black and 100 percent iscompletely opaque and represented by white. Everything in between these
extremes has a transparency level somewhere between 1 and 99 percent and isrepresented in various shades of grey.
Show Grid: Displays the grid.
Grid Outline Only: Displays the outline of the grid only.
Underlay: Displays the grid under the drawing elements.

Grid

Overlay: Displays the grid over the drawing elements.
Square Grid: Displays a standard square grid.
12 Field Grid: Displays a 12-field size grid.
16 Field Grid: Displays a 16-field size grid.

Onion Skin

Show Onion Skin: Lets Lets you preview the previous and next drawings. By

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default, the previous drawings appear in a shade of red and the next drawings are
displayed with a shade of green. You can change these colours in the Preferences
dialog box.
Add to Onion Skin: Adds Adds a series of selected elements to the onion skinpreview.
Remove from Onion Skin: Removes Removes a series of selected elements fromthe onion skin preview.
Remove Unselected from Onion Skin: Removes Removes all elements except theones selected from the onion skin preview.
Add All to Onion Skin: Adds Adds all of the scene's elements to the onion skinpreview.
Remove All from Onion Skin: Removes Removes all of the scene's elements fromthe onion skin preview.
Onion Skinning by Drawing:
No Previous Drawing:
Previous Drawing: Displays the previous drawing.
Previous Two Drawings: Displays the previous two drawings.
Previous Three Drawings: Displays the previous three drawings.
No Next Drawing: Displays no next drawing.
Next Drawing: Displays the next drawing.
Next Two Drawings: Displays the next two drawings.
Next Three Drawings: Displays the next three drawings.
Reduce One Previous Drawing: Reduces the number of previous visible drawings
by one.

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Add One Previous Drawing: Adds one drawing to the number of previous visible
drawings.
Reduce One Next Drawing: Reduces the number of next visible drawings by one.
Add One Next Drawing: Adds one drawing to the number of next visible
drawings.
Turns on the light table so you can see Turns on the light table so you can see theLight Table

Backlight

previous and subsequent active layers in washed-out colours. It is useful forseeing the other layers when designing, animating or cleaning up your animation.
Produces Produces a silhouette effect by changing the drawing’s coloured areas
into a single dark, solid colour. Use this to verify the completeness of the ink andpaint process. Any unpainted zones can be seen as the light shows through theunpainted areas of the silhouetted drawing.
Symbol Pivot: Displays a symbol's pivot. The Symbol pivot is similar to the
Drawing pivot. Each symbol cell can have its own pivot and act the same as theDrawing pivot. The Symbol pivot can also be referred to as embedded pivot. Inside
a symbol, each drawing can have its own pivot.
Safe Area: Displays Displays the TV safety zone and the centre of the camera
frame. The safe area adapts to the scene resolution, as well as the safety zone andframe’s centre.
Camera Mask: Displays Displays a black mask around the scene’s frame to avoid
seeing the unnecessary artwork. This option is handy when you're animating andsetting up the scene. It allows you to see your scene’s composition better.

Show
Control: Displays the controls of the selected element.
BBox Selection Style: Lets you change the display style of selected elements to abounding box style. This removes the default overlay highlight and leaves only thebounding box around the selected element.
Outline Locked Drawings: Drawings that are locked in the Timeline view (cannot
be selected in the Camera view) are displayed as wireframes.
Show Current Drawing on Top: Displays Displays the selected drawing on top of
everything while you draw. By enabling this option, each time you select adrawing tool, the selected drawing is displayed in front of everything in the264Harmony 16.0 Premium Reference Guide

Camera view. The Timeline and Node view ordering remain unchanged.You only
need to enable this option once, it is not necessary to do it each time you select adrawing tool.
Show Strokes: Displays the strokes in your drawings so that the invisible lines
stand out.
Show Strokes with Colour Wash: Displays strokes with washed-out colours.
Highlight Selected Colour:
Show Scan Information: Displays a status bar showing the scanning information
at the bottom of the Drawing and Camera view.
Hide All Controls

Hides the controls of the selected element.

Render Current
Frame

Renders only the current frame.

Auto Render

Automatically recalculates the preview image whenever you modify a parameter. If
your scene is heavy and you do not want the preview rendered automatically,
deselect the Auto-Render option and do the preview update manually.Note that
this will slow down Harmony as it takes resources to update every frame.

Layer Properties

Displays the Layer Properties window of the selected layer in the Timeline view.

Preview Manager

Opens the Preview Manager where you can set options for the quality of previews,
and clearing and updating the cache.
Let's you increase or decrease the preview quality of raw bitmap images. By
default, bitmap files imported in Harmony will display in a low resolution in the
Camera view to avoid hindering performance.

Bitmap File Quality

TIP
You can change the default resolution in which bitmap files are displayedin the Camera view by changing the Small Bitmap Resolution preference
located in the Camera tab of the Preferences dialog.

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NOTE
This only affects the way bitmap images display in the OpenGL preview ofthe scene in the Camera view. The preview quality of bitmap images does
not affect the final render.

Drawing
Remove Dirt: Opens the Remove Dirt dialog box where you can specify the
number and size of dots removal from a selected drawing.
Remove Hair: Opens the Remove Hair dialog box where you can specify the
number and length of hairs for removal from a selected drawing. This removes any
small strokes created in the Colour Art layer from very thick lines or filled zones.
Increase the value to select larger strokes for removal from the drawing.
Close Gaps: Closes small gaps in a drawing by creating small, invisible strokes
between the two closest points to close the colour zone. You do not need to trace
directly over the gap. You can draw it a few millimeters away. The two closest
points automatically close the gap.

Clean Up

Remove Art Inside Selection: Removes any art inside a selection. It is
recommended that you clean your Colour Art level as well. If you have a stroke
accumulation in the Colour Art, it can result in large output files, especially if you
work in high definition resolutions.
Remove Art Inside Selection On All Drawings: Removes any art inside all
drawings selected with the Permanent Selection option in the Select tool.
Remove Art Outside Selection: Removes any art existing outside a selection. It is
recommended that you clean the Colour Art level as well. If you have a stroke
accumulation in the Colour Art, it can result in large output files, especially if you
work in high-definition resolutions.
Remove Art Outside Selection On All Drawings: Removes any art outside all
drawings selected with the Permanent Selection option in the Select tool.
Unpaint Selection: Unpaints any art existing inside a selection.

Paint

Unpaint Selection on All Drawings: Unpaints all art contained inside a selection
on all the drawings within the same layer.

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Unpaint Outside Selection: Unpaints any art existing outside a selection. If noselection have been drawn using the Select tool, the entire drawing will be
unpainted.
Unpaint Outside Selection on All Drawings: Unpaints all art outside a selection on
all the drawings within the same layer.
Repaint Selection: Repaints any art inside a selection.
Repaint Selection on All Drawings: Repaints any art inside a selection on all thedrawings contained within the same layer.
Repaint Outside Selection: Repaints any art outside a selection. If no selection has
been drawn using the Select tool, the entire drawing will be repainted.
Repaint Outside Selection on All Drawings: Repaints any art outside a selection
on all the drawings contained within the same layer.
Pencil Lines to Brush Strokes: Converts the selected centreline pencil strokes into
contour strokes brush lines.
Brush Strokes to Pencil Lines: Converts selected contour strokes into centreline
pencil strokes. The brush stroke thickness will be lost.
ConvertStrokes to Pencil Lines: Converts the selected invisible line to a pencil line.
Brush Apart Text Layers: Text is treated as a single drawing object. This separates
the text so each character becomes an individual drawing object you can selectand modify independently.
Flatten: Merges Merges drawing objects and brush strokes into a single layer. If
you draw new lines to fix a drawing or line with many brush strokes, it can be
useful to flatten them all into a single shape. By default, lines are drawn one on
top of each other. If you intend to repaint the lines or modify their shape, it will beeasier if they are flattened.
Optimize
Smooth: Smooths selected drawing strokes and removes extra points.
Create Contour Strokes: Adds a permanent invisible line around a shape that was
drawn directly in Harmony. This allows you to unpaint lines with the Paint tool
but maintain the shape of the lines, should you need to repaint later.

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Remove Contour Strokes: Remove any permanently invisible lines that werecreated while scanning and vectorizing drawings or manually adding contour
strokes. This is useful for removing the intersection triangles created duringvectorization.
Remove Extra Strokes: Removes strokes inside painted area. This option only
works after the painted drawing is flattened.
Optimize: Reduces Reduces the number of layers, such as overlapping brushstrokes, in the selected drawing objects. Drawing objects will only be flattened
and optimized if the selected objects do not change the appearance of the final
image when they are merged.
Crop Brush Textures: Crops Crops an unnecessarily large texture bitmap that lies
unseen beneath the vector contour of a textured line. This often occurs when you
cut and paste textured lines from one drawing into another. If you cut a portion
from a textured line and paste it into a different drawing, Harmony pastes theentire unseen texture bitmap from the source drawing into the new one, even if
you only took a small portion of the source drawing. Using the Crop Brush
Texture command will crop away extraneous texture that does not touch thevector area. If there are many textured lines in your scene, this will greatly reduce
the file size.
Reduce Drawing Texture Resolution:
When you import and vectorize as texture (colour) a high resolution image, thesize of your drawing can be heavy. You can reduce the size and resolution of the
textures in a drawing.
Bring to Front: Moves the selected art to the front (on top).
Bring Forward: Moves the selected art one level forward (closer to the front).
Arrange
Send Backward: Moves the selected art one level lower (behind).
Send to Back: Moves the selected art behind everything (bottom / back).
Flip Horizontal: Flips the current selection horizontally.
Transform

Flip Vertical: Flips the current selection vertically.
Rotate 90 CW: Rotates the current selection 90 degrees clockwise.

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Rotate 90 CCW: Rotates the current selection 90 degrees counter-clockwise.
Rotate 180: Rotates the current selection 180 degrees.

Create Empty
Drawing

Creates Creates a drawing in the selected cell, replacing any drawing that may
already be exposed in that cell and the following ones until it meets anotherdrawing, key exposure or a blank cell.
Lets you duplicate the drawing and work on a copy of it. This lets you modify an

Duplicate Drawings

existing drawing but retain the original. When duplicating a drawing, the selected
cell is replaced with the new drawing. The exposure of the original drawing thatwas on the current cell is removed. The original drawing is not deleted from the
project folder or other cells in which it is exposed.
When duplicating a drawing, the selected cell is replaced with the new drawing.
The exposure of the original drawing that was on the current cell is removed. The
original drawing is not deleted from the project folder or other cells in which it is
exposed.

Delete Selected
Drawings

Permanently removes selected drawings. Once you save your project, thesedrawings cannot be recovered.

Rename Drawing

Lets you give a selected drawing a new name.

Create Colour Art
From Line Art

Lets you use the outline you traced on one of the four embedded layers (line art,
colour art, overlay, underlay) and create invisible strokes to paint your drawings on
separate layers. This provides more inking and painting flexibility.
You can also configure this option to create the invisible strokes on any of the four
embedded layers.
Automatically creates a matte from a selected drawing or all drawings on a layer.

Generate Auto-Matte

Opens the auto-Matte dialog box where you can set the radius of the lines
depending on how precise or rough your line is.
You can also select the source and destinatin layers from which the matte will becreated.

Adjust Line Texture
Opacity

Lets you adjust the contrast and opacity of textured lines in a drawing.

Change Bitmap
Drawing Resolution

Lets you Lets you change the resolution of bitmap art for individual drawings. You
can reduce the resolution of your bitmap file as well as increase it. Be careful

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because enlarging the bitmap resolution on an existing drawing will result in aloss of quality.Harmony will perform a pixel smoothing pass (resampling) andcreate additional pixels to avoid losing too much quality, but only to a certain
extent. This feature is very useful when you need to have a full resolution of abitmap image (such as imported bitmaps as .psd or .tga for the background) for
tracing to create a matte directly in Harmony.By default, Harmony creates small
thumbnail images when imported as bitmap in order to increase performance byusing a small thumbnail image instead of using the original large size bitmap foranimation work in Harmony. This will make difficult to view details or trace due tothe low resolution (blurry). This option temporary increases the resolution ofbitmaps up to their original bitmap resolution to make tracing easier.
Previous Drawing
Next Drawing
Previous Layer

Once a cell is selected in the Timeline or Xsheet view, you can navigate between
the drawings, frames, and layers. Displays the previous drawing, next drawing,
previous layer or next layer.
Displays the previous drawing, next drawing, previous layer or next layer.

Next Layer
Toggle Current Colour Protection: Temporarily enables/disables the Colour
Protection feature so you can quickly correct wrongly inked or painted areas underprotected colour without readjusting the Current Colour Protection option.
Colour Protection

Respect Colour Protection: In the Colour view, you can protect a colour swatch to
avoid repainting or unpainting the zones linked to that swatch. If you using the
Paint tool and this option is deselected, you will repaint or unpaint the protectedcolours on your drawings until you enable the option again.

Drawing Tools

SelectAllows you to select and reposition, scale, rotate and skew brush strokes, pencil
lines, shapes and other parts of your artwork.

Contour Editor

Allows you to edit the vector contours of brush strokes, pencil lines and shapes inyour artwork. You can add, remove, tweak and move vector points, move theBezier handles of the vector points as well as deform vector outlines.

Centerline Editor

Allows you to tweak and deform a brush stroke by manipulating the points at thecentre of its line rather than its contour.

Pencil Editor

Lets you modify the thick and thin contour of a pencil line (basically a central

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vector shape). Shape control points along the central spine allow you to adjust thestroke curve and position.
CutterAllows you to cut a part of your artwork, then reposition, scale, rotate and skew it.

Smooth Editor

Allows you to optimize contours and lines by removing its extra points, making
them easier to edit.

Perspective

Allows you to deform artwork by applying a perspective effect on it.

Envelope

Allows you to deform and warp artwork by moving points and tweaking lines in a
grid.

Reposition All
Drawings

Allows you to reposition, scale, rotate and skew all drawings in the current layer.

Drawing Pivot

Allows you to position the pivot on a drawing layer by clicking where you want its
location to be.

Brush

A pressure-sensitive tool for creating a contour shape with a thick and thin line
effect, as if created with a paint brush.

PencilA pressure-sensitive tool for drawing outlines. Pencil lines are made of central
vector lines, making them easier to tweak and edit than brush strokes.

Text

Allows you to add text and to format it.

EraserA pressure-sensitive tool for erasing parts of a drawing.

Dropper

Allows you to select a colour by clicking on a colour in your artwork.

Morphing

Allows you to create and configure a morphing sequence, which willautomatically generate the in-betweens between two drawings in the current
layer.

Line

Draws a straight line segment going from one point to the other.

Rectangle

Draws a rectangle.

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EllipseDraws an ellipse.

Polyline

Allows you to draw shapes, segmented lines or complex curved lines by clicking
to create each point in the sequence of line segments.

Paint

Allows you to fill colour zones with a colour or texture.

Ink

Allows you to recolour pencil lines with precision by changing the colour of one
segment at a time.

Repaint Brush

Lets you repaint existing brush strokes. The new brush strokes will be cropped to
fit in existing artwork.

Close Gap

Allows you to close open shapes so that they can be filled with the Paint tool. By
drawing a stroke near a small gap in a shape, this tool will create a small invisible
stroke connecting the two closest points around the gap.

StrokeAllows you to create invisible lines that can serve as colour zones that can be
filled, or close the gaps in existing colour zones.

Edit Gradient/Texture

Allows you to adjust the position, angle and size of gradients and textures in acolour zone.

Hand

Allows you to pan the Camera and Drawing views.

Zoom

Allows you zoom in and out of the Camera and Drawing views.

Rotate View

Lets you rotate the Camera and Drawing views just like with a real animation disc.

Animation

Insert Keyframe

Adds a keyframe on the selected cell in the Timeline view. If the Animate mode isenabled in the Camera view, a keyframe is automatically created on the current
frame.

Insert Control Point

Adds a control point to a 3D path function.

Set Stop-Motion
Keyframe

Sets a stop-motion keyframe which there is no computer-generated motion
between two keyframes. The segment is constant or flat. The drawing remains still
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location.

Set Motion Keyframe

Sets a motion keyframe. With motion keyframes, Harmony generates theinterpolation between the keyframes. This means that a value for each frame
between the keyframes is calculated by Harmony to progress from the value of theprevious keyframe to the value of the next keyframe.

Flip

Flips the position of an element on its axis.

Set Ease for Multiple
Parameters

Lets you set the ease in and ease out on multiple functions and keyframes. This
opens the Set Ease For Multiple Parameters where you can modify the Bezier orEase curve. You can apply easing parameters to a certain type of function only,
such as rotation or scale.

Linear Motion

Transforms a curved path to a linear path removing tension, bias, and continuity.

Lock in Time

Indicates Indicates whether the point is locked to a specific frame (keyframe) or
only locked to a specific position and the curve can flow through it freely as otherpoints are being added, moved, or adjusted (control point).

No Z Dragging

Keeps the Z value constant when you drag a character using the Transform orTranslate tool.

Substitute Drawing
Previous
Replaces the drawing or cell's symbol on the current frame by the next drawing.
Substitute Drawing
Next
Select Previous
Keyframe/Point
Select the previous keyframe/point.
Select Next
Keyframe/Point
Lock

Locks a layer so it cannot be selected in the Camera view.

Reset

Returns Returns the value of the selected 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, all the transformation values will be reset.

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Reset All

Resets Resets all transformations on the current frame in a selected layer. Your
keyframe will remain, but all the values will return to the starting value. Alltransformations are reset regardless of the tool you're using.

Reset All Except Z

Resets Resets all transformations on the current frame except the Z position. Thisis useful when doing cut-out animation. Cut-out puppets often have a particular Zordering for the different views of a character. You might want to reset thetransformation, but not necessarily the Z position.

Animation Tools
Transform

Allows you to select drawing layers and position, rotate, scale and skew them.

TranslateLets you move the selected element along the X and Y axes.

RotateTurns a selected element around its pivot point.

Scale

Increases or decreases the size of a selected element. You can scale an object up
to make it larger or down to make it smaller. Press Shift to scale the element while
maintaining its proportions.

Maintain Size

Keeps elements the same size aspect ratio in the Camera view as you move them
towards or away from the camera.

Skew

Slants the selected element.

Reposition Drawing

Lets you reposition, scale, rotate or skew all drawing strokes on every drawing
included in a layer.

Spline Offset

Lets you Lets you reposition the visual trajectory without offsetting or modifying
your animation. By default, the trajectory is located at 0,0,0 fields. If your elements
were drawn in a different location than the centre of the drawing area, it will look
like the trajectory is not aligned with your drawing. Also, if you have several
elements attached to one trajectory, you might want your trajectory to be at adifferent location to represent the group's motion better.

Inverse Kinematic
Tool

Allows you to pose a character model by pulling on its extremities, such as hands
and feet, and have the other connected limbs follow. Can be used on any piece
connected in a hierarchy.

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IK Constraints
Set IK Nail

Blocks the X, Y and Z positions.

Set IK Hold
Orientation

Blocks the angle.

Set IK Hold X

Blocks only the X position.

Set IK Hold Y

Blocks only the Y position.

Set IK Min Angle
Set IK Max Angle
Remove All
Constraints

Sets limitations on the angle parameter to prevent the puppet from bending too
far.

Removes all nails except the minimum and maximum angles.

Morphing

Morphing

Contour Hint

Allows you to create and configure a morphing sequence, which willautomatically generate the in-betweens between two drawings in the current
layer.
The Contour Hint point is used on the colour fill zone and brush lines; in otherwords, on Contour vectors. It allows you to control the line thickness and contour
position. Also, if a contour is not animated correctly, you can use hints to correct
the animation. For example, if a flag is not waving properly.
When adding a Contour Hint point, make sure to place it far enough away fromthe contour so you can see it snap to the contour.
Contour Hint points are yellow.

Zone Hint

The Zone Hint point is used on a colour zone to control the proximity rule. The
Zone Hint is placed in the centre of the colour zone. Sometimes a colour zone is
not associated with the corresponding one by default. For example, in a splash
animation there are many water droplets that are the same colour. Harmony
automatically morphs the droplet to the nearest one. This is not always the one
you may have predicted. A Zone Hint will force a colour zone to morph withanother one.
Zone Hint points are cyan in colour.

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Pencil Hint

A Pencil Hint point is used to control a pencil line, also known as central vector. It
can be used on drawings that were done using the Pencil, Polyline, Ellipse, Lineand Rectangle tools. Like the Contour Hint, the Pencil Hint snaps to the central
vector. Make sure to place it far enough away from the line so you will see it snap
when you move it.
Pencil Hint points are magenta in colour.
A Vanishing Point Hint is used to control the trajectory of a vanishing shape. A
shape will vanish from the source drawing when there is no corresponding shape

Vanishing Point Hintin the destination drawing. If you do not place a Vanishing Point Hint to control
the point of disappearance, the shape will vanish into its centre.
Vanishing Point Hint points are green in colour.

Appearing Point Hint

An Appearing Point Hint is used to control the trajectory of an appearing shape. A
shape will appear in the destination drawing when there is no corresponding
shape in the source drawing. If you do not place an Appearing Point Hint tocontrol the point of appearance, the shape will appear from its centre and expand
outwards.
Appearing Point Hint points are violet in colour.

Switch Between
Morphing Key

Toggles Toggles between the two key drawings in your morphing sequence. This
option is useful while setting hints. You can use the default keyboard shortcut F4

Drawings

to toggle between your drawings.

Suggest HInts

Automatically sets Automatically sets hint points on key drawings as a help tool.
If you're not sure where to set hints, you can use this option. It will set the main
hints which you can then fine tune.

Hide Hints

Temporarily Temporarily hides the hint points from the key drawings. Use thisoption when you have a series of hint points hiding some lines you would like to
see.

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Colour View Menu
The Colour View menu lets you access commands related to the Colour view such as creating new palettes,
adding new colour swatches, and displaying the Tint panel.

How to access the Colour menul

In the upper-left corner of the Colour view, click the menu

Commandbutton.

Description

Palettes
Creates a new colour palette.

New

By default, Toon Boom Harmony is set to the Basic mode. For simple
productions, it is recommended to use the Basic mode. This setting stores thepalettes automatically for you and saves them at the Scene level. When you use
the Advanced Palette Lists mode, you can decide at which level you want to store
your palettes: Environment, Job, Scene, or Element.

Link

Lets you access other palettes created in the project and link them to your scene.

Link to External

Lets you you link an external palette to your scene without copying it in yourproject.

ImportImports a colour palette located on your hard drive.

RemoveRemoves the selected palette from the palette list.

Remove and Delete
on Disk

Removes the selected palette from the palette list and deletes the palette file fromthe disk.

RenameLets you five the selected colour palette a new name.

Duplicate

Creates a copy of the original palette, using the same names and colour values,
but has a different ID and is independent from the original palette. This ensuresthat both the duplicate and original palettes are completely independent.

Clone

Creates a copy of the master palette. The colours in each palette have the same
properties. The colours have the same identification number pointing to the same

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colour zones, but they can have different names and RGBA values.
Pencil Texture Palette

Displays the colour palette containing the pencil line textures.

Move Up

Moves the selected colour palette up one level.

Move Down

Moves the selected colour palette down one level.

Colour Editor

Opens the Colour Editor where you can pick and edit colour swatches.

Tint Panel

Opens the Tint panel where you can modify a series of colours to blend a tint inthem or offset their RGBA values.

Current PaletteOverrides

When clone palettes are present in the palette list, by default, priority is given to
the palette that is the highest in the palette list to decide which colours to apply
to drawings. With this option enabled, priority is given to the currently selected
palette. Selecting any of the clone palettes will make drawings use colours fromthe selected palette instead.

Display Colour
Values

Display the colour values beside their colour swatches in the palette list.

Colours
Cut

Cuts the selected colour swatch from the palette.

Copy

Copies the selected colour swatch which you can paste in a different palette.

Copy Colour ID

Copies a colour swatch's colour ID so you can keep a reference file of colour IDs
or use them with custom plug-ins. Example of a colour ID: 075cf5b552401130.

Paste Colour Values

Pastes the colour value of the copied swatch over an existing colour swatch.

Paste As New
Colours

Creates a new colour swatch from the colour value of the copied swatch.

Paste As Clones

Pastes a copied colour to a new palette as a clone of the original one. Both colour
use the same colour ID. They have to be in different palettes.

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New

Creates a new colour swatch from the colour swatch that was last selected.

Edit

Opens the Colour Picker window in which you can edit the selected colour
swatch.

DeleteDeletes the selected colour swatch from the palette.

New Texture

Lets you add a bitmap colour swatch to your palette. You can load photos andtextures and paint your drawings with it. The bitmap image must be a .tga or .psd
file format.

Edit Texture

Opens the browser to replace the texture used in a textured colour swatch. Allzones using the swatch will be updated with the new texture.

Scale Down Texture

Lets you set a new maximum texture size or scaling factor.

New Default Colour

Creates a new colour using the default colour set in the preferences.

Protect Colour

Locks a selected colour, so if you ever paint over it accidentally, the work alreadydone will not be affected. You can also block the filling colours if you painted allof the animation in Line Art and plan to repaint the lines.

Swatch Mode

Displays the colour swatches with its corresponding name inside the swatch.
When this option is not selected, the names of the colour swatches are displayed
beside the swatch.

Independent Bitmap
ColourBitmap colour selection is independent from the vector colour selection.

Bitmap Colour Sliders
RGB

Displays the colour picking sliders as RGB (red, green, blue).

HSV

Displays the colour picking sliders as HSV (hue, saturation, value).

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Drawing View Menu
The Drawing View menu lets you access tools, set morphing parameters, lock or unlock layers, and selectelements in the Drawing view.

How to access the Drawing menul

In the upper-left corner of the Drawing view, click the menu

Commandbutton.

Description

Edit

Cut

Removes selected objects. You can then paste the object or its properties toanother object.

Copy

Copies selected objects and properties.

Paste

Places an object you cut or copied into the location you select in a view.

DeleteRemoves selected objects.

Select All

Selects all drawing objects in the current drawing window in the Drawing,
Timeline and Camera views. This helps you manage multiple objects as one whenmoving them.

Deselect All

Deselects all selected objects in the Drawing and Camera views.

Select Stroke With
Current Colour

Select the strokes that contain the currently selected colour.

Invert Selection

Deselects the currently selected items and selects all other items that were notselected. For example, if some lines are selected in a drawing, this command will
deselect them and select any other lines in the drawing that were not selected.

Zoom In

Zooms in the view.

Zoom Out

Zooms out the view.

View

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Reset Zoom

Resets the view’s zoom to its default position.

Rotate View CW

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

Rotate View CCW

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

Reset Rotation

Resets the view’s rotation to its default position.

Reset Pan

Resets the view’s pan to its default position.

Reset View

Resets the view to its default position.

Switch to Colour Art

Displays the Colour Art layer. When switching art layers, you can edit the selected
layer without affecting the other one.

Preview Line
Art andColour Art

Displays all Art layers.

Show Grid: Displays the grid.
Grid Outline Only: Displays the outline of the grid only.
Underlay: Displays the grid under the drawing elements.
Grid

Overlay: Displays the grid over the drawing elements.
Square Grid: Displays a standard square grid.
12 Field Grid: Displays a 12-field size grid.
16 Field Grid: Displays a 16-field size grid.

Onion Skin

Show Onion Skin: Lets Lets you preview the previous and next drawings. By
default, the previous drawings appear in a shade of red and the next drawings are
displayed with a shade of green. You can change these colours in the Preferences
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No Previous Drawing: Displays no previous drawing.
Previous Drawing: Displays the previous drawing.
Previous Two Drawings: Displays the previous two drawings.
Previous Three Drawings: Displays the previous three drawings.
No Next Drawing: Displays no next drawing.
Next Drawing: Displays the next drawing.
Next Two Drawings: Displays the next two drawings.
Next Three Drawings: Displays the next three drawings.
Reduce One Previous Drawing: Reduces the number of previous visible drawings
by one.
Add One Previous Drawing: Adds one drawing to the number of previous visible
drawings.
Reduce One Next Drawing: Reduces the number of next visible drawings by one.
Add One Next Drawing: Adds one drawing to the number of next visible
drawings.

Light Table

Turns on the light table so you can see Turns on the light table so you can see theprevious and subsequent active layers in washed-out colours. It is useful forseeing the other layers when designing, animating or cleaning up your animation.

Backlight

Produces Produces a silhouette effect by changing the drawing’s coloured areas
into a single dark, solid colour. Use this to verify the completeness of the ink andpaint process. Any unpainted zones can be seen as the light shows through theunpainted areas of the silhouetted drawing.

Show Strokes

Displays the strokes in your drawings so that the invisible lines stand out.

Show

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Colour Wash

Displays strokes with washed-out colours.

Highlight Selected
ColourIdentify a selected colour swatch used in a drawing.

Show Morphing Key
Drawing Thumbnail

When using the Morphing tools, this displays the source or destination drawing
as a reference in the bottom corner of the Drawing view.

Show Scan
Information

Displays a status bar showing the scanning information at the bottom of the
Drawing and Camera view.

Desk
No Thumbnail
Small Thumbnail
Changes the size of the drawing desk thumbnails.
Medium Thumbnail
Large Thumbnail
Remove Selected
Drawing

Clears selected drawing from drawing desk.

Remove All
Drawings

Clears all drawing from drawing desk.

Drawing
Remove Dirt: Opens the Remove Dirt dialog box where you can specify the
number and size of dots removal from a selected drawing.

Clean Up

Remove Hair: Opens the Remove Hair dialog box where you can specify the
number and length of hairs for removal from a selected drawing. This removes any
small strokes created in the Colour Art layer from very thick lines or filled zones.
Increase the value to select larger strokes for removal from the drawing.
Close Gaps: Closes small gaps in a drawing by creating small, invisible strokes
between the two closest points to close the colour zone. You do not need to trace

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directly over the gap. You can draw it a few millimeters away. The two closest
points automatically close the gap.
Remove Art Inside Selection: Removes any art inside a selection. It is
recommended that you clean your Colour Art level as well. If you have a stroke
accumulation in the Colour Art, it can result in large output files, especially if you
work in high definition resolutions.
Remove Art Inside Selection On All Drawings: Removes any art inside all
drawings selected with the Permanent Selection option in the Select tool.
Remove Art Outside Selection: Removes any art existing outside a selection. It is
recommended that you clean the Colour Art level as well. If you have a stroke
accumulation in the Colour Art, it can result in large output files, especially if you
work in high-definition resolutions.
Remove Art Outside Selection On All Drawings: Removes any art outside all
drawings selected with the Permanent Selection option in the Select tool.
Unpaint Selection: Unpaints any art existing inside a selection.
Unpaint Selection on All Drawings: Unpaints all art contained inside a selection
on all the drawings within the same layer.
Unpaint Outside Selection: Unpaints any art existing outside a selection. If noselection have been drawn using the Select tool, the entire drawing will be
unpainted.

Paint

Unpaint Outside Selection on All Drawings: Unpaints all art outside a selection on
all the drawings within the same layer.
Repaint Selection: Repaints any art inside a selection.
Repaint Selection on All Drawings: Repaints any art inside a selection on all thedrawings contained within the same layer.
Repaint Outside Selection: Repaints any art outside a selection. If no selection has
been drawn using the Select tool, the entire drawing will be repainted.
Repaint Outside Selection on All Drawings: Repaints any art outside a selection
on all the drawings contained within the same layer.

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Pencil Lines to Brush Strokes: Converts the selected centreline pencil strokes into
contour strokes brush lines.
Brush Strokes to Pencil Lines: Converts selected contour strokes into centreline
pencil strokes. The brush stroke thickness will be lost.
ConvertStrokes to Pencil Lines: Converts the selected invisible line to a pencil line.
Brush Apart Text Layers: Text is treated as a single drawing object. This separates
the text so each character becomes an individual drawing object you can selectand modify independently.
Flatten: Merges Merges drawing objects and brush strokes into a single layer. If
you draw new lines to fix a drawing or line with many brush strokes, it can be
useful to flatten them all into a single shape. By default, lines are drawn one on
top of each other. If you intend to repaint the lines or modify their shape, it will beeasier if they are flattened.
Smooth: Smooths selected drawing strokes and removes extra points.
Create Contour Strokes: Adds a permanent invisible line around a shape that was
drawn directly in Harmony. This allows you to unpaint lines with the Paint tool
but maintain the shape of the lines, should you need to repaint later.

Optimize

Remove Contour Strokes: Remove any permanently invisible lines that werecreated while scanning and vectorizing drawings or manually adding contour
strokes. This is useful for removing the intersection triangles created duringvectorization.
Remove Extra Strokes: Removes strokes inside painted area. This option only
works after the painted drawing is flattened.
Optimize: Reduces Reduces the number of layers, such as overlapping brushstrokes, in the selected drawing objects. Drawing objects will only be flattened
and optimized if the selected objects do not change the appearance of the final
image when they are merged.
Crop Brush Textures: Crops Crops an unnecessarily large texture bitmap that lies
unseen beneath the vector contour of a textured line. This often occurs when you
cut and paste textured lines from one drawing into another. If you cut a portion
from a textured line and paste it into a different drawing, Harmony pastes theentire unseen texture bitmap from the source drawing into the new one, even if

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you only took a small portion of the source drawing. Using the Crop Brush
Texture command will crop away extraneous texture that does not touch thevector area. If there are many textured lines in your scene, this will greatly reduce
the file size.
Reduce Drawing Texture Resolution:
When you import and vectorize as texture (colour) a high resolution image, thesize of your drawing can be heavy. You can reduce the size and resolution of the
textures in a drawing.
Bring to Front: Moves the selected art to the front (on top).
Bring Forward: Moves the selected art one level forward (closer to the front).
Arrange
Send Backward: Moves the selected art one level lower (behind).
Send to Back: Moves the selected art behind everything (bottom / back).
Flip Horizontal: Flips the current selection horizontally.
Flip Vertical: Flips the current selection vertically.
Transform

Rotate 90 CW: Rotates the current selection 90 degrees clockwise.
Rotate 90 CCW: Rotates the current selection 90 degrees counter-clockwise.
Rotate 180: Rotates the current selection 180 degrees.

Create Empty
Drawing

Duplicate Drawings

Creates Creates a drawing in the selected cell, replacing any drawing that may
already be exposed in that cell and the following ones until it meets anotherdrawing, key exposure or a blank cell.
Lets you duplicate the drawing and work on a copy of it. This lets you modify anexisting drawing but retain the original. When duplicating a drawing, the selected
cell is replaced with the new drawing. The exposure of the original drawing thatwas on the current cell is removed. The original drawing is not deleted from the
project folder or other cells in which it is exposed.
When duplicating a drawing, the selected cell is replaced with the new drawing.
The exposure of the original drawing that was on the current cell is removed. The
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exposed.
Delete Selected
Drawings

Permanently removes selected drawings. Once you save your project, thesedrawings cannot be recovered.

Rename Drawing

Lets you give a selected drawing a new name.

Create Colour Art
From Line Art

Lets you use the outline you traced on one of the four embedded layers (line art,
colour art, overlay, underlay) and create invisible strokes to paint your drawings on
separate layers. This provides more inking and painting flexibility.
You can also configure this option to create the invisible strokes on any of the four
embedded layers.
Automatically creates a matte from a selected drawing or all drawings on a layer.

Generate Auto-Matte

Opens the auto-Matte dialog box where you can set the radius of the lines
depending on how precise or rough your line is.
You can also select the source and destinatin layers from which the matte will becreated.

Adjust Line Texture
Opacity

Change Bitmap
Drawing Resolution

Lets you adjust the contrast and opacity of textured lines in a drawing.

Lets you Lets you change the resolution of bitmap art for individual drawings. You
can reduce the resolution of your bitmap file as well as increase it. Be careful
because enlarging the bitmap resolution on an existing drawing will result in aloss of quality.Harmony will perform a pixel smoothing pass (resampling) andcreate additional pixels to avoid losing too much quality, but only to a certain
extent. This feature is very useful when you need to have a full resolution of abitmap image (such as imported bitmaps as .psd or .tga for the background) for
tracing to create a matte directly in Harmony.By default, Harmony creates small
thumbnail images when imported as bitmap in order to increase performance byusing a small thumbnail image instead of using the original large size bitmap foranimation work in Harmony. This will make difficult to view details or trace due tothe low resolution (blurry). This option temporary increases the resolution ofbitmaps up to their original bitmap resolution to make tracing easier.

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Previous Drawing
Next Drawing
Previous Layer

Once a cell is selected in the Timeline or Xsheet view, you can navigate between
the drawings, frames, and layers. Displays the previous drawing, next drawing,
previous layer or next layer.
Displays the previous drawing, next drawing, previous layer or next layer.

Next Layer
Toggle Current Colour Protection: Temporarily enables/disables the Colour
Protection feature so you can quickly correct wrongly inked or painted areas underprotected colour without readjusting the Current Colour Protection option.
Colour Protection

Respect Colour Protection: In the Colour view, you can protect a colour swatch to
avoid repainting or unpainting the zones linked to that swatch. If you using the
Paint tool and this option is deselected, you will repaint or unpaint the protectedcolours on your drawings until you enable the option again.

Drawing Tools

SelectAllows you to select and reposition, scale, rotate and skew brush strokes, pencil
lines, shapes and other parts of your artwork.

Contour Editor

Allows you to edit the vector contours of brush strokes, pencil lines and shapes inyour artwork. You can add, remove, tweak and move vector points, move theBezier handles of the vector points as well as deform vector outlines.

Centerline Editor

Allows you to tweak and deform a brush stroke by manipulating the points at thecentre of its line rather than its contour.

Pencil Editor

Lets you modify the thick and thin contour of a pencil line (basically a central
vector shape). Shape control points along the central spine allow you to adjust thestroke curve and position.

CutterAllows you to cut a part of your artwork, then reposition, scale, rotate and skew it.

Smooth Editor

Allows you to optimize contours and lines by removing its extra points, making
them easier to edit.

Perspective

Allows you to deform artwork by applying a perspective effect on it.

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Envelope

Allows you to deform and warp artwork by moving points and tweaking lines in a
grid.

Reposition All
Drawings

Allows you to reposition, scale, rotate and skew all drawings in the current layer.

Drawing Pivot

Allows you to position the pivot on a drawing layer by clicking where you want its
location to be.

Brush

A pressure-sensitive tool for creating a contour shape with a thick and thin line
effect, as if created with a paint brush.

PencilA pressure-sensitive tool for drawing outlines. Pencil lines are made of central
vector lines, making them easier to tweak and edit than brush strokes.

Text

Allows you to add text and to format it.

EraserA pressure-sensitive tool for erasing parts of a drawing.

Dropper

Allows you to select a colour by clicking on a colour in your artwork.

Morphing

Allows you to create and configure a morphing sequence, which willautomatically generate the in-betweens between two drawings in the current
layer.

Line

Draws a straight line segment going from one point to the other.

Rectangle

Draws a rectangle.

EllipseDraws an ellipse.

Polyline

Allows you to draw shapes, segmented lines or complex curved lines by clicking
to create each point in the sequence of line segments.

Paint

Allows you to fill colour zones with a colour or texture.

Ink

Allows you to recolour pencil lines with precision by changing the colour of one
segment at a time.

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Repaint Brush

Lets you repaint existing brush strokes. The new brush strokes will be cropped to
fit in existing artwork.

Close Gap

Allows you to close open shapes so that they can be filled with the Paint tool. By
drawing a stroke near a small gap in a shape, this tool will create a small invisible
stroke connecting the two closest points around the gap.

StrokeAllows you to create invisible lines that can serve as colour zones that can be
filled, or close the gaps in existing colour zones.

Edit Gradient/Texture

Allows you to adjust the position, angle and size of gradients and textures in acolour zone.

Hand

Allows you to pan the Camera and Drawing views.

Zoom

Allows you zoom in and out of the Camera and Drawing views.

Rotate View

Lets you rotate the Camera and Drawing views just like with a real animation disc.

Morphing

Morphing

Contour Hint

Allows you to create and configure a morphing sequence, which willautomatically generate the in-betweens between two drawings in the current
layer.
The Contour Hint point is used on the colour fill zone and brush lines; in otherwords, on Contour vectors. It allows you to control the line thickness and contour
position. Also, if a contour is not animated correctly, you can use hints to correct
the animation. For example, if a flag is not waving properly.
When adding a Contour Hint point, make sure to place it far enough away fromthe contour so you can see it snap to the contour.
Contour Hint points are yellow.

Zone Hint

The Zone Hint point is used on a colour zone to control the proximity rule. The
Zone Hint is placed in the centre of the colour zone. Sometimes a colour zone is
not associated with the corresponding one by default. For example, in a splash
animation there are many water droplets that are the same colour. Harmony
automatically morphs the droplet to the nearest one. This is not always the one
you may have predicted. A Zone Hint will force a colour zone to morph withanother one.
Zone Hint points are cyan in colour.

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Pencil Hint

A Pencil Hint point is used to control a pencil line, also known as central vector. It
can be used on drawings that were done using the Pencil, Polyline, Ellipse, Lineand Rectangle tools. Like the Contour Hint, the Pencil Hint snaps to the central
vector. Make sure to place it far enough away from the line so you will see it snap
when you move it.
Pencil Hint points are magenta in colour.
A Vanishing Point Hint is used to control the trajectory of a vanishing shape. A
shape will vanish from the source drawing when there is no corresponding shape

Vanishing Point Hintin the destination drawing. If you do not place a Vanishing Point Hint to control
the point of disappearance, the shape will vanish into its centre.
Vanishing Point Hint points are green in colour.

Appearing Point Hint

An Appearing Point Hint is used to control the trajectory of an appearing shape. A
shape will appear in the destination drawing when there is no corresponding
shape in the source drawing. If you do not place an Appearing Point Hint tocontrol the point of appearance, the shape will appear from its centre and expand
outwards.
Appearing Point Hint points are violet in colour.

Switch Between
Morphing Key

Toggles Toggles between the two key drawings in your morphing sequence. This
option is useful while setting hints. You can use the default keyboard shortcut F4

Drawings

to toggle between your drawings.

Go to First Frame

Goes to the first frame of your morphing sequence.

Go to Previous
Frame

Goes to the previous frame of the selected frame in the morphing sequence.

Go to Next Frame

Goes to the next frame of the selected frame in the morphing sequence.

Go to Last Frame

Goes to the last frame of your morphing sequence.

Suggest HInts

Automatically sets Automatically sets hint points on key drawings as a help tool.
If you're not sure where to set hints, you can use this option. It will set the main
hints which you can then fine tune.

Hide Hints

Temporarily Temporarily hides the hint points from the key drawings. Use thisoption when you have a series of hint points hiding some lines you would like to
see.

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Function View Menu
The Functions View menu lets you do many things in the Camera view, including selecting and editing objects
in different views, changing the display, setting morphing parameters, accessing tools and many more.

How to access the Function menul

In the upper-left corner of the Function view, click the menu

Commandbutton.

Description

Edit

Cut

Removes selected objects. You can then paste the object or its properties toanother object.

Copy

Copies selected objects and properties.

Paste

Places an object you cut or copied into the location you select in a view.

DeleteRemoves selected objects.

Select Next Keyframe

Selects the next keyframe.

Select Previous
Keyframe

Selects the previous keyframe.

Select Left Handle

Selects the left handle of the selected keyframe.

Select Right Handle

Selects the right handle of the selected keyframe.

Select All

Selects all objects in the Function view. This helps you manage multiple objects
as one.

Deselect All

Deselects all selected objects in the Function view.

View

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Displays the current frame

Toggle Grid

Enables the display of the grid.

Reset Zoom

Resets the view’s zoom to its default position.

Reset Pan

Resets the view’s pan to its default position.

Reset View

Resets the view to its default position.

Function List
Auto Load Selection
Clear
Load Selection
Add Selection
Remove Selection
Show Motion:Show Rotation:
Show

Show Scale:Show Skew:
Show Other:

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Library View Menu
The Library View menu lets you access commands specific to the Library view, such as opening a Library or
getting the rights to modify a library folder.

How to access the Library menul

In the upper-left corner of the Library view, click the menu

Commandbutton.

Description

View
List

Displays the contents of the selected folder as a list.

Thumbnails

Displays the contents of the selected folder as a thumbnails.

Details

Displays the details of the selected file.

Generate Thumbnails

Creates a thumbnail to display in the preview window.

Edit
Creates a new symbol from a drawing or part of a drawing in the
Drawing or Camera view, a layer in the Timeline view, or a node in the Node view.
New Symbol

If your selection is in the Timeline or Node view, the new symbol appears in the
Symbol folder. The current selection is not replaced by the new symbol. The new
symbol only appears in the library. You must drag it into your scene to use it.
If your selection is in the Drawing or Camera view, the new symbol appears in the
Symbol folder and in the Timeline view as a new layer.

Cut

Cuts the selected file in the Library view.

Copy

Copies the selected file in the Library view.

Paste

Pastes the selected file in the Library view.

DeleteDeletes the selected file in the Library view.

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Delete Thumbnails

Deletes any thumbnails that were generated for display in the preview window.
Places you inside the symbol where you can edit it.

Edit Symbol

To return to the project's timeline, click the Top

button in the Camera view's

top-left corner, press Ctrl + Shift + E (Windows/Linux) or ⌘ + Shift + E (macOS).
Remove Unused Files

Removes any files not in use in the selected template.

Rename Template

Lets you rename a selected template.

Import Files

Imports vector files such as AI, PDF, and SWF. You requires the right to modify
the library in which you want to import the files.

Folders

New Folder

Creates a new folder in the Library view. Before you can create a new folder, youmust have the right to modify the folder in which you are creating the new folder.

RefreshUpdates the view and its contents.

Open LibraryLets you open a library on your computer.

Close Library

Unlinks a library folder from your library list.

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Model View Menu
The Model View menu lets you load models and view them in different ways, as well as access some drawing
tools.

How to access the Model menul

In the upper-left corner of the Model view, click the menu

button.

Command

Description

Previous Model

Shows the previous model loaded in the Model view.

Next Model

Shows the next model loaded in the Model view.

Import Model

Imports a TVG drawing as a model in the Model view.

Use Current Drawing as
Model

Loads the currently selected drawing in the scene as a model in the Model view.

Load Default Models

Loads TVG drawings placed in a custom models folder located in the scenefolder.

Clear Model

Removes the model from the Model view.

Zoom In

Zooms in the view.

Zoom Out

Zooms out the view.

Reset Zoom

Resets the view’s zoom to its default position.

Reset Pan

Resets the view’s pan to its default position.

Reset View

Resets the view to its default position.

Rotate View CW

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

Rotate View CCW

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

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Reset Rotation

Resets the view’s rotation to its default position.

SelectActivates the Select tool. This tools is also available on the Tools toolbar.

Cutter Selection

Allows to cut a section of the model to paste it in your scene.

Dropper

Activates the Dropper tool. This tools is also available on the Tools toolbar.

Zoom

Activates the Zoom tool. This tools is also available on the Tools toolbar.

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Node View Menu
The Node View menu lets you organize the nodes according to how you like to work and the nodes you use
most often. You can easily add categories and subcategories, remove categories you don't use, and rename
categories.

How to access the Node menul

In the upper-left corner of the Node view, click the menu

Commandbutton.

Description

File
Print

Lets you print the contents of the Node view. You must be connected to a printer.

Cut

Removes selected objects. You can then paste the object or its properties toanother object.

Copy

Copies selected objects and properties.

Paste

Places an object you cut or copied into the location you select in a view.

Paste Special

Lets you copy and paste selected drawings into a different layer or paste theselection in the same layer to duplicate the drawings.

Paste Special Again

Pastes new drawings with the previous Paste Special settings.

DeleteRemoves selected objects.

Select All

Selects all drawing objects in the current drawing window in the Drawing,
Timeline and Camera views. This helps you manage multiple objects as one whenmoving them.

Deselect All

Deselects all selected objects in the Drawing and Camera views.

Invert Selection

Deselects the currently selected items and selects all other items that were not

Edit

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selected. For example, if some lines are selected in a drawing, this command will
deselect them and select any other lines in the drawing that were not selected.
Layer Properties

Shows or hides the Layer Properties view.

Recalculate Selected

Refreshes the node structure and rerenders the display of selected elements when
the Camera View is in render mode.

Recalculate All

Refreshes the node structure and rerenders the display when the Camera view isin render mode.
You can tag elements in the Timeline or Node views to view only those elements.
When you tag elements, an asterisk appears beside the item in the Timeline view.
Once your elements are tagged and you have switched over to View Tagged
Layers mode, the Timeline view will display only tagged elements. The red bar on
the left of the layers indicates you are in this view mode.

Tag

Timeline Tag: Tags selected elements in the Timeline or Node views.
Timeline Untag: Untags selected layer in the Timeline view.
Timeline Untag All: Untags all tagged elements.
Timeline Untag All Others: Untags all elements except the selected one.

Auto Render Write

Renders a frame each time the current frame is changed.
You must have a Write node in your node structure to use this command.

Select Child Skipping
Effects

Lets you select the first element parented to the selected peg element in theTimeline view skipping effects in the hierarchy.

Select Child

Lets you select the first element parented to the selected peg element in theTimeline view.

Select Group Content

Select contents within the group node.

Select Children

Lets you select all elements parented to the selected peg element in the Timelineview.

Select Parent

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Skipping Effects

effects in the hierarchy.

Select Parent

Lets you select the parent of the selected element in the Timeline view.

Select Previous
Sibling

Lets you select the previous element (above current element) in the Timeline view.

Select Next Sibling

Lets you select the next element (below current element) in the Timeline view.

Zoom In Node View

Zooms in the view.

Zoom Out Node View

Zooms out the view.

Reset Zoom

Resets the view’s zoom to its default position.

Centre on Selection

Centre the display of the Node view on the selected node. This is useful when
you have many nodes in the Node view, you may find it hard to locate which one
is selected.

Reset Pan

Resets the view’s pan to its default position.

Reset View

Resets the view to its default position.

Show All Nodes

Display all nodes.

Editor

Display the Layer Properties editor of the selected node.

Publish Attribute
Node

To quickly access parameters for nodes that are grouped, you can select yourmost common parameters to modify and make them appear in the group Layer
Properties editor. This way, you can access them directly without having to enter
the group every time.

Show Selected
Thumbnails

Displays the thumbnails of selected nodes.

Hide All Thumbnails

Hides all the thumbnails of selected nodes.

View

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Hide Navigator: Hides the navigator.
Top Right: Places the navigator in the top-right corner of the Node view.
Navigator

Top Left: Places the navigator in the top-left corner of the Node view.
Bottom Right: Places the navigator in the bottom-right corner of the Node view.
Bottom Left: Places the navigator in the top-left corner of the Node view.
Line: Use straight lines to show the connections between nodes.

Cable Style
Bezier: Use curved (Bezier) lines to show the connections between nodes.
Nodes
EnableActivate the selected node.

DisableDeactivate the selected node.

Enable All

Activate all nodes.

Disable All Others

Deactivates all nodes except for those those selected. This operation only affects
the current level layers. It does not affect the nested nodes within a group.
Deactivated nodes appear in red.

Clone
Selected Nodes:
Drawings and Timing

Creates a copy of the selected element that is linked to the original. If a drawing is
modified in the original or cloned layer, both will be updated. However, cloned
layers can have different timings.

Clone
Selected Nodes:
Drawings Only

When you clone a node, it does not automatically connect itself to the Composite
node of your scene.
You can clone the drawings only or both the drawings and timing.

Duplicate Selected
Nodes

Creates an independent copy of the selected element. This useful when you needto modify the element independently, including the timing (exposure). Changes tothe original element do not propagate to the duplicate.

Group Selection

Creates a simple group from your selection. The resulting group displays thesame number of connections as elements in the group.

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Group Selection with
Composite

Group a selection.

Ungroup

Ungroups the selected group of nodes.

Move to Parent
Group

Moves selected nodes up to the parent group level.

Exit Group

Exits the group.

Clear Published
Attributes

Removes the most common parameters you selected for quick access in the Layer
Properties editor of a group.

Composite

Adds a Composite node to the Node view.

Display

Adds a Display node to the Node view.

InsertDrawing

Opens the Add Drawing Layer dialog box where you can specify the type of layer
to add.

Group

Adds a Group node to the Node view.

Parent Peg

Adds a new peg to the timeline as a parent of the selected layer.

Peg

Adds a Peg node to the Node view.

Effects

Lets you add effects from these categories: 3D, Combine, Deformation,
Favourites, Filter, Generator, Group, Misc, Move, Output, Particle, Sapphire,
Shading and Plugins.

Backdrop

Adds a backdrop to the Node view. Backdrops are a way to work with complex
node systems that let you associate a selected set of nodes by colour.

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Node Library View Menu
The Node Library View menu lets you organize the nodes according to how you like to work and the nodes you
use most often. You can easily add categories and subcategories, remove categories you don't use, and rename
categories.

How to access the Node Library menul

In the upper-left corner of the Node Library view, click the menu

button.

Command

Description

New Category

Adds a new category to the list of categories to which you can organize nodes
according to how you like to work and the nodes you use most often.

Rename Category

Renames an existing category.

Remove Category

Remove a category you no longer need.

Remove Node

Removes a node from a category.

RefreshUpdates the view and its contents.

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Onion Skin View Menu
The Onion Skin view menu contains extra options for controlling the Advanced Onion Skin. It is accessible via
the Onion Skin view—see Onion Skin View on page 1097

How to access the Onion Skin view menu
1. In the top-left corner of the Onion Skin view, click on theCommandView Menu button.

Description

Enables Advanced Onion Skin. Advanced Onion Skin allows you to select, on the fly, which
drawings to include in your Onion Skin, even if those drawings are not consecutive drawings, aswell as the opacity scales for the drawings before and after the current frame.
Advanced
Onion Skin

The controls for selecting which drawings to display in the Onion Skin as well as their opacity
sliders are only accessible when Advanced Onion Skin is enabled. Otherwise, when using regularOnion Skin, the opacity of drawings in the Onion Skin is determined by the Onion Skin settings in
the Preferences dialog. The amount of drawings to include in the Onion Skin is set using the Onion
Skin Add / Reduce One Previous Drawng and Onion Skin Add / Reduce One Next Drawing
commands, available in the Camera and Drawing toolbars as well as in View > Onion Skin in the top
menu.

Original
Colors

Displays the onion skin using the actual colours of the drawings.

Coloured

Displays the onion skin using the colours selected for the previous and next drawings in theOnion Skin view.

ColouredOutlines

Displays the onion skin using the colours selected for the previous and next drawings, but only as
outlines instead of filled shapes.

Onion Skin
by Frames

Selects the drawings to display in the Onion Skin by the amount of different drawings before andafter the current frame. For example, if the Onion Skin is set to include 2 drawings before and after
the current frame, this will display the nearest two different drawings before and after the drawing in
the current frame in the Onion Skin, even if those drawings are further than 2 frames away from thecurrent frame. This is more useful for frame-by-frame animation.

NOTE
When this option is enabled, the handles allowing you to adjust the extent of the Onion Skinin the Timeline view are not available.

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CommandOnion SkinbyDrawings

Description

Selects the drawings to display in the Onion Skin by the amount of different drawings before andafter the current frame. For example, if the Onion Skin is set to include 2 drawings before and after
the current frame, this will display the nearest two different drawings before and after the drawing in
the current frame in the Onion Skin, even if those drawings are further than 2 frames away from thecurrent frame. This is more useful for frame-by-frame animation.

NOTE
When this option is enabled, the handles allowing you to adjust the extent of the Onion Skinin the Timeline view are not available.

Displays onion skins with a lighter, less saturated colour. The further away the drawing is from thecurrent frame, the more washed its colour appears.
Apply
ColourWash

NOTE
The minimum and maximum colour wash values for Onion Skin can be customized in the
Drawing tab of the Preferences dialog.

In the Drawing View, when the Light Table is enabled, making other layers visible alongside theEnableOnion Skin
for OtherElements

current layer, this will make the Onion Skin for other visible layers appear alongside the Onion Skin
for the current layer. Drawings for elements above the current layer will appear in blue, and drawings
for elements below will appear in yellow.

NOTE
The drawings from other elements that get displayed in the Onion Skin are the drawings thatare exposed at the same time as the drawings displayed in the current layer's Onion Skin.

When enabled, the opacity sliders in the Onion Skin view will move simultaneously as you adjust
one of them, so that the opacity levels for previous and next drawings progresses from the opacity
level of the first drawing to the opacity level of the last drawing.
Link
Sliders

When this mode is enabled, you can adjust the first and last sliders for previous or next drawings,
then, optionally, adjust a single one of the sliders in-between to create a segmented progression.
However, if you want to make the opacity of Onion Skin drawings to vary in any way that is more
complex, you must disable this option.

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Perspective View Menu
The Perspective View menu lets you select and edit elements, manipulate the view during scene setup, setparameters for animation and access animation tools.

How to access the Perspective menul

In the upper-left corner of the Perspective view, click the menu

Commandbutton.

Description

Edit

Cut

Removes selected objects. You can then paste the object or its properties toanother object.

Copy

Copies selected objects and properties.

Paste

Places an object you cut or copied into the location you select in a view.

DeleteRemoves selected objects.

Select All

Selects all drawing objects in the current drawing window in the Drawing,
Timeline and Camera views. This helps you manage multiple objects as one
when moving them.

Deselect All

Deselects all selected objects in the Drawing and Camera views.

Invert Selection

Deselects the currently selected items and selects all other items that were notselected. For example, if some lines are selected in a drawing, this command
will deselect them and select any other lines in the drawing that were notselected.

Select Child Skipping
Effects

Lets you select the first element parented to the selected peg element in theTimeline view skipping effects in the hierarchy.

Select Child

Lets you select the first element parented to the selected peg element in theTimeline view.

Select Children

Lets you select all elements parented to the selected peg element in the306Harmony 16.0 Premium Reference Guide

Timeline view.
Select Parent Skipping
Effects

Lets you select the parent of the selected element in the Timeline view
skipping effects in the hierarchy.

Select Parent

Lets you select the parent of the selected element in the Timeline view.

Select Previous Sibling

Lets you select the previous element (above current element) in the Timelineview.

Select Next Sibling

Lets you select the next element (below current element) in the Timeline view.

Zoom In

Zooms into the view, towards the view's pivot point, up to 80,000%.

Zoom Out

Zooms out of the view, away from the view's pivot point, up to 1%.

Move Forward

Moves infinitely forward into the view, using the direction set by the current
position and angle of rotation.

Move Backward

Moves infinitely backwards out of the view, using the direction set by thecurrent position and angle of rotation.

Reset Zoom

Resets the view’s zoom to its default position.

Reset Pan

Resets the view’s pan to its default position.

Reset View

Resets the view to its default position.

Face Selected to Draw

Resets any rotations made and brings the selected object to the center of theview. Displaying the drawing object at this perspective is intended to facilitatedrawing on the object.

Look at Selected

Resets view to have the selected object at the center, without resetting therotation angles or zoom.

Layer Properties

Shows or hides the Layer Properties view.

View

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Light Table

Turns on the light table so you can see Turns on the light table so you can see
the previous and subsequent active layers in washed-out colours. It is usefulfor seeing the other layers when designing, animating or cleaning up youranimation.

Camera Cone

Displays the camera cone.

Control

Displays the controls of the selected element.

Hide All Controls

Hides the controls of the selected element.

Enable Playback

Plays back your animation in the Perspective view.

Animation
Animate Animate

AnimateCurrent
Frame

When this option is selected, every time you use theTransform,
Advanced Animation orInverse Kinematic tools to manipulate
an element in your scene, the position of the element will be stored in a
keyframe at the current frame. This allows you to animate elements in yourscene without creating keyframes manually.

When this option is selected, if you use theAnimate Onion
Skin Range

When this option is selected, if you use theAnimate Off

Transform or

Advanced Animation tools to make transformations to an element in yourscene, the transformations will be stored as keyframes at the beginning and at
the end of the current Onion Skin range, as well as on every existing keyframe
in-between. This can be useful if you want to reposition an element that you
have already animated, but only during a specific range of frames, which you
can define by enabling Onion Skin and setting the Onion Skin range to coverthat range of frames.

Transform or

Advanced Animation tools to make transformation to an element in yourscene, the transformations will affect the element throughout the whole
scene. This can be useful if you want to reposition an element after you havealready animated it.

Insert Keyframe

Adds a keyframe to the currently selected frame in the Timeline view.

Insert Control Point

Adds a control point to the motion path at the currently selected frame. This
control point does not appear in the Timeline, but can be used to reshape the308Harmony 16.0 Premium Reference Guide

motion path. In order for this command to work, layers must be set to 3D
Path.

Set Stop-Motion
Keyframe

Sets a stop-motion keyframe which there is no computer-generated motion
between two keyframes. The segment is constant or flat. The drawing remains
still until the playback reaches the next keyframe, then the drawing pops to its
new location.
Sets a motion keyframe. With motion keyframes, Harmony generates the

Set Motion Keyframeinterpolation between the keyframes. This means that a value for each frame
between the keyframes is calculated by Harmony to progress from the value ofthe previous keyframe to the value of the next keyframe.
Flip Horizontal: Flips the current selection horizontally.
Flip Vertical: Flips the current selection vertically.

Flip

Flip Scale X: Once your drawing layer is rotated, the original horizontal andvertical axes change. The Flip Scale X and Flip Scale Y will perform a flip on
your drawing layer following its original axis.Remembers the original X-axis of
the layer and flips the element following it.
Flip Scale Y: Remembers the original Y-axis of the layer and flips the element
following it.

Set Ease for Multiple
Parameters

Opens the Set Ease for Multiple Parameters dialog box where you can change
the velocity of selection functions.

Linear Motion

Straightens out the motion path on either sides of the selected control point.

Lock in Time

Indicates whether the point is locked to a specific frame (keyframe) or only
locked to a specific position and the curve can flow through it freely as otherpoints are being added, moved, or adjusted (control point).

No Z Dragging

Locks the Z value when you're animating in 3D space. This means you can
only reposition your object along the x and y axes.

Substitute Drawing
Previous

Replaces the drawing or cell's symbol on the current frame by the next
drawing.

Substitute Drawing Next

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Select Previous Keyframe/PointSelect the previous keyframe/point.

Select Next Keyframe/PointSelect Next Keyframe /Point

Lock: Locks Locks one or a multiple selection of layers.
Unlock: Unlocks Unlocks one or a multiple selection of locked layers.
Lock

Lock All: Locks Locks all the layers in the Timeline view.
Unlock All: Unlocks Unlocks all the layers in the Timeline view.
Lock All Others: Locks Locks every layer except the selected ones.

Reset

Returns Returns the value of the selected element to the initial value of theactive tool. For example, if the Rotate tool is active, the transformation angle
will be reset to 0 and if the Transform tool is active, all the transformation
values will be reset.

Reset All

Resets Resets all transformations on the current frame in a selected layer. Your
keyframe will remain, but all the values will return to the starting value. Alltransformations are reset regardless of the tool you're using.

Reset All Except Z

Resets Resets all transformations on the current frame except the Z position.
This is useful when doing cut-out animation. Cut-out puppets often have aparticular Z ordering for the different views of a character. You might want toreset the transformation, but not necessarily the Z position.

Animation Tools
Transform

Allows you to select drawing layers and position, rotate, scale and skew them.

TranslateLets you move the selected element along the X and Y axes.

RotateTurns a selected element around its pivot point.

Scale

Increases or decreases the size of a selected element. You can scale an object
up to make it larger or down to make it smaller. Press Shift to scale the310Harmony 16.0 Premium Reference Guide

element while maintaining its proportions.

Maintain Size

Keeps elements the same size aspect ratio in the Camera view as you movethem towards or away from the camera.

Skew

Slants the selected element.

Reposition Drawing

Lets you reposition, scale, rotate or skew all drawing strokes on every drawing
included in a layer.

Spline Offset

Lets you Lets you reposition the visual trajectory without offsetting or
modifying your animation. By default, the trajectory is located at 0,0,0 fields. If
your elements were drawn in a different location than the centre of thedrawing area, it will look like the trajectory is not aligned with your drawing.
Also, if you have several elements attached to one trajectory, you might wantyour trajectory to be at a different location to represent the group's motion
better.

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Script Editor View Menu
The Script Editor view menu gives you access to all of the commands needed for editing and testing scripts in
the Script Editor view—see Script Editor View on page 1106.

How to access the Script Editor view menu
1. Add the Script Editor view to your workspace by doing one of the following:l

In the top-right corner of an existing view, click on the

Add View button and select Script

Editor.
l

In the top menu, select Windows > Script Editor.

2. In the top-left corner of the Script Editor view, click on the

ButtonMenu button.

Description

File
Creates a new script. When you click on this button, you are first prompted to type in a
name for the script. Then, you will be prompted to select which location to save thescript in:l

User: Saves the script to a directory in your user preferences directory. You will
be able to run and edit the script from any scene as long as you are logged in as
the same user.

NOTE
If you are using Harmony Stand Alone, the script will be saved to thepreferences for your account on your computer. if you are using Harmony
Server, the script will be saved to the preferences for your Harmony
database user.

New Script
l

l

l

l

Global: If you are using Harmony Server, select this option to save the script to
the Harmony database's global script directory. Anyone who is logged in to the
database will be able to edit and run this script.
Environment: If you are using Harmony Server, select this option to save thescript to the current scene's environment. Anyone will be able to edit and run thescript as long as they are working on a scene inside this environment.
Job: If you are using Harmony Server, select this option to save the script to thecurrent scene's job. Anyone will be able to edit and run the script as long as they
are working on a scene inside this job.
Scene: Save the script to the scene's scripts sub-folder. Anyone will be able to312Harmony 16.0 Premium Reference Guide

ButtonDescription

edit and run the script when working on this specific scene.
lSystem Variable: Save the script to the directory in the TOONBOOM_GLOBAL_SCRIPT_LOCATION environment variable. This option is only available if thisenvironment variable is set.

NOTE
For more information on script locations, see Script list on page 1106.

Allows you to import a script from your machine into Harmony. When you click on thisbutton, you are prompted to browse for and select a script on your file system. Then,
you are prompted to select which location to import the script in:l

User: Saves the script to a directory in your user preferences directory. You will
be able to run and edit the script from any scene as long as you are logged in as
the same user.

NOTE
If you are using Harmony Stand Alone, the script will be saved to thepreferences for your account on your computer. if you are using Harmony
Server, the script will be saved to the preferences for your Harmony
database user.

Import Script

l

l

l

l

l

Global: If you are using Harmony Server, select this option to save the script to
the Harmony database's global script directory. Anyone who is logged in to the
database will be able to edit and run this script.
Environment: If you are using Harmony Server, select this option to save thescript to the current scene's environment. Anyone will be able to edit and run thescript as long as they are working on a scene inside this environment.
Job: If you are using Harmony Server, select this option to save the script to thecurrent scene's job. Anyone will be able to edit and run the script as long as they
are working on a scene inside this job.
Scene: Save the script to the scene's scripts sub-folder. Anyone will be able toedit and run the script when working on this specific scene.
System Variable: Save the script to the directory in the TOONBOOM_GLOBAL_SCRIPT_LOCATION environment variable. This option is only available if thisenvironment variable is set.

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ButtonDescription

NOTES
l

l

When you import a script, any user interface (.ui) or icon (.png) filethat is in the same directory and has the same filename as the script
will also be imported.
For more information on script locations, see Script Editor View on
page 1106.

Deletes the selected script.

NOTES
l

Delete ScriptlRefresh Script
File List

You cannot delete a script if it is in the Application Resources location,
as those are scripts that are installed with Harmony.
If you delete a script that was originally in Application Resources but
which you copied to another location so you could make changes to it,
the original version of the script in the Application Resources folder
will be restored to the list.

Refresh the list of scripts in the Script Editor. If there are new scripts in your user
preferences or your scene's scripts sub-folder, click on this button to be able to open
them in the Script Editor.

EditorAllows you to type in the path and name for your preferred text editing software.

NOTES
Set External
Editorll

External Editor

On macOS, only typing the name of your preferred text editing softwareis enough if that application supports the AppleScript Open Document
protocol.
On Windows and GNU/Linux, unless your text editor is in yoursystem's PATH environment variable, you will have to type in the fullpath to the editor.

Opens the selected script in the chosen external text editing software.

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ButtonDescription

Play/Debug
Prompts you to select which script and which function to use with the Run and Debugcommands.

NOTES
Set Targetll

You can set the entire script as the target by selecting the <Nothing>
function from the functions list.
You cannot link an entire script to a toolbar button. Only functions
within scripts can be added as toolbar buttons. Therefore, running or
debugging an entire script rather than one of its functions should bedone for testing purposes only.

Runs the target script and function.

NOTES
l

Run
l

l

If you have not set a target script and function, you will be prompted to
set one when you select this command.
You can set or change the target script and function by selecting Set
Target from this menu.
If you are editing <<<Sandbox>>>, this button will simply run what
you typed into the sandbox, regardless of whether another target is set.

Open the target script and function in the Qt Script Debugger, in which you can test anddebug the function.

NOTES
l

Debug
l

l

Stop

If you have not set a target script and function, you will be prompted to
set one when you select this command.
You can set or change the target script and function by selecting Set
Target from this menu.
If you are editing <<<Sandbox>>>, this button will simply debug what
you typed into the sandbox, regardless of whether another target is set.

If a script is currently running, this interrupts its execution.

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ButtonDescription

Help
Opens the reference documentation for the Harmony scripting interface in a web
browser.
ScriptingInterfaceDocumentation

NOTE
This documentation is installed with Harmony and does not require Internet
access.

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Side View Menu
The Side View menu lets you position elements in 3D space, set parameters for animation and access animation
tools—see Side View on page 1111.

How to access the Side menul

In the upper-left corner of the Side view, click the menu

Commandbutton.

Description

Edit

Cut

Removes selected objects. You can then paste the object or its properties toanother object.

Copy

Copies selected objects and properties.

Paste

Places an object you cut or copied into the location you select in a view.

DeleteRemoves selected objects.

Select All

Selects all drawing objects in the current drawing window in the Drawing,
Timeline and Camera views. This helps you manage multiple objects as one whenmoving them.

Deselect All

Deselects all selected objects in the Drawing and Camera views.

Invert Selection

Deselects the currently selected items and selects all other items that were notselected. For example, if some lines are selected in a drawing, this command will
deselect them and select any other lines in the drawing that were not selected.

Select Child Skipping
Effects

Lets you select the first element parented to the selected peg element in theTimeline view skipping effects in the hierarchy.

Select Child

Lets you select the first element parented to the selected peg element in theTimeline view.

Select Children

Lets you select all elements parented to the selected peg element in the Timeline
view.

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Select Parent
Skipping Effects

Lets you select the parent of the selected element in the Timeline view skipping
effects in the hierarchy.

Select Parent

Lets you select the parent of the selected element in the Timeline view.

Select Previous
Sibling

Lets you select the previous element (above current element) in the Timeline view.

Select Next Sibling

Lets you select the next element (below current element) in the Timeline view.

Zoom In

Zooms in the view.

Zoom Out

Zooms out the view.

Reset Zoom

Resets the view’s zoom to its default position.

Reset Pan

Resets the view’s pan to its default position.

Reset View

Resets the view to its default position.

Layer Properties

Shows or hides the Layer Properties view.

Camera Cone

Displays the camera cone.

Control

Displays the controls of the selected element.

Hide All Controls

Hides the controls of the selected element.

Enable Playback

Plays back your animation in the Perspective view.

View

Animation
AnimateAnimateCurrent
Frame

When this option is selected, every time you use theTransform,
Advanced Animation orInverse Kinematic tools to manipulate an

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element in your scene, the position of the element will be stored in a keyframe at
the current frame. This allows you to animate elements in your scene without
creating keyframes manually.

When this option is selected, if you use theAnimateOnion Skin
Range

Transform or

Advanced Animation tools to make transformations to an element in your scene,
the transformations will be stored as keyframes at the beginning and at the end of
the current Onion Skin range, as well as on every existing keyframe in-between.
This can be useful if you want to reposition an element that you have alreadyanimated, but only during a specific range of frames, which you can define byenabling Onion Skin and setting the Onion Skin range to cover that range offrames.

When this option is selected, if you use theAnimate Off

Insert Keyframe

Transform or

Advanced Animation tools to make transformation to an element in your scene,
the transformations will affect the element throughout the whole scene. This canbe useful if you want to reposition an element after you have already animated it.
Adds a keyframe to the selected cell in the Timeline view.

Insert Control Point

Set Stop-Motion
Keyframe

Sets a stop-motion keyframe which there is no computer-generated motion
between two keyframes. The segment is constant or flat. The drawing remains
still until the playback reaches the next keyframe, then the drawing pops to its
new location.

Set Motion Keyframe

Sets a motion keyframe. With motion keyframes, Harmony generates theinterpolation between the keyframes. This means that a value for each frame
between the keyframes is calculated by Harmony to progress from the value ofthe previous keyframe to the value of the next keyframe.
Flip Horizontal: Flips the current selection horizontally.
Flip Vertical: Flips the current selection vertically.

Flip

Flip Scale X: Once your drawing layer is rotated, the original horizontal andvertical axes change. The Flip Scale X and Flip Scale Y will perform a flip on yourdrawing layer following its original axis.Remembers the original X-axis of thelayer and flips the element following it.
Flip Scale Y: Remembers the original Y-axis of the layer and flips the element319

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following it.
Set Ease for Multiple
Parameters

Opens the Set Ease for Multiple Parameters dialog box where you can change thevelocity of selection functions.

Linear Motion

Transforms a curved path to a linear path removing tension, bias, and continuity.

Lock in Time

Indicates Indicates whether the point is locked to a specific frame (keyframe) or
only locked to a specific position and the curve can flow through it freely as otherpoints are being added, moved, or adjusted (control point).

No Z Dragging

Keeps the Z value constant when you drag a character using the Transform orTranslate tool.

Substitute Drawing
Previous
Replaces the drawing or cell's symbol on the current frame by the next drawing.
Substitute Drawing
Next
Select Previous
Keyframe /Point
Select Next Keyframe/PointSelect the previous keyframe/point.

Select Next Keyframe /Point

Lock: Locks Locks one or a multiple selection of layers.
Unlock: Unlocks Unlocks one or a multiple selection of locked layers.
Lock

Lock All: Locks Locks all the layers in the Timeline view.
Unlock All: Unlocks Unlocks all the layers in the Timeline view.
Lock All Others: Locks Locks every layer except the selected ones.

Reset

Returns Returns the value of the selected element to the initial value of the active
tool. For example, if the Rotate tool is active, the transformation angle will bereset to 0 and if the Transform tool is active, all the transformation values will bereset.

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Reset All

Resets Resets all transformations on the current frame in a selected layer. Your
keyframe will remain, but all the values will return to the starting value. Alltransformations are reset regardless of the tool you're using.

Reset All Except Z

Resets Resets all transformations on the current frame except the Z position. Thisis useful when doing cut-out animation. Cut-out puppets often have a particular
Z ordering for the different views of a character. You might want to reset thetransformation, but not necessarily the Z position.

Animation Tools
Transform

Allows you to select drawing layers and position, rotate, scale and skew them.

TranslateLets you move the selected element along the X and Y axes.

RotateTurns a selected element around its pivot point.

Scale

Increases or decreases the size of a selected element. You can scale an object up
to make it larger or down to make it smaller. Press Shift to scale the element while
maintaining its proportions.

Maintain Size

Keeps elements the same size aspect ratio in the Camera view as you move them
towards or away from the camera.

Reposition Drawing

Lets you reposition, scale, rotate or skew all drawing strokes on every drawing
included in a layer.

Spline Offset

Lets you Lets you reposition the visual trajectory without offsetting or modifying
your animation. By default, the trajectory is located at 0,0,0 fields. If your elements
were drawn in a different location than the centre of the drawing area, it will look
like the trajectory is not aligned with your drawing. Also, if you have several
elements attached to one trajectory, you might want your trajectory to be at adifferent location to represent the group's motion better.

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Timeline View Menu
The Timeline View menu lets you modify layers, keyframe and timing.

How to access the Timeline menul

In the upper-left corner of the Timeline view, click the menu

Parameter

button.

Description

ImportFrom Scanner

Imports drawings from a TWAIN scanner.

ImagesImports bitmap images which you can choose to vectorize.

SoundsLets you import sound files into your project.

Cut cells from Xsheet

Removes selected objects. You can then paste the object or its properties toanother object.

Copy cells fromXsheetCopies selected objects and properties.

Paste

Places an object you cut or copied into the location you select in a view.

Paste Special

Lets you copy and paste selected drawings into a different layer or paste theselection in the same layer to duplicate the drawings.

Paste Special Again

Pastes new drawings with the previous Paste Special settings.

Paste Cycle

Cycles a portion of an animation. You can increase or decrease the number ofcycles to paste and select a type of cycle: Normal, Reverse, Forward-Reverse andReverse-Forward.

Paste Reverse

Reverses the timing of drawings or keyframes in range of selection after copying.

Edit

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DeleteRemoves selected objects.

Modify Paste Presets

Lets you modify existing presets when pasting keyframes and exposures. There
are three presets you can modify: the default presets for both key frames andexposures, key frames only and exposures only.

Select All

Selects all drawing objects in the current drawing window in the Drawing,
Timeline and Camera views. This helps you manage multiple objects as one whenmoving them.

Deselect All

Deselects all selected objects in the Drawing and Camera views.

Invert Selection

Deselects the currently selected items and selects all other items that were notselected. For example, if some lines are selected in a drawing, this command will
deselect them and select any other lines in the drawing that were not selected.

Select Synced Layers

Selects all the layers synced to the selected layer. The selected layer must be a
synced in order for this option to be enabled.

Select Child Skipping
Effects

Lets you select the first element parented to the selected peg element in theTimeline view skipping effects in the hierarchy.

Select Child

Lets you select the first element parented to the selected peg element in theTimeline view.

Select Children

Lets you select all elements parented to the selected peg element in the Timelineview.

Select Parent
Skipping Effects

Lets you select the parent of the selected element in the Timeline view skipping
effects in the hierarchy.

Select Parent

Lets you select the parent of the selected element in the Timeline view.

Select Previous
Sibling

Lets you select the previous element (above current element) in the Timeline view.

Select Next Sibling

Lets you select the next element (below current element) in the Timeline view.

Lock

Lock: Locks Locks one or a multiple selection of layers.

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Unlock: Unlocks Unlocks one or a multiple selection of locked layers.
Lock All: Locks Locks all the layers in the Timeline view.
Unlock All: Unlocks Unlocks all the layers in the Timeline view.
Lock All Others: Locks Locks every layer except the selected ones.
Timeline Tag: You can tag elements in the Timeline or Node views to view only
those elements. When you tag elements, an asterisk appears beside the item in
the Timeline view. Once your elements are tagged and you have switched over toView Tagged Layers mode, the Timeline view will display only tagged elements.
The red bar on the left of the layers indicates you are in this view mode.
Tag

Timeline Untag: Untags selected layer in the Timeline view.
Timeline Untag All: Untags all tagged elements.
Timeline Untag All Others: Untags all elements except the selected one.
Mark Current Frame: Places a scene marker on the current frame on which theplayhead is parked. The marker appears in the frame counter area of the Timeline
view. You can customize the colour of the scene marker and add text to display as
a tooltip when you hover over the marker—see .

Scene Markers

Create Scene Marker: Creates a scene marker from a selected frame range in theframe counter area of the Timeline view.
Edit Scene Marker: Lets you edit an existing scene marker.
NOTE: It's important to select the entire length of the scene marker, otherwise theTimeline Scene Marker dialog box will not open for editing.
Delete Scene Marker: Removes an existing scene marker.

Share Functions

Lets you share an existing function curve. By default, all function curves can only
be used and modified using their original parameter. If you want another layer orparameter to use the same function curve, you must share it.

View

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Cycle to Next View
Mode

Displays the new view mode.

Normal View Mode

Displays the Normal view mode, the default in the Timeline view. It shows
everything connected to the chosen display. In this mode, anything notconnected to the currently set default display will not be shown in the Timeline
view. This also means that you cannot add certain elements to the Timeline view,as by default, when added they are not connected to any display or composite
node. An example of such an element is a peg.

Selection Only Mode

Displays only elements currently selected in the Camera or Node view. This makes
it easier to concentrate on one or a few elements at a time.
Lets you see only elements which have been assigned a Tagged status. An itemthat has been tagged will appear in the Timeline view with a small asterisk besideits name.

View Tagged Layers

Once your elements are tagged and you have switched over to View Tagged
Layers mode, the Timeline view will display only tagged elements. The red bar on
the left of the layers indicates you are in this view mode. While in this mode, theasterisks are not displayed beside the tagged elements.

Show Functions

Centre on Selection

Centers the Timeline view on the selected layer. This useful when you have manylayers in the Timeline view, you may find it hard to locate which one is selected.

Change Track Colour

Opens the colour picker window to modify the colour of the selected layer.

Default Track Colour

Resets the layer colour.

Collapse/Expand

Toggles between expanding and collapsing all parent layers in the Timeline view.

Collapse All

Collapses all parented layers in the Timeline view.

Expand All

Expands all parented layers in the Timeline view.

Set Tempo Marker

Lets you set a marker that synchronizes your animation with a musical score. This
lets you reproduce the FPB (Frames Per Beat) and use the tempo signature as
tempo markers. The Xsheet view lets you pace your animation according to thetempo or beat of the soundtrack music or to any rhythmic sound, such as theticking of a clock or water leaking from a spout. See .

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LayersAdd Synced Drawing Layer

Creates a new drawing layer whose timing is synced immediately with thecurrently selected drawing layer.

Sync Layer With

Opens the Convert to Synced Drawing Layer dialog box. In this dialog box, every
other drawing layer in the project can be selected, parented and have its timing
synced to the currently selected layer.

Unsync Layer

Unsyncs the parent layer of a synced pairing, when the child layer is selected.

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Top View Menu
The Top View menu lets you position elements in 3D space, set parameters for animation and access animation
tools—see Top View on page 1124.

How to access the Top menul

In the upper-left corner of the Top view, click the menu

Commandbutton.

Description

Edit

Cut Drawing Object

Removes selected objects. You can then paste the object or its properties toanother object.

Copy Drawing Object

Copies selected objects and properties.

Paste

Places an object you cut or copied into the location you select in a view.

Delete Drawing
ObjectRemoves selected objects.

Select All

Selects all drawing objects in the current drawing window in the Drawing,
Timeline and Camera views. This helps you manage multiple objects as one whenmoving them.

Deselect All

Deselects all selected objects in the Drawing and Camera views.

Invert Selection

Deselects the currently selected items and selects all other items that were notselected. For example, if some lines are selected in a drawing, this command will
deselect them and select any other lines in the drawing that were not selected.

Select Child

Lets you select the first element parented to the selected peg element in theTimeline view.

Select Children

Lets you select all elements parented to the selected peg element in the Timelineview.

Select Parent

Lets you select the parent of the selected element in the Timeline view.

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Select Previous
Sibling

Lets you select the previous element (above current element) in the Timeline view.

Select Next Sibling

Lets you select the next element (below current element) in the Timeline view.

Zoom In

Zooms in the view.

Zoom Out

Zooms out the view.

Reset Zoom

Resets the view’s zoom to its default position.

Reset Pan

Resets the view’s pan to its default position.

Reset View

Resets the view to its default position.

Layer Properties

Shows or hides the Layer Properties view.

Camera Cone

Displays the camera cone.

Control

Displays the controls of the selected element.

Hide All Controls

Hides the controls of the selected element.

Enable Playback

Plays back your animation in the Perspective view.

View

Animation
AnimateAnimateCurrent
Frame

AnimateOnion Skin

When this option is selected, every time you use theTransform,
Advanced Animation orInverse Kinematic tools to manipulate anelement in your scene, the position of the element will be stored in a keyframe at
the current frame. This allows you to animate elements in your scene without
creating keyframes manually.

When this option is selected, if you use theTransform or

Advanced Animation tools to make transformations to an element in your scene,328Harmony 16.0 Premium Reference Guide

Range

the transformations will be stored as keyframes at the beginning and at the end of
the current Onion Skin range, as well as on every existing keyframe in-between.
This can be useful if you want to reposition an element that you have alreadyanimated, but only during a specific range of frames, which you can define byenabling Onion Skin and setting the Onion Skin range to cover that range offrames.

When this option is selected, if you use theAnimate Off

Transform or

Advanced Animation tools to make transformation to an element in your scene,
the transformations will affect the element throughout the whole scene. This canbe useful if you want to reposition an element after you have already animated it.

Insert Keyframe

Adds a keyframe to the selected cell in the Timeline view.

Insert Control Point

Set Stop-Motion
Keyframe

Sets a stop-motion keyframe which there is no computer-generated motion
between two keyframes. The segment is constant or flat. The drawing remains
still until the playback reaches the next keyframe, then the drawing pops to its
new location.
Sets a motion keyframe. With motion keyframes, Harmony generates the

Set Motion Keyframeinterpolation between the keyframes. This means that a value for each frame
between the keyframes is calculated by Harmony to progress from the value ofthe previous keyframe to the value of the next keyframe.
Flip Horizontal: Flips the current selection horizontally.
Flip Vertical: Flips the current selection vertically.

Flip

Flip Scale X: Once your drawing layer is rotated, the original horizontal andvertical axes change. The Flip Scale X and Flip Scale Y will perform a flip on yourdrawing layer following its original axis.Remembers the original X-axis of thelayer and flips the element following it.
Flip Scale Y: Remembers the original Y-axis of the layer and flips the element
following it.

Set Ease for Multiple
Parameters

Opens the Set Ease for Multiple Parameters dialog box where you can change thevelocity of selection functions.

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Linear Motion

Lock in Time

Indicates Indicates whether the point is locked to a specific frame (keyframe) or
only locked to a specific position and the curve can flow through it freely as otherpoints are being added, moved, or adjusted (control point).

No Z Dragging
Substitute Drawing
Previous
Replaces the drawing or cell's symbol on the current frame by the next drawing.
Substitute Drawing
Next
Select Previous
Keyframe /Point

Select the previous keyframe/point.

Select Next Keyframe/PointSelect Next Keyframe /Point

Lock: Locks Locks one or a multiple selection of layers.
Unlock: Unlocks Unlocks one or a multiple selection of locked layers.
Lock

Lock All: Locks Locks all the layers in the Timeline view.
Unlock All: Unlocks Unlocks all the layers in the Timeline view.
Lock All Others: Locks Locks every layer except the selected ones.

Reset

Returns Returns the value of the selected element to the initial value of the active
tool. For example, if the Rotate tool is active, the transformation angle will bereset to 0 and if the Transform tool is active, all the transformation values will bereset.

Reset All

Resets Resets all transformations on the current frame in a selected layer. Your
keyframe will remain, but all the values will return to the starting value. Alltransformations are reset regardless of the tool you're using.

Reset All Except Z

Resets Resets all transformations on the current frame except the Z position. This

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Z ordering for the different views of a character. You might want to reset thetransformation, but not necessarily the Z position.
Animation Tools
Transform

Allows you to select drawing layers and position, rotate, scale and skew them.

TranslateLets you move the selected element along the X and Y axes.

RotateTurns a selected element around its pivot point.

Scale

Increases or decreases the size of a selected element. You can scale an object up
to make it larger or down to make it smaller. Press Shift to scale the element while
maintaining its proportions.

Maintain Size

Keeps elements the same size aspect ratio in the Camera view as you move them
towards or away from the camera.
Lets you Lets you reposition the visual trajectory without offsetting or modifying
your animation. By default, the trajectory is located at 0,0,0 fields. If your elements

Spline Offset

were drawn in a different location than the centre of the drawing area, it will look
like the trajectory is not aligned with your drawing. Also, if you have several
elements attached to one trajectory, you might want your trajectory to be at adifferent location to represent the group's motion better.

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Xsheet View Menu
The Xsheet View menu lets you modify columns, keyframe and timing.

How to access the Xsheet menul

In the upper-left corner of the Xsheet view, click the menu

Parameter

button.

Description

File
Images: Imports bitmap images which you can choose to vectorize.
ImportFrom Scanner: Imports drawings from a TWAIN scanner.
Sounds: Lets you import sound files into your project.

Print

Prints the exposure sheet so you can take it to your animation table, provide a
copy to the animator, or create your Xsheet skeleton directly in Harmony.

Cut cells from Xsheet

Removes selected objects. You can then paste the object or its properties toanother object.

Copy cells fromXsheetCopies selected objects and properties.

Paste

Places an object you cut or copied into the location you select in a view.

Paste Special

Lets you copy and paste selected drawings into a different layer or paste theselection in the same layer to duplicate the drawings.

Paste Special Again

Pastes new drawings with the previous Paste Special settings.

Paste Cycle

Cycles a portion of an animation. You can increase or decrease the number ofcycles to paste and select a type of cycle: Normal, Reverse, Forward-Reverse andReverse-Forward.

Edit

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Paste Reverse

Reverses the timing of drawings or keyframes in range of selection after copying.

DeleteRemoves selected objects.

Select All

Selects all drawing objects in the current drawing window in the Drawing,
Timeline and Camera views. This helps you manage multiple objects as one whenmoving them.

Deselect All

Deselects all selected objects in the Drawing and Camera views.

Insert Mode

Adds a new value or a new value sequence over existing ones, the new values areinserted between the old ones. The existing timing sequence is pushed down thecolumn. The Insert mode opposite of the Overwrite mode, which is the Xsheet
default mode.

Gestural Drag Mode

Lets you drag a cell to any other frame in the same column or into anothercolumn.
This feature does not apply to Annotation columns.

Send to Function
View

Sends selected objects to the Function view where you can edit and adjust its
function curve and parameters.

Zoom In Xsheet

Zooms in the view.

Zoom Out Xsheet

Zooms out the view.

Reset Zoom

Resets the view’s zoom to its default position.

Reset Pan

Resets the view’s pan to its default position.

Reset View

Resets the view to its default position.

View

Set Tempo Marker
Collapse Selection:
Expand/Collapse
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Collapse All:
Expand All:

Column Properties

Lets you rename a column, and enable or disable a column. To view additional
properties, select Edit > Preferences from the top menu. In the Preferences dialog
box, select the Advanced tab, then select the Advanced Element Mode option.

Show Column List

Column Types
Manager

Lets you add advanced column types to create particular animation paths. When
you create these columns, they are not linked automatically to any particulardrawing layer. You can create a motion path using these columns and then link or
unlink several drawing or peg layers to it.

Show Thumbnails

Displays column thumbnails making it easier to identify a particular column. This
option displays a small thumbnail picture of the current frame below the column
header.

Show Selection
Set Columns Width

Lets you change the column width (in pixels) and set it as the default.

All Columns to
Default Width

Returns all columns to their default width of 100 pixels.

Change Columns
ColourLets you customize the colour of the column by selecting one from the SelectColour dialog box. The colour you select is also reflected in the correspondng
layer in the Timeline view.

Default Column
ColourRemoves the colour you assigned to a column (if any).

Hide Selected
Columns

Hides selected columns.

Unhide All Columns

Displays all columns.

Show Hidden
Columns

Displays columns that were previously hidden.

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Enable Playback

Plays back your animation in the Perspective view.

Columns

Add Columns

Lets you add a column. You can specify the column name, type, and set drawing
layer options in the Add Column dialog box that opens.

Delete Columns

Removes the selected column. You have the option to delete the associateddrawing files and element folders.

Clone Selected
Columns: Drawings
Only
Clone Selected
Columns: Drawings
and Timing

Duplicate Selected
Columns

Creates a copy of the selected column that is linked to the original. If a drawing is
modified in the original or cloned column, both will be updated. However, cloned
columns can have different timings.
You can clone the drawings only or both the drawings and timing.

Creates an independent copy of the selected column. This useful when you needto modify the element independently, including the timing (exposure). Changes tothe original element do not propagate to the duplicate.
There are two methods of merging drawings.
lMerge Selected
Columnsl

You can merge selected drawings in adjacent elements. The columns andlayers will be left intact, and each new merged drawing will reside in theframes of the left-most column or lower layer.
You can merge elements. All drawings will be merged. Unused columns
and layers will be deleted, but the original drawing files are still accessible.

FramesAdd Frames At Start
Adds the number of frames you specify to the end of the scene.
Add Frames At End
Add Frames Before
Selection
Adds the number of frames you specify before or after your selection.
Add Frames After
Selection

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Remove Selected
FramesDeletes the selected frames from your scene.

Drawings

Create Empty
Drawing

Duplicate Drawings

Creates Creates a drawing in the selected cell, replacing any drawing that may
already be exposed in that cell and the following ones until it meets anotherdrawing, key exposure or a blank cell.
Lets you duplicate the drawing and work on a copy of it. This lets you modify anexisting drawing but retain the original. When duplicating a drawing, the selected
cell is replaced with the new drawing. The exposure of the original drawing thatwas on the current cell is removed. The original drawing is not deleted from the
project folder or other cells in which it is exposed.
When duplicating a drawing, the selected cell is replaced with the new drawing.
The exposure of the original drawing that was on the current cell is removed. The
original drawing is not deleted from the project folder or other cells in which it is
exposed.

Rename Drawing

Lets you give a selected drawing a new name.
Marks selected drawings as one of the following: Key, Breakdown, In-between,
RetakeKey, RetakeBD or RetakeIB.

Mark Drawing As

This helps to keep the Xsheet well organized while animating.
When working with several animators, directors or even other studios, thenecessity for retakes will often arise. Harmony gives you the possibility to marknew drawings as either Retake Key, Retake Breakdown, or Retake In-betweens.

Substitute Drawing
Previous
Replaces the drawing or cell's symbol on the current frame by the next drawing.
Substitute Drawing
Next
Exposure

Increase

Adds Adds one more exposure to a selected cell; repeating this action adds anextra cell each time. This is an efficient way to extend a drawing's exposure and isalways set in Insert mode. Increasing an exposure pushes the existing exposure
forward.

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Decrease

Decreases exposure of a selected cell by one; repeating this action decreases one
exposure adds an extra cell each time. This is an efficient way to shorten adrawing's exposure. Decreasing an exposure pulls in the existing exposure.

Set Exposure toLets you set the exposure to 1, 2, 3 or a custom exposure.

Extend Exposure

Lets you extend the length of a selected cell.

Add Key Exposure

Adds a key exposure to the selected cell.

Remove Key
Exposure

Removes only the key exposure (key frames) not all the exposures. The existing
key exposure is replaced by the preceding exposure.

Remove Duplicate
Key Exposure

When working with drawings to adjust the timing of a mouth in a lipsync, forexample, and forcing the use of specific key exposures, unnecessary key
exposures will be created. You can delete these duplicates without affecting therest of the drawing. The first drawing of the selection will be used for the range.

NOTE
Duplicate key exposures may occur when pasting with the Enforce Key
Exposure option selected.

Fill Empty Cells

Lets you Lets you fill empty cells to extend the exposure of single frame drawings
to fill the range of empty cells after each one.When creating drawings on cells
that are not side-by-side, the exposure of the first drawing no longer fills
automatically. You must select the frame range where you want your drawings tohold their exposure up to the next drawing and use the Fill Empty Cells command.

Insert Blank Cell

Adds Adds an empty cell between other cells.

Clear Exposure

Removes the exposure from the selected cell.

Clear Exposure andPull

Replaces the exposure from the selected cell with exposures that follow it.

Fill Selection

Lets you Lets you fill the same value over an entire selection. The selection can beover one cell, a cell range in one column, a cell range over many columns, anentire column, or many columns. You can use numbers, words, letters, or any
alphanumeric value.

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Sequence Fill

Lets you Lets you create a numbered sequence over a selection. The sequence canbe forward, backward, single, double or higher increment, as a cycle, and so on.
The selection can be over one cell or a cell range in one column or more or an
entire column or many entire columns.

Fill Cells Randomly

Lets you Lets you fill in random values over a selection. You can give a maximum
and a minimum value and create a range for Harmony to choose the random
values from. The selection can be over one cell or a cell range in one column or
more or an entire column or many entire columns.

Hold Exposure

Lets you expose a drawing for three, four, or five cells and so on.

MotionInsert Keyframe
Insert Keyframe andDuplicate Drawing
Delete Keyframes

Deletes the selected keyframes.

Go to Previous
Keyframe
Go to Next Keyframe

Set Stop-Motion
Keyframe

Sets a stop-motion keyframe which there is no computer-generated motion
between two keyframes. The segment is constant or flat. The drawing remains
still until the playback reaches the next keyframe, then the drawing pops to its
new location.

Set Motion Keyframe

Sets a motion keyframe. With motion keyframes, Harmony generates theinterpolation between the keyframes. This means that a value for each frame
between the keyframes is calculated by Harmony to progress from the value ofthe previous keyframe to the value of the next keyframe.

Morphing

Create Morphing

Allows you to create and configure a morphing sequence, which willautomatically generate the in-betweens between two drawings in the current
layer.

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Delete Morphing

Once a cell is selected in a morphing sequence, deletes the entire sequence
between the two keyframes.

Insert Morphing Key
Drawing

Creates a morphing keyframe from a selected morphing frame.

Convert Morphing toDrawing

Lets Lets you convert your morphing inbetweens to real drawings you can edit.
This is useful when manually editing a morphing sequence or if you prefer to haveanimation timing in double frame (on twos) instead of single frame (on ones).

Lip-Sync
Change Mouth Shapeto

Lets you change the mouth shape to one of the following: A, B, C, D, E, F, G, X.

Auto Lip-Sync
Detection

Generates a sound detection for lip-sync.

Map Lip-Sync

Automatically maps Automatically maps drawings in an element to the mouth
chart you have generated for a sound. This can save time when you are lipsynching a voice track.

Sound Display

Sound Name

Shows the name of the sound file, as well as the file format. The line running
vertically through the column frames between the same file name indicates acontinuity of the same sound file in these frames.

Mouth Shapes

Shows the letter (or name depending on the way you named your character's
different mouth positions) in the column's frames. There is only one mouth
position allotted per frame and this position should correspond to the sound fileafter performing a lip-sync.

Waveform

Shows a vertical display of the sound file's actual waveform. In the column
header, in the field under the column name, you can type in a percentage to zoom
in or zoom out on the waveform, or pass the scroll cursor
Waveformicon.

Sound Edit

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Insert Blank Cell

Places an empty cell between other cells.

Clear Exposure andPull

Replaces the exposure from the selected cell with exposures that follow it.

Annotation
Import FileLets you import an image file in an Annotation column.

Change Pen Colour

Lets you change the pen colour by selecting one from the Select Colour dialog
box.

Pen Width

Lets you select a pen preset or change the pen width (in pixels).

Eraser Width

Lets you modify the width of the Eraser tool.

Erase All

Removes all text and drawn annotations. Annotations that you type in cannot be
erased using this method.

Erase Selected
ImagesRemoves images you select in the Annotation column.

Erase Selected Texts

Removes text you select in the Annotation column.

Enable Drawing

Lets you draw in the Annotation column using your mouse or pen tablet.

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Chapter 3: Nodes / Layers
The Node view is a visual representation of how every element in your scene, be it drawing layers, pegs, effects
and others are combined together to form the final composited image. It allows you to rig the elements in yourscene together and add a wide range of effects to your scene. Getting to know how to use the Node view isimportant especially for rigging cut-out models, adding effects to scene or managing the way your scene iscomposited, rendered and displayed in Harmony.

3D Nodes349

3D Kinematic Output Node350

Flatten Node

353

Render Maya Batch Node355

Subnode Animation Node361

Z Buffer Smoothing Node365

Combine Nodes

367

Blending Node368

Composite Node374

Composite-Generic Node379

Cutter Node385

Highlight Node

387

Image Switch Node

391

Matte-Composite Node

393

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Tone Node397

Transformation Switch Node

401

Constraint Nodes

403

Constraint Switch Node405

Dynamic Spring Node408

Multi-Points Constraint Node414

Static Transformation Node417

Three-Points Constraint Node

420

Transformation Gate Node423

Transformation Limit Node425

Two-Points Constraint Node431

Deformation Nodes

437

Articulation Node438

Auto Fold Node441

Auto Muscle Node443

Bone Nodes

447

Curve Node451

Deformation Composite Node455

Deformation Root Node458

Deformation Scale Node459

Deformation Switch Node464

Deformation Uniform Scale Node466

Deformation Wave Node

468

Fold Node471

Game Bone Node

475

Glue Node477

Kinematic Output Node479

Mesh Warp Node480

Offset Node484

Refract

486

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Stick Node488

Turbulence Node490

Filter Nodes

494

Anti-Flicker Node496

Auto-Patch Node498

Bloom Node500

Blur-Box Node504

Blur-Directional Node507

Connection

508

Layer Properties

509

Blur-Gaussian Node511

Blur-Radial Node514

Blur-Radial-Zoom Node516

Blur-Variable Node520

Brightness Contrast Node522

Channel Selector Node524

Channel Swap Node526

Chroma-Keying Node

528

Colour Banding Node534

Colour Art Node537

Colour-Override Node540

Colour-Scale Node545

Colour Selector Node547

Contrast Node550

Dither Node552

Focus Node554

Focus Multiplier Node557

Glow Node559

Grain Node

563

Greyscale Node

565

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Hue-Saturation Node567

Layer Selector Node574

Line Art Node577

Luminance Threshold Node579

Matte-Blur Node582

Matte-Resize Node585

Median Node587

Motion-Blur Node590

Negate Node592

Overlay Layer Node594

Pixelate Node596

Remove Transparency Node598

Shadow Node

600

Transparency Node603

Underlay Layer Node

605

Generator Nodes

608

Animated Matte Generator Node609

Burn-In Node620

Colour-Card Node624

Element / Drawing Node627

Connection

628

Field Chart Node644

Gradient Node649

Grid Node655

Lens Flare Node658

Turbulent Noise Node661

Group Nodes

665

Group Node666

Multi-Port-In Node667

Multi-Port-Out Node

668

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Miscellaneous Nodes

669

External Node670

Master Controller Node673

Note Node

679

OpenGL Bypass Node

680

OpenGL-Cache-Lock Node

682

Render Preview Node685

Script Node686

Visibility Node689

Move Nodes

690

Apply Image Transformation Node691

Apply Peg Transformation Node694

Camera Node698

OrthoLock Node700

Peg Node

702

Shake Node704

Transform-Loop Node708

Quadmap Node711

Quake Node714

Output Nodes

717

Crop Node718

Display Node721

Multi-Layer Write Node722

Scale Output Node726

Write Node

728

Image Formats for Rendering Write Nodes733

Particle Nodes

739

3D Region

741

Baker

743

Baker Composite

746

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Bounce747

Explosion

749

Gravity

751

Image Fracture

753

Kill

759

Move Particles

761

Orbit

763

Planar Region

766

Random769

Region Composite

770

Repulse771

Rotation Velocity

772

Sink

775

Size

776

Sprite Emitter

778

System Composite

788

Velocity

789

Visualizer

792

Vortex794

Wind-Friction

796

Shading Nodes

797

Light Position Node798

Light Shader Node800

Normal Map Node803

Normal Map Converter Node807

Tone Shader Node809

Volume Object Node813

Plugin Nodes

815

Sparkle816

Selection Preset Note Node

819

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Sound Layer

821

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3D NodesThe nodes found in the 3D category are used to handle and render 3D objects such as animating the subnodes or rendering using Maya.
3D Kinematic Output Node350

Flatten Node

353

Render Maya Batch Node355

Subnode Animation Node361

Z Buffer Smoothing Node

365

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3D Kinematic Output Node
A 3D Kinematic Output node can be used to connect the animation for a subnode to another node. This allows
to use a subnode's animation on other elements in the scene, as if it was part of a hierarchy of peg and thesubnode was the parent peg.

Connection
The 3D Kinematic Output node must be connected under a Subnode Animation node, from which it will takeone of the subnode's animation, and then connected as a parent of the node on which it must apply thatanimation.

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TIP
You can quickly create a 3D Kinematic Output node by selecting a subnode in the 3D Graph view,
then clicking on the Add 3D Kinematic Ouput

button. The 3D Kinematic node will be connectedunder the model's Subnode Animation node, and configured to apply the selected subnode's
animation to its child. It must then be connected to a child element in the Node view.

NOTE
It is not possible to animate the subnodes of a 3D model without a Subnode Animation
node. Hence, the 3D Kinematic Output node must be connected under a Subnode Animation node,and not directly under a 3D model—see Subnode Animation Node on page 361.

Properties
The Subnode Name attribute of a 3D Kinematic Output node determines which of the 3D model's subnode will
be used to animate the node's child.

Parameter

Description

Allows you to enable or disable the node. When disabled, a node has no
Enable/Disablevisible effect on the rendered image, nor on the preview in the Camera,
Perspective, Side and Top views.

Colour Swatch

Name

Subnode Name

Sets the colour of the layer in the Timeline view and of the node in the
Node view.
Allows you to enter a name for the node.
It is recommended to use the name of the subnode followed by -Output.

Use this field to enter in the part of the 3D model whose movements you

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would like to track. Entering the name of the 3D model subnode into thisfield is what lets the 3D Kinematic Output node know which part of themodel to read.

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Flatten Node
The Flatten node is used to transform 3D objects into flat planes when ordered in the Composite node. That
plane can then be moved arouned like any other drawing. Instead of intersecting with 2D layers, the 3D object
will either be behind or in front.

When all objects are at the same distance (z value) from the camera, the order is based on the Composite ports.
When elements are placed at different distances from the camera, the z axis value overrides the composite port
ordering.

Connection
The Flatten Node takes a 3D image in its input port and outputs a 2D image.

Layer Properties
Parameter

Description

Enable/Disable

Allows you to enable or disable the node. When disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top views.

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Parameter

Description

Colour Swatch

Sets the colour of the layer in the Timeline view and of the node in the Node view.

Name

Allows you to enter a name for the node.

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Render Maya Batch Node
By default, 3D models imported in Harmony are rendered using OpenGL. The Maya Batch Render can be used
to render a 3D model connected to it through Autodesk Maya, then output the rendered image to the scene sothat it can be composited. It can be configured to use one of several of the rendering engines supported by
Maya, such as RenderMan, Mental Ray and Maya Software.
NOTE
The Maya Batch Render node is basically a Script Node pre-configured to take the input image andprocess it through the renderMayaBatch() built-in function of the Harmony scripting interface—see Script Node.

Connection
The MayaBatchRender node takes a 3D model in its input port, and outputs a 2D rendered image when thescene is rendered.

NOTE
The Maya Batch Render node does not affect the OpenGL preview of the scene in the Camera
view. To see the effect of the Maya Batch Render node in Harmony, you must set the preview modeof the Camera view to Render View

mode.

Configuration
For the Maya Batch Render node to work, the following conditions must be met:l

The path to Autodesk Maya and, if needed, to RenderMan, must have been set on your machine using
the TB_Set_3dRenderer_Paths.js script which is bundled with Harmony.

l

The original Maya project in which the 3D model was created must be in the element folder of the 3Dmodel you imported into your Harmony scene, and must have the same file name as the 3D model you
imported, but with the appropriate extension. Additionally, the model's textures should also be in the355

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element folder.
In the following example, the 3D model is a Filmbox (.fbx) model that was imported in a Harmony scene
into an element named Ship. The .fbx file was named Ship-1.fbx. Hence, for the Maya Batch
Render node to render it, the original Maya project must be in the folder of the Ship element. Since theMaya project has the extension .ma and the 3D model is named Ship-1.fbx, the Maya project must be
named Ship-1.ma:

NOTES
l

You can also make the Maya Batch Render node source the Maya project from its original
location—see Specifications Tab on page 358.

l

For detailed steps on how to use the Maya Batch Render node, refer to the 3D Integration
chapter of the User Guide.

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Layer Properties

Parameter

Description

Enable/Disable

Allows you to enable or disable the node. When disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top views.

Colour Swatch

Sets the colour of the layer in the Timeline view and of the node in the Node view.

Name

Allows you to enter a name for the node.

Attributes Tab

Parameter

Description

Specify the rendering engine to use. The following engines are supported:l'renderMan' (or 'reyes')l'renderManRIS' (or 'RIS')l'arnold'

Renderer

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Parameter

Descriptionl'mentalRay'l'mayaSoftware' (or 'maya')Specifications Tab

The specification tab is used to define the attributes in the Attributes tab as well as the input and output portsof the node. By default, it is configured to have one input image port, one output image port, and a Rendererparameter in the Attributes tab, which allows you decide which rendering engine to use to render the 3Dmodel. The following is the default Specifications script for the Maya Batch Render node:<specs><ports><in type="IMAGE"/><out type="IMAGE"/></ports><attributes><attr type="string" name="renderer" value="" tooltip="If this attribute is not set,
then the MayaBatchRender node will use the default renderer specified in the Maya file. If
this attribute is set, then it forces the use of a specific renderer other than thedefault. The following renderers are currently supported: 'renderMan' (or 'reyes'),'renderManRIS' (or 'RIS'), 'arnold', 'mentalRay', 'mayaSoftware' (or 'maya'). Note thatthose values are case insensitive."/></attributes></specs>

By default, the Maya Batch Render node expects the Maya project for the 3D model to be in the same directoryas the 3D model itself, with the same file name, but a different extension. However, you can add anotherattribute to the node which allows you to specify the path to the Maya project to use for rendering the 3Dmodel. To do this, add the bolded line to the Specifications tab:<specs><ports><in type="IMAGE"/><out type="IMAGE"/></ports><attributes>

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Harmony 16.0 Premium Reference Guide<attr type="string" name="renderer" value="" tooltip="If this attribute is not set,
then the MayaBatchRender node will use the default renderer specified in the Maya file. If
this attribute is set, then it forces the use of a specific renderer other than thedefault. The following renderers are currently supported: 'renderMan' (or 'reyes'),'renderManRIS' (or 'RIS'), 'arnold', 'mentalRay', 'mayaSoftware' (or 'maya'). Note thatthose values are case insensitive."/><attr type="string" name="OriginalMayaFileName" value="" tooltip="Write yourproject path here"/></attributes></specs>

After changing the content of the Specifications tab, you must save, close and re-open the scene before you
can see the new OriginalMayaFileName field in the Attributes tab. You can then type in the path to the Maya
project that the Maya Batch Render node should render.

NOTES
l

The path should include the name of the project file as well as its extension.

l

You must use forward slashes (/) to separate the directories in the path, even on Windows, likein this example:
C:/Users/username/Documents/MyProject.mal

You can use a relative path. The path is relative to the element folder containing the 3D model
used in the Harmony scene. For example, ../../ points to the scene directory.

Softrender Tab

This tab contains the script to execute when the scene is rendered. By default, it contains this single function:
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This function takes the 3D model in the input image and renders it using Autodesk Maya, using the renderingengine specified in the Attributes tab. To do this, it uses the original Maya project for the 3D model andinstructs Autodesk Maya to render it, but with the transformations in position, angle and scale applied to it in
the current frame of the Harmony scene. Autodesk Maya then produces an OpenEXR (.exr) image with deep
pixels, which Harmony integrates into the scene and composites it with other elements and effects.
NOTE
The other tabs in the Maya Batch Render node properties are the standard tabs for a Script node.
This is because the Maya Batch Render node is just a Script node set up to execute
renderMayaBatch();. For more information, see Script Node on page 686.

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Subnode Animation Node
When manipulating 3D models, by default, it is only possible to animate the transformation on the wholemodel. Transformations on their individual parts (subnodes) are static. In order to be able to animate thesubnodes in a 3D model, it must be connected to a Subnode Animation node, which will store the animation
information for individual subnodes and apply it to the model.

Connection
The Subnode Animation node takes a 3D model in its input port. As soon as a 3D model is connected to a
Subnode-Animation node, its subnodes become animatable individually. Once you start animating the model's
subnodes, the node outputs the 3D model with its subnodes animated.

The parameters for each subnode that is animated will appear in the node's parameters in the timeline.

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TIP
You can add the parameters for a subnode to the Subnode Animation node without animating it
first. To do this, select the subnode, then click on the Make Properties Available

button in the

3D Graph view. This can be useful if you want to make a keyframe with the subnode's resting
position before animating it.

Layer Properties
All animatable 3D model subnodes appear in a list in the Subnode Animation Layer Properties. Expand any of
the subnodes in the list to view its individual properties.

Click on any of the Function buttons

to open the Function Editor for that parameter.

If movements have already been created in the Camera view, you may not be able to edit some of the fields.
They just display the value of that parameter at the given position in the Timeline. If you would like to edit thesefields, change the field type to Local.

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Parameter

Description

Enable/Disable

Allows you to enable or disable the node. When disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top views.

Colour Swatch

Sets the colour of the layer in the Timeline view and of the node in the Node view.

Name

Allows you to enter a name for the node.
3D Path: Lets you use a 3D path function to animate an element.
Separate: Lets you independently edit the different coordinate fields.
Path: When the 3D Path option is selected, lets you choose the path type. You
can do this form the field menu, located after the Function button

Position.

Path (x) Axis: Lets you type in a new East/West coordinate corresponding to thedesired position.
Path (y) Axis: Lets you type in a new North/South coordinate corresponding to
the desired position.
Path (z) Axis: Lets you ype in a new Forward/Backward coordinate corresponding
to the desired position.
Velocity: When the 3D Path option is selected, lets you set the speed at whichmovement occurs across the X, Y and Z axes.
Quaternion: Rotations made on the X, Y and Z axes are linked, as is the velocity
which acts on the three rotation functions simultaneously.
Euler Angles: Rotations can be made on the X, Y and Z axes independent of eachother; each has its own velocity.
3D Rotation: When the Quaternion option is selected, lets you choose the path

Rotationtype. You can do this form the field menu, located after the Function button.

(x) Axis: Lets you enter the horizontal rotation value in degrees.
(y) Axis: Lets you enter the vertical rotation value in degrees.
(z) Axis: Lets you enter the depth scale value in degrees.
Velocity: When the Quaternion option is selected, lets you set the speed at whichrotation occurs across the X, Y and Z axes.

Scale

Locked: Resizes the element while keeping its ratio. The X and Y axes scale
proportionally
Separate: Resizes the element allowing to modify the ratio (squash and stretch).

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Chapter 3: Nodes / Layers(x) Axis: Lets you enter the horizontal scale value.
(y) Axis: Lets you enter the vertical scale value.
(z) Axis: Lets you enter the depth scale value.
Scale in Fields: Instead of using the standard scaling units, when this option isenabled, images are scaled using field units, based on the traditional animation
field chart. Enter in the x, y, z values respectively in the fields below.

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Z Buffer Smoothing Node
Rendering engines such as Maya and Mental Ray output images in a format that uses a simple Z-buffer that
does not allow for proper antialiasing around the edges of the geometry. Hence, it is ultimately better for image
quality to render using RenderMan or Arnold if possible. Otherwise, if a different rendering engine must be
used and there appears to be pixelated hard seams around 3D models, the Z Buffer Smoothing node can beused to smooth out the edges of the rendered model.

Connection
The Z-Buffer-Smoothing node takes the rendered 3D model output by a MayaBatchRender node as its input
image, and outputs the rendered 3D model with its edges smoothed.

Layer Properties

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Parameter

Description

Enable/Disable

Allows you to enable or disable the node. When disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top views.

Colour Swatch

Sets the colour of the layer in the Timeline view and of the node in the Node view.

Name

Allows you to enter a name for the node.
Lets you define the range of clean pixels in the depth histogram when rendering
3D models. Only opaque or semi-transparent values are considered.

Histogram Range

Kernel Size

A low value means fewer pixels are used in the depth calculations and may flatten
your object, while a higher value uses more pixels in the depth calculations, but
may not eliminate all the image artifacts.
Lets you determine the size of the matrix used for calculating the depth of a single
pixel. For example, for an operation with a kernel size of 3 pixels, Harmony uses
the pixels within a 1-pixel radius to calculate the effect. A larger kernel size means
longer calculations.

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Combine Nodes
The nodes found in the Combine category are used to take two or more elements are combine them into a newimage.
Blending Node368

Composite Node374

Composite-Generic Node379

Cutter Node385

Highlight Node

387

Image Switch Node

391

Matte-Composite Node393

Tone Node397

Transformation Switch Node

401

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Blending Node
T-COMP2-005-001
By default, layers are composited onto each other directly. This means that opaque pixels in front-most layers
hide pixels in layers further back, and semi-transparent pixels on front-most layers are blended with pixels
further back proportionally to their alpha ratio. This does the job for solid objects. However, some types oflayers and effects may look better when composited into the scene using more advanced approaches. The
Blending node can be used to composite an element, effect or composite using one of many different algorithms
that may make it look much better in the final render.

NOTE
The effect of the Blending node is only visible when the Camera view is in Render Preview
mode.

Connection
A Blending node can be connected under a layer, an effect or a composite to affect the way it will becomposited into the scene.

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Properties

Parameter

Description

Enable/Disable

Allows you to enable or disable the node. When disabled, a node has no visible effecton the rendered image, nor on the preview in the Camera, Perspective, Side and Top
views.

Colour Swatch

Sets the colour of the layer in the Timeline view and of the node in the Node view.

Name

Allows you to change the name given to the node.

Blend Mode

Choose the blending effect mode you wish to apply to your layer.

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NOTE
Some of the available blending modes have a BETA or Legacy variant to them.

ll

A BETA blending mode is one that has been recently addedin Harmony and which was made to more closely resemble results
obtained in professional photo editing software such as Adobe
Photoshop.
A Legacy blending mode is a blending mode that was present inolder versions of Harmony. Starting from Harmony 10, theseblending modes were enhanced by de-multiplying colours before
compositing the image then re-multiplying them. Their legacy
version remain available to ensure scenes created in older versions ofHarmony do not render differently.

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Normal: Composites the image without any specific blending effect.
Add / Add Legacy: Adds the colour values of each channel in the overlay pixel
and the underlay pixel. For example, adding two dark grey pixels with a valueof 100 in each channel will result in a light grey pixel with a value of 200 ineach channel. Likewise, if one of the pixels is red and the other is green, theresulting pixel will be yellow.
Burn / BETA Colour Burn: Darkens each channel in the underlay pixel with the
darkness value of the corresponding channel in the overlay pixel, by increasing
the contrast of the underlay pixel.

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Darken / BETA Darken: For each channel, uses the value that is the darkest
between the underlay pixel and the overlay pixel.
BETA Linear Burn: Darkens each channel in the underlay pixel with the
darkness value of the corresponding channel in the overlay pixel, by reducing
the brightness of the underlay pixel.
Multiply / BETA Multiply: Multiplies the value of each channel in the underlay
pixel with the value of each channel in the overlay pixel, treating those values
as ratios. Multiplying anything with black will result in black, and multiplying
anything with white will leave the colour unchanged.
Dodge / BETA Colour Dodge: Lightens each channel in the underlay pixel withthe brightness value of the corresponding channel in the overlay pixel, bydecreasing the contrast of the underlay pixel.
Erase: Subtracts the overlay pixel's alpha from the underlay pixel, "cutting out"
the overlay from the underlay. The overlay pixel's colour information is
ignored.
Lighten / Lighten Legacy / BETA Lighten: For each channel, uses the valuethat is the brightest between the underlay pixel and the overlay pixel.
BETA Linear Dodge: Lightens each channel in the underlay pixel with the370

Harmony 16.0 Premium Reference Guidebrightness value of the corresponding channel in the overlay pixel, byincreasing the brightness of the underlay pixel.
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Screen / BETA Screen: The reverse of multiply. Multiplies the reverse value ofeach channel in the underlay and overlay pixel, treating those values as ratios.
Multiplying anything with white will result in white, and multiplying anythingwith black will leave the colour unchanged.
Vividlight: This colour dodges overlay pixels with a value above 50% onto
underlay pixels, and colour burns overlay pixels with a value below 50% onto
underlay pixels. The brighter the overlay pixel is, the more intense the colour
dodging effect will be. The darker the overlay pixel is, the more intense thecolour burning effect will be.

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Hardlight / Hardlight Legacy / BETA Hardlight: This screens overlay pixels
with a value above 50% onto underlay pixels, and multiplies overlay pixels
with a value below 50% onto underlay pixels. The brighter the overlay pixel is,
the more intense the screen effect will be. The darker the overlay pixel is, themore intense the multiplying effect will be. Blending any colour with white or
black will result in white or black, and blending a colour with plain grey will
leave the colour unchanged.
Linearlight: This linear dodges overlay pixels with a value above 50% onto
underlay pixels, and linear burns overlay pixels with a value below 50% onto
underlay pixels. The brighter the overlay pixel is, the more intense the linear
dodging effect will be. The darker the overlay pixel is, the more intense thelinear burning effect will be.
Overlay / Overlay Legacy / BETA Overlay: Like hardlight, exept it screens or
multiplies the underlay pixel over the overlay pixel, based on the value of theunderlay pixel.
Pin Light: For each channel, if the overlay pixel's value is above 50%, use thelightest pixel between the underlay and overlay pixels. If the overlay pixel's
value is below 50%, use the darkest pixel between the underlay and overlay
pixels.
Softlight / BETA Softlight: Each channel of the overlay pixel lightens or
darkens the corresponding channel of the underlay pixel on a softer scale. The
effect is proportional to how dark or bright the overlay pixel is, but inversely
proportional to how dark or bright the underlay pixel is.
Difference / Difference Legacy: For each channel, this takes the darkest pixel
among the overlay and underlay pixels, subtract it from the lightest pixel, andoutputs the result.
Divide / Divide Legacy / BETA Divide: For each channel, this divides the valueof the underlay pixel by the value overlay pixel. Both values are treated asratios, so the resulting colour is brighter. A white overlay pixel will leave theunderlay colour unaffected, and a black overlay pixel will always result inwhite.
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subtracts the multiplied value of both pixels twice. This results in an effectsimilar to Difference, except that while the Difference mode producesconsistently high contrast pixels, the contrast of the resulting pixels with the
Exclusion mode is proportional to how dark or bright the overlay pixels are.
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Subtract / Subtract Legacy / BETA Subtract: For each channel, subtracts thevalue of the overlay pxiel from the value of the underlay pxiel. For example, if
the underlay pixel is white, and the overlay pixel is dark gray, the resulting
pixel will be light gray. Likewise, if the underlay pixel is yellow, and the overlay
pixel is red, the resulting pixel will be green, as yellow is a mix of green andred.
Alpha: Adds the opacity of the overlay pixel to the opacity of the underlay
pixel, ignoring the colour of the overlay pixel.

NOTE
The effect of this blending mode can only be observed if you render
images with an alpha channel or if you set the Camera view to Matte
View

mode. To do this, click on the Render View

while it is selected to open its menu, then select

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SWF Blend Mode

mode button

Matte View.

Colour: Outputs a colour with the hue and saturation of the overlay pixel, andthe luminosity of the underlay pixel. The overlay layer can hence be used to"colourize" the underlay layer.
Hue: Outputs a colour with the luminosity and saturation of the underlay pixel
and the hue of the overlay pixel.
Invert: Inverts the underlay pixel proportionally to the alpha value of theoverlay pixel. The overlay image hence acts as a "matte" for an invert effect.
Luminosity / BETA Luminosity: Outputs a colour with the hue and saturationof the underlay pixel and the luminosity of the overlay pixel. This is the reverseof the Colour blending mode.
Replace: Ignores the underlay pixel completely, outputting the overlay pixel as
if nothing existed behind it. This applies to all overlay pixels that have an alphavalue of at least 1, so the negative space of the overlay image will not hide theunderlay image. If the overlay pixel is not fully opaque, it will be mixed withblack.
Saturation: Outputs a colour with the luminosity and hue of the underlying
colour, and the saturation of the source colour.

If you intend to export your scene in SWF format, you can use this option to choose
which blend mode to use for this effect in the exported Flash movie. Since Flash does
not support all the blending modes supported by Harmony, this is left as a separate
option. You can ignore this option if you don't intend to export your scene in SWF
format.

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Normal: Composites the image without any specific blending effect.
Multiply: Multiplies the value of each channel in the underlay pixel with thevalue of each channel in the overlay pixel, treating those values as ratios.
Multiplying anything with black will result in black, and multiplying anythingwith white will leave the colour unchanged.
Screen: The reverse of multiply. Multiplies the reverse value of each channel inthe underlay and overlay pixel, treating those values as ratios. Multiplying
anything with white will result in white, and multiplying anything with black
will leave the colour unchanged.
Lighten: For each channel, uses the value that is the brightest between theunderlay pixel and the overlay pixel.
Darken: For each channel, uses the value that is the darkest between theunderlay pixel and the overlay pixel.
Difference: For each channel, this takes the darkest pixel among the overlay
and underlay pixels, subtract it from the lightest pixel, and outputs the result.
Add: Adds the colour values of each channel in the overlay pixel and theunderlay pixel. For example, adding two dark grey pixels with a value of 100 ineach channel will result in a light grey pixel with a value of 200 in eachchannel. Likewise, if one of the pixels is red and the other is green, theresulting pixel will be yellow.
Subtract: For each channel, subtracts the value of the overlay pxiel from thevalue of the underlay pxiel. For example, if the underlay pixel is white, and theoverlay pixel is dark gray, the resulting pixel will be light gray. Likewise, if theunderlay pixel is yellow, and the overlay pixel is red, the resulting pixel will begreen, as yellow is a mix of green and red.

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Invert: Inverts the underlay pixel proportionally to the alpha value of theoverlay pixel. The overlay image hence acts as a "matte" for an invert effect.
Overlay:Like hardlight, exept it screens or multiplies the underlay pixel over theoverlay pixel, based on the value of the underlay pixel.
Hardlight: This screens overlay pixels with a value above 50% onto underlay
pixels, and multiplies overlay pixels with a value below 50% onto underlay
pixels. The brighter the overlay pixel is, the more intense the screen effect will
be. The darker the overlay pixel is, the more intense the multiplying effect willbe. Blending any colour with white or black will result in white or black, andblending a colour with plain grey will leave the colour unchanged.

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Composite Node
The Composite node allows you to use several images and output a single image. You can compare that todoing pre-compositions in editing software. You can connect several drawing, image generators and effectnodes in your Composite node and one bitmap (or vector in some cases) comes out of it.

Using Composites is necessary if you wish to apply effects to several layers combined. For example, if you wanta character rig that is composed of several layers to appear transparent, you must connect all the layers of yourcharacter's rig to the same composite, and connect a Transparency effect to that composite.

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Properties

Parameter

Description
Allows you to enable or disable the node. When disabled, a node has no visible

Enable/Disable

effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top views.

Colour Swatch

Sets the colour of the layer in the Timeline view and of the node in the Node view.

Name

Allows you to enter a name for the node.

l

As Bitmap: This is the default mode for composites. A bitmap composite
outputs a single flat image.

Mode

l

As Seamless Bitmap: mode works very similarly to bitmap mode, except it
prevents seams from appearing between vector shapes that havematching outlines or when vector drawings are 3D-rotated and made tomesh together.

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NOTE
Shadow, Glow, Blending and Focus effects do not work whenconnected to a Seamless Bitmap composite.

ll

As Vector: This mode outputs a flat vector drawing made of all theconnected drawings. Vector composites should be used carefully, as they
only work with vector layers and do not work with effects or bitmap
layers.

Passthrough: This mode simply passes all the information sent to theComposite, including artwork, effects and transformation, onto the nextcomposite as is, as a multi-layered image. This means that if an effect isapplied to the output, the effect will be applied individually on each layer
in the output image. Hence, a Passthrough composite does not really
perform any composition and is essentially an organization tool.

NOTE
If a Composite set to Pass Through it is the last one in thecompositing chain, it will act the same as a Bitmap composite.

Input Ordering

2D: Elements connected in the node are composited based on their port ordering.
The Z-axis (forward-backward) values are ignored. The scaling value will becorrect, but the actual position on the Z-axis is ignored.
You can use the 2D composite type to create effects such as a camera recording
overlay on your scene. Since you always want this element to be in front
regardless of the other elementsè Z-axis position, you can set the option to 2D.

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3D Flat: The Z-axis value of the elements connected in the Composite node areconsidered, so the visual representation is correct in the Camera view. The output
is a flat image.

3D: The Z-axis value of the elements connected in the composite node areconsidered, so the visual representation is correct in the Camera view. The image
is not flattened. The 3D aspect of the elements are kept. For example, if you
rotated elements on the three axes, the information is retained and elementscomposited in lower levels are able to intersect with the elements coming from a
3D Composite node.
The 3D Composite node should only be used in advanced cases. It is better to use
a Pass Through composite type than a 3D composite type. This way, all theelements are composited in the final Composite node.

Output Options

Output Z: Identifies which element’s front-back value from the current
composition is applied to the entire composited image in the next operation. If
you select Portnumber, identify the appropriate port by its position using the PortFor Output Z menu.
Port for Output Z: When using the Portnumber option in the Output Z menu, you
can select which port you want to use as the Z value for the Composite node. The
port used appears in a bright green colour on the Composite node. By default, theleftmost port is displayed in front and the rightmost port is displayed behind.
These options are active when you select the As Bitmap mode.

Bitmap Options

Apply Focus: Activates the Focus effect for this node in the composite operation.
Focus Multiplier: The value entered in this field is used as a multiplier for theradius value specified in the Focus or Focus-Multiplier nodes.

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These options are active when you select the As Vector mode.
Palette Name: When you render files using As Vector Composite nodes, use thisfield to set the name of the palette files that Toon Boom Harmony will create forthem.
Vector Options

Flatten: Flattens vector drawings into one vector drawing file. Any transparency
will be lost in the process. This creates smaller vector files, but might increase thetime required to composite the drawings. This can be useful when reusingdrawings. Because they will be vector files, you can still apply vector-basedtransformations and effects.

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Composite-Generic Node
T-COMP2-005-002
The Composite-Generic node is a customizable effect that can be used to fit scenarios where the colours andalpha values of elements must be processed and combined in very specific ways. It can be configured toreproduce the effects of a Tone or Highlight node, or many of the blending effects available in the Blending
node, but it offers significantly more control the way the effect is applied.
Among other things, the Composite Generic can be configured to apply a simple blending effect. However,contrary to the Blending node, the Composite Generic node does not composite its input image onto every
element that is behind it in the scene. Rather, it composites one image, connected to its left input port, onto
another, connected to its right input port. The resulting composited image is then composited onto the scene
as normal.
Another interesting capability of the Composite Generic node is that it can use the colours and the alpha ofeither or both the overlay and the underlay image to make the output image. With the Colour Operation andAlpha Operation parameters, the colours and alpha values can be composited in different ways.
NOTE
Because colours with an alpha value are premultiplied with black, their actual values in the backend are typically different than what they appear to be in the rendered image. Hence, mixing acolour operation and alpha operation that are not meant to work together may not only have
undesired results on the way the overlay image is blended into the underlay image, it may evenhave undesired results on the colour composition of elements behind the Composite Generic node.

Connection
The Composite Generic node has two input ports and one output port. It will composite the image connected toits left input port (the overlay) onto the image connected to its right input port (the underlay) based on its
properties, and will output the resulting composited image.

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Properties

Parameter

Description

Enable/Disable

Allows you to enable or disable the node. When disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top views.

Colour Swatch

Sets the colour of the layer in the Timeline view and of the node in the Node view.

Name

Allows you to enter a name for the node.

The algorithm used to composite the colours of the underlay and overlay images
together. Note that the way the alpha of the under and overlay images arecomposited depends entirely on the Alpha Operation parameter.

NOTE
Some of the available blending modes have a BETA or Legacy variant tothem.
lColour Operationl

A BETA blending mode is one that has been recently addedin Harmony and which was made to more closely resemble
results obtained in professional photo editing software such as
Adobe Photoshop.
A Legacy blending mode is a blending mode that was present inolder versions of Harmony. Starting from Harmony 10, theseblending modes were enhanced by de-multiplying colours
before compositing the image then re-multiplying them. Their
legacy version remain available to ensure scenes created in older
versions of Harmony do not render differently.

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In the following descriptions, the underlay image is the image connected to theright input port of the node, and the overlay image is the image connected to theleft input port of the node.
Right: Only outputs colour values from the underlay image and ignores colour
values from the overlay image.
Left: Only outputs colour values from the overlay image and ignores colour values
from the underlay images.
Apply With Alpha: Composites the overlay pixel onto the underlay pixel
proportionally to its alpha value. This is the standard composition techniquewhen layers are connected to a composite.
Apply Tone Highlight: Applies the colour of overlay pixel the same way a Tone orHighlight effect would apply its colour to the underlay pixel.
Apply Add / Apply Add Legacy:Adds the colour values of each channel in theoverlay pixel and the underlay pixel. For example, adding two dark grey pixels
with a value of 100 in each channel will result in a light grey pixel with a value of
200 in each channel. Likewise, if one of the pixels is red and the other is green,
the resulting pixel will be yellow.
Apply Matte For Overlay: Multiplies the colour values of the underlay image withthe transparency ratio of the overlay image. This uses the overlay image as a"matte" to remove colours from the underlay image. You can then combine theresulting image with the colour values of the other image element by connecting
this Composite Generic node to another Composite Generic node with its Colour
Operation parameter set to Apply Overlay Into Matte. This is useful if the matte of
the overlay and the colours of the overlay are to be stored in separate images.
Apply Overlay Into Matte: Multiplies the colour values of the overlay by the alphavalues of the underlay image, then adds the resulting colour to the colour valuesof the underlay image. This is useful if you have darkened an area of an underlay
with a matte using a different Composite Generic with its Colour Operation
parameter set to Apply Matte for Overlay. This parameter will take the colours
from the overlay and apply them on the area darkened by the matte.
Apply Transparency: Multiplies the colour values of the underlay image with thetransparency ratio of the overlay image. This setting is designed to be combinedwith the Apply Transparency Matte alpha operation. However, it is technically thesame as Apply Matte For Overlay.
Apply Multiplicative Tone: Multiplies the value of each channel in the underlay
pixel with the value of each channel in the overlay pixel, treating those values as
ratios. Multiplying anything with black will result in black, and multiplying
anything with white will leave the colour unchanged.
Multiply Colours: Multiplies the value of each channel in the underlay pixel withthe value of each channel in the overlay pixel, treating those values as ratios.
Multiplying anything with black will result in black, and multiplying anything withwhite will leave the colour unchanged.

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Divide Colours / Divide Colours Legacy: For each channel, this divides the valueof the underlay pixel by the value overlay pixel. Both values are treated as ratios,
so the resulting colour is brighter. A white overlay pixel will leave the underlay
colour unaffected, and a black overlay pixel will always result in white.
Lighten / Lighten Legacy / BETA Lighten: For each channel, uses the value that isthe brightest between the underlay pixel and the overlay pixel.
Softlight / Softlight Legacy / BETA Softlight: Each channel of the overlay pixel
lightens or darkens the corresponding channel of the underlay pixel on a softer
scale. The effect is proportional to how dark or bright the overlay pixel is, butinversely proportional to how dark or bright the underlay pixel is.
Hardlight / Hardlight Legacy / BETA Hardlight: This screens overlay pixels with avalue above 50% onto underlay pixels, and multiplies overlay pixels with a value
below 50% onto underlay pixels. The brighter the overlay pixel is, the more
intense the screen effect will be. The darker the overlay pixel is, the more intense
the multiplying effect will be. Blending any colour with white or black will resultin white or black, and blending a colour with plain grey will leave the colour
unchanged.
Overlay / Overlay Legacy / BETA Overlay: Like hardlight, exept it screens or
multiplies the underlay pixel over the overlay pixel, based on the value of theunderlay pixel.
Linear Light: This linear dodges overlay pixels with a value above 50% onto
underlay pixels, and linear burns overlay pixels with a value below 50% onto
underlay pixels. The brighter the overlay pixel is, the more intense the linear
dodging effect will be. The darker the overlay pixel is, the more intense the linear
burning effect will be.
Pinlight: For each channel, if the overlay pixel's value is above 50%, use thelightest pixel between the underlay and overlay pixels. If the overlay pixel's value
is below 50%, use the darkest pixel between the underlay and overlay pixels.
Vividlight: This colour dodges overlay pixels with a value above 50% onto
underlay pixels, and colour burns overlay pixels with a value below 50% onto
underlay pixels. The brighter the overlay pixel is, the more intense the colour
dodging effect will be. The darker the overlay pixel is, the more intense the colour
burning effect will be.
Exclusion: Adds the overlay and underlay pixel, then subtracts the multipliedvalue of both pixels twice. This results in an effect similar to Difference, exceptthat while the Difference mode produces consistently high contrast pixels, thecontrast of the resulting pixels with the Exclusion mode is proportional to how
dark or bright the overlay pixels are.
Dodge: Lightens each channel in the underlay pixel with the brightness value ofthe corresponding channel in the overlay pixel, by decreasing the contrast of theunderlay pixel.
Burn: Darkens each channel in the underlay pixel with the darkness value of thecorresponding channel in the overlay pixel, by increasing the contrast of the382Harmony 16.0 Premium Reference Guide

underlay pixel.
Hue: Outputs a colour with the luminosity and saturation of the underlay pixel
and the hue of the overlay pixel.
Saturation: Outputs a colour with the luminosity and hue of the underlying
colour, and the saturation of the source colour.
Colour: Outputs a colour with the hue and saturation of the overlay pixel, and theluminosity of the underlay pixel. The overlay layer can hence be used to"colourize" the underlay layer.
Luminosity: Outputs a colour with the hue and saturation of the underlay pixel
and the luminosity of the overlay pixel. This is the reverse of the Colour blendingmode.
The factor by which to multiply each channel in the overlay image. You can set
this to a value between 0 and 1 to reduce the impact of the corresponding
channel in the overlay image, or to a value above 1 to increase it.
Intensity Red / Green / BlueNOTE
These parameters are only available when a BETA Colour Operation is
selected.

A value between 0 and 100 determining the opacity level of the overlay image
when composited onto the underlay image.
Opacity

NOTEThis parameter is only available for certain Colour Operation settings.

Right: The transparency of the output image is based on the alpha values of theunderlay image only.
Left: The transparency of the output image is based on the alpha values of theoverlay image only.

Alpha Operation

Apply: Combines the alpha values of the overlay and underlay image. When
combined with the Apply with Alpha colour operation, this results in standard
alpha-based compositing.
Add: The alpha value of each pixel is the sum of the alpha value of the underlay
pixel and of the alpha value of the overlay pixel.
Subtract: The alpha value of each pixel is based on the alpha value of theunderlay pixel subtracted by the alpha value of the overlay pixel.
Apply Transparent Matte: The alpha value of each pixel is based on the alphavalue of the underlay pixel, multiplied by the transparency of the overlay pixel,

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effectively multiplying their transparency.
Black: Outputs every pixel as fully transparent of both the output as fullytransparent, leaving behind only the effect of premultiplication of their colour
values onto the rendered image.
White: Sets the matte of the entire output image to white, so that it is fully
opaque. The bounding box of the output image will be filled with black and semitransparent pixels will be mixed with black.
Leftmost: Indicates that the Z value for the output image will be taken from thenode in the left port.
Rightmost: Indicates that the Z value for the output image will be taken from thenode in the right port.
Output Z

Backmost: Indicates that the Z value for the output image will be taken from theimage that is the farthest back in the scene.
Frontmost: Indicates that the Z value for the output image will be taken from theimage that is closest to the front of the scene.
Portnumber: Indicates that the Z value for the output image will be taken from thenode in the selected port. Enter the appropriate port in the Port for Output Z field.

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Cutter Node
T-HFND-010-009
The Cutter effect cuts out a portion of an image. To do this, it needs to be connected to the drawing it isintended to cut as well as to a matte layer. The cutter will take the shape of the drawing in the matte layer andcut this shape out of the drawing layer. This is especially useful if you want to make a character disappear
between a background element, or if you want to cut out a hole in the middle of a character.
Like all effects that use a matte, the Cutter's effect has an Inverted parameter, which is disabled by default.
When enabled, the Cutter will have the reverse effect: Instead of cutting the matte's shape out of the drawing,
it will cut everything outside of the matte's shape out of the drawing, leaving only the parts of the drawing thatare covered by the matte.
The Cutter effect can be used with 2D-3D integration. Rendered 2D drawings, integrated with 3D models,display soft, anti-aliased edges, even where the Cutter effect is applied.

Refer to the following example to connect this effect:

Properties

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Parameter

Description

Enable/Disable

Allows you to enable or disable the node. When disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top views.

Colour Swatch

Sets the colour of the layer in the Timeline view and of the node in the Node view.

Name

Allows you to enter a name for the node.

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.

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Highlight Node
T-HFND-010-009C
The Highlight node allows you to brighten an image's area to simulate a light source. For this effect, you willneed to create a matte to determine the shape and position of the highlight on a separate element, so that you
can blur the edges to create a softer effect. By adjusting the Highlight properties, you can control the type andamount of blur, as well as the colour of the Highlight effect.

Connection
The Highlight node takes an image of any type in the right (Image) input port, and a matte drawing in the left
(Matte) input port. It outputs a version of the input image with a highlight applied over it everywhere where
the input image and the matte drawing intersect.

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Layer Properties

Parameter

Description

Enable/Disable

Allows you to enable or disable the node. When disabled, a node has no visible effect on therendered image, nor on the preview in the Camera, Perspective, Side and Top views.

Colour Swatch

Sets the colour of the layer in the Timeline view and of the node in the Node view.

Name

Allows you to enter a name for the node.

Truck Factor

Activated by default, this option readjusts the blur when the elements undergo a change of
depth or scale. When disabled, the effect's values will remain unchanged regardless of depth orscale changes. It is recommended that this option be disabled when multiple drawings arecomposited and attached this effect.
Allows you to choose between the following blur types for the effect:l

Blur Typel

RadiusRadial: The edges of the matte are blurred evenly around points that make up the edge ofthe matte.
Directional: The matte is blurred in the direction configured with the Directional Angle
and Directional Falloff Rate parameters.

Enter a value for the size of the blur. The larger the value, the greater the blur effect. The blur388

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Parameter

Description

radius is affected by the drawing scale and camera position.
If you set the Blur Type to Directional, this sets the angle of the blur. The value goes from 0 to360, with 0 meaning west, and angles going counterclockwise. For example:
Directional
Angle

l

0: Blurs the image to the west.

l

90: Blurs the image to the south.

l180: Blurs the image to the east.

l

270: Blurs the image to the north.

The distance where the blur fades from the edge of the image. Select a decimal value between 0
and 1. For example:
Directional
Falloff RatellMultiplicative

0: Makes the blur fade out slowly, distributing the blur evenly from the edge of thecharacter to the farthest edge of the blur.
1: Makes the blur fade out quickly. The blur is heaviest closer to the edge of the image.

Multiplies the colours of the effect with the colours of the source image. This intensifies theeffect.

ColourRed

The amount of red to add to the colour of the source image.

Green

The amount of green to add to the colour of the source image.

Blue

The amount of blue to add to the colour of the source image.

Alpha

The alpha value of the effect.

Colour Swatch

Opens the Colour Picker dialog, in which you can visually select a colour for the effect.

Intensity

Allows you to set the factor by which to multiply the intensity of the effect. This parameter cantake a decimal value between 0 and 1. At 1, the effect is fully applied. At 0, the effect is not
visible.

Matte

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Parameter

Description

Invert Matte

Inverts the matte used to generate the effect. By default, the affect is applied to opaque areas ofthe matte and transparent areas of the matte are ignored. When this option is enabled, the effectis applied to transparent areas of the matte and opaque areas of the matte are ignored.
Instead of using the colour in the Colour parameters, this uses the colours in the matte drawing
to generate the effect.

Use Matte
ColourNOTE
The effect of this parameter is only visible in Render View

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Image Switch Node
T-COMP2-005-004
The Image Switch effect lets you use multiple effects, such as Colour Override, and choose which port will besent to rendering if you want to apply different variations of an effect that cannot be changed over time. You
then create multiple separate versions of the effect, connect them all to the Image Switch, and then if you want
to change to a different version of the effect at different points in your scene, you would add a curve andanimate the port number. Image Switch simply lets you change over time which port is being rendered.

Refer to the following example to connect this effect:

Properties

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Parameter

Description

Enable/Disable

Allows you to enable or disable the node. When disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top views.

Colour Swatch

Sets the colour of the layer in the Timeline view and of the node in the Node view.

Name

Allows you to enter a name for the node.

Port Index

Switches from one image to another. There is no gradual animation from one
colour to another as you are only changing (over time) which port will berendered. Use whole values.
Click the Function

button to open the Function editor to animate a parameterover time—see .

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Matte-Composite Node
T-COMP2-005-003
The Matte-Composite node is a type of composite that is specifically designed to combine different mattedrawings into a single matte, which can then be connected to the matte port of an effect or drawing node.
Contrary to a regular composite, the Matte-Composite node allows deciding whether each drawing connected
to it is added, subtracted or intersected with the resulting composited matte, and each drawing connected to it
can be composited as is, or inverted.
NOTE
Since the Matte-Composite node is meant to output mattes, it ignores colours and only composites
alpha levels. The output image will be in plain white, with varying degrees of transparency.

Connection
Like a regular composite, the Matte-Composite node can be connected to as many input images as needed, andcombines them together. Its output port should be connected to the matte port of an effect.

The matte is generated by creating a matte from the first drawing connected to it, then compositing eachsubsequent drawing on top of it. Like with a Composite node, the order in which connected drawings arecomposited goes from right to left.
Each node connected to the Matte-Composite's input ports has its own composite mode as well as its own
invert setting. In the Node view, you can immediately tell the mode in which the node is applied by looking at
the symbol just below each input port:lAsign means the drawing is added to the composite matte.

lAsign means the drawing is subtracted from the composite matte.

lAsign means the drawing is intersected with the composite matte.

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You can also tell whether the node is composited as is if the sign is black on white
white on black, or inverted if the sign is.

TIP
In the Node view, you can quickly toggle between composite modes by double-clicking on thesymbol. This will cycle between Add, Add Inverted, Subtractand Intersect. If you want

to set a connection to another combination of composite mode and invert setting, you must do it in
the layer properties of the Matte-Composite node.

Properties

Parameter

Description

Name

Allows you to enter a name for the node.

Input Parameters

Each input connection has its own set of Input parameters, which determines
how each node connected to the Matte-Composite node is composited into theresulting matte.

Mode

Each node connected to the Matte Composite node can be composited into theresulting matte in one of the following ways:l

Add: The alpha of each pixel is added to the matte, resulting in combined
shapes.

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InvertSubtract: The alpha of each pixel is subtracted from the matte. This cuts
the drawing's shape out of the matte.

Intersect: The alpha ratio of each pixel is multiplied by the alpha ratio of
the corresponding pixel on the matte. The resulting matte is made of theareas where the drawings intersect.

When enabled, the drawing is composited onto the matte with its alpha values
reversed, as if its transparent pixels were opaque and its opaque pixels weretransparent. This means that the shape of the negative space of the drawing will
be composited to the matte instead of its actual shape.

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Tone Node
T-COMP2-004-004
The Tone effect allows you to add a dark-coloured region to your drawing and simulate the shaded area awayfrom a light source. To produce the tone effect, create a drawing to control where the tone will appear. The
Tone effect uses a matte to determine the shape and position of the tone on your drawing and can be blurredat the edges to create a softer effect.

Connection
The Tone node takes an image of any type in the right (Image) input port, and a matte drawing in the left
(Matte) input port. It outputs a version of the input image with a tone applied over it everywhere where theinput image and the matte drawing intersect.

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Layer Properties

Parameter

Description

Enable/Disable

Allows you to enable or disable the node. When disabled, a node has no visible effect on therendered image, nor on the preview in the Camera, Perspective, Side and Top views.

Colour Swatch

Sets the colour of the layer in the Timeline view and of the node in the Node view.

Name

Allows you to enter a name for the node.

Truck Factor

Activated by default, this option readjusts the blur when the elements undergo a change of
depth or scale. When disabled, the effect's values will remain unchanged regardless of depth orscale changes. It is recommended that this option be disabled when multiple drawings arecomposited and attached this effect.
Allows you to choose between the following blur types for the effect:l

Blur Typel

RadiusRadial: The edges of the matte are blurred evenly around points that make up the edge ofthe matte.
Directional: The matte is blurred in the direction configured with the Directional Angle
and Directional Falloff Rate parameters.

Enter a value for the size of the blur. The larger the value, the greater the blur effect. The blur398

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Parameter

Description

radius is affected by the drawing scale and camera position.
If you set the Blur Type to Directional, this sets the angle of the blur. The value goes from 0 to360, with 0 meaning west, and angles going counterclockwise. For example:
Directional
Angle

l

0: Blurs the image to the west.

l

90: Blurs the image to the south.

l180: Blurs the image to the east.

l

270: Blurs the image to the north.

The distance where the blur fades from the edge of the image. Select a decimal value between 0
and 1. For example:
Directional
Falloff RatellMultiplicative

0: Makes the blur fade out slowly, distributing the blur evenly from the edge of thecharacter to the farthest edge of the blur.
1: Makes the blur fade out quickly. The blur is heaviest closer to the edge of the image.

Multiplies the colours of the effect with the colours of the source image. This intensifies theeffect.

ColourRed

The amount of red to subtract from the colour of the source image. To obtain a shadow effect,
the value must be negative.

GreenThe amount of green to subtract from the colour of the source image. To obtain a shadow effect,
the value must be negative.

Blue

The amount of blue to subtract from the colour of the source image. To obtain a shadow effect,
the value must be negative.

Alpha

The alpha value of the effect.

Colour Swatch

Opens the Colour Picker dialog, in which you can visually select a colour for the effect.

Intensity

Allows you to set the factor by which to multiply the intensity of the effect. This parameter cantake a decimal value between 0 and 1. At 1, the effect is fully applied. At 0, the effect is not
visible.

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Parameter

Description

Matte

Invert Matte

Inverts the matte used to generate the effect. By default, the affect is applied to opaque areas ofthe matte and transparent areas of the matte are ignored. When this option is enabled, the effectis applied to transparent areas of the matte and opaque areas of the matte are ignored.
Instead of using the colour in the Colour parameters, this uses the colours in the matte drawing
to generate the effect.

Use Matte
ColourNOTE
The effect of this parameter is only visible in Render View

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Transformation Switch Node
The Transformation-Switch node acts as a on and off switch for the deformation chains. It is used whenbuilding multi-pose (multiple deformation chains) rigs. the Transformation-Switch can also be used with othernode types than Deformation nodes. It can be used with any transformation nodes such as Peg and Quadmap
nodes.
Refer to the following example to connect this effect:

The Transformation-Switch replaces the Deformation-Switch node.

Properties

Parameter

Description

Enable/Disable

Allows you to enable or disable the node. When disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top views.

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Colour Swatch

Sets the colour of the layer in the Timeline view and of the node in the Node view.

Name

Use this field to rename the node.

Element Columns

Full Name: Select which element to connect to the node from the list of elementsthat already exist in your scene.
Drawing Path: Displays the full path to the current drawing.
Name: Path to the file you want to link to.
Timing Column: Link to the column that contains the desired timing.

Timing Columns

Extension: When linking to a background file, enter its file name extension.
Field Chart: If you are importing traditional animation, select the size of the paperon which the animation was drawn.

Transformation Names

List the drawing names associated to each transformation chain. You can enter
additional drawings and separate the names with semi-colons (;).

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Constraint Nodes
Constraint nodes are a series of nodes that can be used to subject parts of a cut-out character rig to certain
physical constraints. Specifically, they are designed to add the following capabilities for rigging and animation:lCreate points on drawings which, when moved, will translate, rotate and scale the drawing so that theparts of the drawings those points are attached remain locked to those points.

l

Lock the different parts of a rig by their articulations. This makes it so moving a part of a rig that isconstrained to its adjacent parts will move those other body parts along it, and rotate the part being
moved as needed.

lAutomate a "spring" like movement based on a simple translation. Specifically, the Dynamic Spring nodeis able to apply a delayed movement on a part of a character rig based on the movement of its
parents. This can also be wielded to automate follow-through action for parts like hair, ears, whiskers,
and such.

lLimit, switch between, turn on and off or interpolate different transformations applied by pegs ontoelements.

l

Bake transformations into the resting position of elements.

Constraint nodes use the pivot point of pegs connected to them to define their constraint points. Rigging withconstraint nodes is more complicated than rigging with a mere hierarchy of pegs and elements, as it requires
using the different nodes together, like building blocks, to define precisely the relationship between adjacentparts of a rig. They however allow the animator to pose and animate a character rig by moving the pivot pointsof its articulations rather than by transforming its individual layers, while the constraint nodes take care ofmaking the appropriate transformations to the adjacent body parts. The resulting procedure is potentiallymuch more natural and streamlined.
Harmony features the following Constraint nodes:l

Two-Point Constraint: Constrains a drawing between the pivot-point of two pegs. This node can be
configured to stretch and squash the drawing it transforms automatically, as well as to stop stretching or
squashing the drawing past specified limits. This can be especially useful for rigging limbs together andallow the animator to manipulate them by their articulations.

lThree-Point Constraint: Constrains a drawing between the pivot-point of three pegs.

lMulti-Point Constraint: Constrains a drawing between the pivot-point of multiple pegs.

lDynamic Spring: Applies the movement of the parent peg with inertia and tension factors onto thechild element. This can be used to automatically generate life-like ease and overshoot, as well as followthrough animation.

lTransform Limit: Filters the transformations from the parent node by multiplying each type oftransformation (ie: translations, rotation, scale, etc.) by a factor going from 0% to 100%, before applying
it to the child node.

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Chapter 3: Nodes / LayerslTransformation-Gate: This node can be used to dynamically select which one of several transformations
from several connected parent nodes is applied to its child. It is also able to make an interpolation
between two transformations from two of its parents, and apply the interpolated transformation to its
child. It can be used with constraint nodes or any other node that outputs a transformation, such as pegs
and quadmaps.

lConstraint Switch: This node can be connected to the leftmost input port of any other constraint node
to temper its effect. It does so by applying a ratio ranging from 0% to 100% to the transformations
applied by the constraint node it is connected to. If connected to a Transformation-Gate, it can remotely
control which input port the Transformation-Gate uses to apply transformations to its child.

lStatic Constraint: Can be used to permanently store (or "bake") the transformation applied by its
parent or parents. Once transformations are baked into the node, it can be disconnected from theparent, then connected to a child to apply the baked transformation onto it, acting like a transformation
template or a resting position.
NOTE
Constraint nodes do not deform drawings like deformation nodes do, they apply standardtransformations such as translations, rotations and scaling on them. The Multi-Point Constraint can
optionally apply a perspective (quadmap) transformation on elements.

Constraint Switch Node405

Dynamic Spring Node408

Multi-Points Constraint Node414

Static Transformation Node417

Three-Points Constraint Node

420

Transformation Gate Node423

Transformation Limit Node425

Two-Points Constraint Node

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Constraint Switch Node
The Constraint Switch node is used to remotely affect the Value and/or Target Gate parameter of otherConstraint nodes.
Each node in the Constraint category has an Active parameter that can be set to a value ranging from 0 to 100.
This value is used to determine how much of the transformation calculated by a constraint node should actually
be applied to its child element. When set to 100, the transformation is fully applied. Then set to 0, thetransformation is not applied at all. When set to a value between 0 and 100, the effect the constraint node hason its child is proportionally tempered.
The Constraint Switch has its own Active parameter. When connected to a constraint node, the Active value ofthat constraint node is multiplied by the Active value of the Constraint Switch. For example, if a Constraint
Switch with an Active parameter set to 50 is connected to a Two-Points Constraint node with an Active
parameter of 50, the effective Active value of the Two-Points Constraint node will be 25, and only 25% of its
transformation will be applied. Likewise, if the Active value of the Constraint Switch is set to 0, it will effectively"switch off" the constraint node, and if it is set to any value below 0, it will reverse the effect of the constraint
node.
A Constraint Switch can also be used to remotely control the Target Gate parameter of a Transformation Gate.
A Transformation Gate takes several transformations as inputs and outputs one of the transformations. The
Target Gate is the numerical index of the port the Transformation Gate takes the transformation from when its
Value parameter is set to 100. The Target Gate for a Transformation Gate can be set within its own properties,
but if a Constraint Switch is connected to it, the Constraint Switch's Target Gate parameter will override theTransformation Gate's Target Gate parameter.

Connection
The Constraint Switch node can be connected to the leftmost input port of any constraint node, except for theStatic-Transformation node. The input port for a Constraint Switch will be the same shade of aquamarine as
the Constraint-Switch node itself.

A Constraint-Switch node can be connected to several constraint nodes to control them simultaneously.

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Controls
When the control of a Transformation Switch is displayed, a slider displays in the Camera view which can beused to manually set the value of the Active parameter.

Properties

Parameter

Description

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Defines the influence applied to the constraint node the Constraint Switch node
is connected to. This value is multiplied with the value of the Active parameter ofthe constraint node to calculate its effective Active parameter.

ActiveFor example, if a Constraint Switch with an Active parameter set to 50 isconnected to a Two-Points Constraint node with an Active parameter of 50, theeffective Active value of the Two-Points Constraint node will be 25, and only
25% of its transformation will be applied. Likewise, if the Active value of theConstraint Switch is set to 0, it will effectively "switch off" the constraint node,and if it is set to any value below 0, it will reverse the effect of the constraint
node.

Target Gate

If the Constraint Switch is connected to a Transformation Gate node, thisparameter overrides the Target Gate parameter. of the Transformation Gate.

GUI Offset

When displaying this node's control, a slider displays in the Camera view tocontrol the node's Active parameter. The following parameters affect the way theslider is displayed.

(x) Axis

Offsets the horizontal position of the slider in the Camera view..

(y) Axis

Offsets the vertical position of the slider in the Camera view.

GUI ScaleMultiplies the size of the slider in the Camera view. This parameter is set to 1 bydefault.

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Dynamic Spring NodeThe Dynamic Spring node takes the animated transformation from the parent node then applies tension andinertia to make it into a "spring" motion.
When filtered with a Dynamic-Spring node, a peg that performs a simple translation from point A to point B
with no ease-in or ease-out will result in an ease-in from point A, an ease-out to point B followed by a realistic
overshoot.

Connection
A Dynamic Spring node must be connected to a peg or other transformation node through its rightmost input
port. The spring effect will be applied to the transformation sent through this port.

Rigged together with a Two-Points Constraint node and another peg to offset the pivot point of the original,
you can automate the follow through action. In this example, the Movement-Peg node animates the Hairelement from its top part. The same animation is also sent through a Dynamic-Spring node, then a peg that
offsets the pivot point towards the bottom of the hair (via its own Pivot parameters) which results in the top of
the hair being pulled by a regular motion while the bottom follows through with realistic ease and overshoot.

The spring effect the Dynamic Spring applies is based on the motion of the entire hierarchy of its parents, notjust on the motion of its immediate parent. This may cause undesired effects. For example, if a Dynamic-Springis connected to a hand drawing, and the forearm the hand is rigged to rotates, the hand will track behind the
motion of the arm and appear detached from its wrist. This can be cancelled out by using the middle port of the
Dynamic-Spring node. This port is used to cancel out the spring effect of another motion before applying thespring to its element. Hence, in this example, you would circumvent this issue by connecting the forearm peg tothe middle port of the dynamic spring.

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NOTE
The same effect can be achieved using the Ignore Parents and Parent Name properties of the
Dynamic Spring node.
At last, the leftmost port of the Dynamic-Spring node can be connected to a Constraint Switch, the Active
parameter of which is multiplied against the Active parameter of the Dynamic Spring node to reduce or disable
its effect.

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Properties

Parameter

Description
The percentage of influence the Dynamic Spring node has on the transformation.

ActiveIf a Transformation Switch node is connected to the Dynamic Spring node, theActive parameters of the Transformation Switch and the Dynamic Spring nodes
will be multiplied together.
When enabled, the Dynamic Spring node will only perform a movement when its
own attributes have a keyframe or an interpolation. This option can be useful if,
for example, the animation must be done on twos or threes. You can enable thisoption, then add stop-motion keyframes on the Dynamic Spring node in theTimeline view on every frame where you want it to update the child element's
position. The latter will remain static between keyframes.

Match Animation on Active
Attribute

In the example below, the Match Animation on Active Attribute option has beenenabled, and stop-motion keyframes have been added to the Dynamic Spring
node to match the timing of the hand's animation. The frames are a light shade ofblue where the Dynamic Spring node applies a movement to the child element,
and are grey where it does not.

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NOTE
The Dynamic Spring node will animate on ones after its last keyframe.
Hence, to animate on twos, you must add keyframes on the Dynamic
Spring node until it completely stops moving the element. The animationof the Dynamic Spring node often stops several frames later than the
animation of the parent peg, because it adds an extra overshoot amovement.

The tension applied to each parameter of the animation. The higher it is, the more
the child element will appear to "snap" to the position of the original movement.

TIP
You can set the Tension for all parameters to the same value by creating afunction for the Tension X parameter, then linking every other Tension
parameter to that function. If you create a single keyframe in this function,
the parameter will remain constant throughout the scene.

Tension(X/Y/Z/Scale/Skew/Rotate)

Inertia(X/Y/Z/Scale/Skew/Rotate)

The inertia applied to each parameter of the animation. The higher it is, the more
the child element will appear to be weighted against the spring effect.

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TIP
You can set the Inertia for all parameters to the same value by creating afunction for the Inertia X parameter, then linking every other Inertia
parameter to that function. If you create a single keyframe in this function,
the parameter will remain constant throughout the scene.

If this property is set to any value but 0, the Dynamic Spring will go up its own
hierarchy up to the value of this property, and consider the node at this level to be
the "Ignored parent". The transformations applied by this parent and all its
parents will not be taken in account for the spring effect.
Ignore Parents

NOTE
This has the same effect as connecting one of the node's parents to its
middle port.

If the Ignore Parents property is set to any value but 0, this property will also be
used in determining which parent to consider as the "Ignored parent". Whenlooking up the parent hierarchy of the Dynamic Spring node, if it finds any nodewith a matching name, it will consider it the "Ignored parent", and thetransformations applied by this parent and all its parents will not be taken inaccount for the spring effect.
Parent’s Name

NOTE
When both the Ignore Parents and the Parent's Name parameters are set,the "Ignored parent" will be the first node in the Dynamic Spring node's
parent hierarchy that either matches the name of the Parent's Name
parameter or the parent level in the Ignore Parents parameter.

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TIP
This parameter only works if the Ignore Parents parameter is set to any
value but 0. If you want the ignored parent to only be matched by its
name and not its level in the hierarchy, you can set the Ignore Parents
parameter to an improbably high number (ie: 100 or 1000), and set the
Parent's Name to the name of the parent to ignore.

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Multi-Points Constraint Node
The Multi-Points Constraint translates, rotates and scales a drawing to make it follow the pivots of the pegs
that are connected to it. Optionally, it can also apply a perspective transformation on the element.

Connection
The Multi-Points Constraint node must be connected to at least two Peg nodes, and can be connected to as
many Peg nodes as needed. The pivot point of each peg will define the resting position of one of the points
used to transform the drawing connected under it. When one of the pegs is moved, the Multi-Points
Constraint will transform the drawing so that it follows the pivot point of that peg.

NOTE
The resting position of the points is based on the pivot point of the peg. The pivot point of a peg
can be set by selecting the peg with the Translate, Rotate, Scaleor Skew

tool, thenclicking and dragging the pivot in the Camera view, or by entering its coordinates in the layer
properties of the peg.
Only the position of the pegs is considered by the Multi-Point Constraint. The position of the peg connected to
the rightmost input port on the Z-axis will be applied to the element.
Optionally, the Three-Points Constraint node can be connected to a Constraint-Switch, which can be used toreduce the effect of the Three-Points Constraint node on the element it is connected by setting its Active
parameter between 0 and 100.

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Controls
When the controls of the Multi-Points Constraint are displayed, the position of the points are displayed withblue squares linked by a green line.
These points are only a visual representation and cannot be manipulated.

How to animate an element connected to a Multi-Points Constraint
1. In the Tools toolbar, select the Transform tool or press Shift + T.
2. Do one of the following:lSelect one of the pegs the Three-Points Constraint is connected to, then move the peg byclicking and dragging the centre point in the Camera view.

lIn the layer properties of the element, disable the Animate Using Animation Tools option.
Then, select the element, and click and drag the element near one of the points. The pointthat is the closest to the mouse cursor will be automatically selected and moved.

Optionally, the leftmost input port of a Multi-Points Constraint node can be connected to a Constraint-Switch,which can be used to reduce the effect of the Multi-Points Constraint node on the element it is connected by
setting its Active parameter between 0 and 100.

Parameter

ActiveFlatten Type

Description
The percentage of influence the constraint has on its child element. If set to 100,
the element will follow the points closely. If set to 0, the element will not beaffected by the constraint.
If a Transformation Switch node is connected to the Multi-Points Constraint
node, the Active parameters of the Transformation Switch and the Multi-Points
Constraint nodes will be multiplied together.
This parameter defines what happens if one of the pegs defining the constraint
points is moved on the Z-axis:l

Ignore 3D Transform: The element will be constrained to the vertical andhorizontal position of the pegs, and will ignore their position on the Z415

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axis.
l

l

Allow 3D Transform: The element will be 3D-rotated to follow theposition of the pegs in the 3D space.
Project to Plane: The element will be constrained in 2D, but will be madeto follow the perceived position of the points from the camera's point ofview. This means the 3D position of the points will be projected on a 2D
plane that is parallel to the camera.

NOTE
This projection is based on the position of the primary point peg
on the Z-axis. Hence, if the three pegs are on a different positionon the Z-axis, there may be a perceived offset between theposition of the non-primary points and their effect on the element.

If enabled, internal points will be ignored by the Multi-Point Constraint.
The envelope used to transform the element is always a convex shape. If any
point connected to the Multi-Points Constraint is not an extreme point in its
resting position, it is considered an internal point.

Ignore Internal Points

If this option is enabled, the Multi-Point Constraint node will apply a perspective
deformation to the drawing instead of scaling, rotating and skewing the drawing
to try to make it track the points.

Allow Perspective Transform

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Static Transformation Node
The Static Transformation node can be used to store, or "bake" the transformation from its immediate parent orfrom its entire hierarchy of parents, then be connected to a node to apply this transformation to it. The
transformation the node stores cannot be animated nor reset. It can hence be used to act as a sort of "resting"position for an element, without having to apply the required transformations to the element or to its parent
peg.

Connection
To store transformations into a Static Transformation node, you must first connect a node containing thesetransformations to its input port.

Once the transformations from the parent node have been baked into the Static Transformation node via its
layer properties, you must disconnect the Static Transformation node from its parent, then connect it to a childso that this transformation is applied to it.

The Static-Transformation node will also dynamically apply its parent's transformations onto the child on top of
its own static transformations, so it can be used as an intermediary in a rig.

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Properties
The layer properties of the Static Transformation allow you to bake the transformations of its parent or parent
hierarchy into its own attributes. Optionally, you can also fine-tune the stored transformation.

Parameter

Description

Bake Immediate Parent's
Transformations

Copies the transformations applied by its parents at the current frame into its own
attributes, making the node into a static template of the immediate parent peg'stransformations.

Bake All Incoming
Transformations

Bakes the transformations of the node's entire hierarchy of parents added up into
its own attributes, making the node into a static template of all thetransformations applied by its parents combined into a single set of coordinates.

ActiveIf unchecked, the node will not apply transformations to its child.
The static transformations baked into the node:l(x) Axis: The horizontal translation baked into the node.

l(y) Axis: The vertical translation baked into the node.

l(z) Axis: The translation on the Z-axis baked into the node.

Static Transformations

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Locked: Use a single value for the scale factor baked into the node,preserving the child's proportions.
Separate: Use a separate value for the horizontal, vertical and depth scale
factors.

l(x) Axis: The horizontal scale factor baked into the node.

l(y) Axis: The vertical scale factor baked into the node.

l(z) Axis: The depth scale factor baked into the node.

l

Scale in Field: When checked, the scale factor will be expressed in a
proportion based on the amount of fields for the scene's camera.

Invert Transformationsl(x) Axis: The rotation around the X-axis baked into the node.

l(y) Axis: The rotation around the Y-axis baked into the node.

l(z) Axis: The rotation around the Z-axis baked into the node.

l

Skew X: The skew angle on the X-axis baked into the node.

l

Skew Y: The skew angle on the Y-axis baked into the node.

l

Skew Z: The skew angle on the Z-axis baked into the node.

If checked, all transformations baked into the node will be applied negatively.

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Three-Points Constraint Node
The Three-Points Constraint translates, rotates and scales a drawing to make it follow the pivots of the threepegs connected to it.

Connection
The Three-Points Constraint node must be connected to three Peg nodes. The pivot point of each peg willdefine the resting position of one of the points used to transform the drawing connected under it. When one ofthe pegs is moved, the Three-Points Constraint will transform the drawing so that it follows the pivot point ofthat peg.

NOTE
The resting position of the points is based on the pivot point of the peg. The pivot point of a peg
can be set by selecting the peg with the Translate, Rotate, Scaleor Skew

tool, thenclicking and dragging the pivot in the Camera view, or by entering its coordinates in the layer
properties of the peg.
Optionally, the leftmost input port of a Three-Points Constraint node can be connected to a Constraint-Switch,which can be used to reduce the effect of the Three-Points Constraint node on the element it is connected by
setting its Active parameter between 0 and 100.

Controls
When the controls of the Three-Points Constraint are displayed, the position of the three points are displayedwith blue squares linked by a green line.
These points are only a visual representation and cannot be manipulated.

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How to animate an element connected to a Three-Points Constraint
1. In the Tools toolbar, select the Transform tool or press Shift + T.
2. Do one of the following:lSelect one of the pegs the Three-Points Constraint is connected to, then move the peg byclicking and dragging the centre point in the Camera view.

lIn the layer properties of the element, disable the Animate Using Animation Tools option.
Then, select the element, and click and drag the element near one of the points. The pointthat is the closest to the mouse cursor will be automatically selected and moved.

Properties

Parameter

ActiveDescription
The percentage of influence the constraint has on its child element. If set to 100,
the element will follow the three points closely. If set to 0, the element will not beaffected by the constraint.
If a Transformation Switch node is connected to the Three-Points Constraint
node, the Active parameters of the Transformation Switch and the Three-Points
Constraint nodes will be multiplied together.
This parameter defines what happens if one of the pegs defining the constraint
points is moved on the Z-axis:lFlatten Typell

Ignore 3D Transform: The element will be constrained to the vertical andhorizontal position of the pegs, and will ignore their position on the Z
axis.
Allow 3D Transform: The element will be 3D-rotated to follow theposition of the pegs in the 3D space.
Project to Plane: The element will be constrained in 2D, but will be madeto follow the perceived position of the points from the camera's point ofview. This means the 3D position of the points will be projected on a 2D

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plane that is parallel to the camera.

NOTE
This projection is based on the position of the primary point peg
on the Z-axis. Hence, if the three pegs are on a different positionon the Z-axis, there may be a perceived offset between theposition of the non-primary points and their effect on the element.

By default, only the position of the points is used to transform the element. Since
those points are defined by pegs, these pegs can also be subjected to scale, angle
and skew transformations that would be normally ignored by the Three-Points
Constraint node. This parameter can be used to apply the other transformations
done on the peg of the primary point on the element, rather than ignoring them.
lTransform Typell

Translate: Ignores the transformations done on the primary peg, only
applies the transformations required for the element to track the threepoints.
Transform: Applies the transformations calculated by the Three-Points
Constraint node to make the element to track the three points, thenapplies the scale, angle and skew values of the primary peg on top ofthem.
Local Transform: Applies the scale, angle and skew values of the primarypeg on the element, then applies the transformations calculated by theThree-Points Constraint node for the element to track the three points.

Defines which one of the ports, and hence, which one of the pegs the node isconnected to, is used to define the primary point.
The primary point affects the other parameters in the following ways:lPrimary Portll

When the Flatten Type is set to Ignore 3D Transform or Project to Plane,
the position of the element on the Z-axis will be the one of the primarypoint.
When the Flatten Type is set to Project to Plane, the position of the
primary point on the Z-axis is used as the plane on which to project the
3D positions of the points.
If the Transform Type is set to Transform or Local Transform, the scale,angle and skew transformations of the primary peg will be applied to theelement.

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Transformation Gate Node
The Transformation Gate can be connected to several pegs, or any node that outputs a geometrictransformation, and dynamically select which one of these nodes controls its child element. For example, it ispossible to connect two pegs to the Transformation Gate, and have the first peg transform the child element of
the Transformation Gate for the first half of the scene, then the second peg transform the child element for thesecond half of the scene.
The Transformation Gate is also able to make an interpolation between two of the input transformations, andapply this combined transformation to its child.

Connection
The Transformation-Gate can be connected to as many nodes that output as transformation, such as Pegs,
Quadmaps or other Constraint nodes, as needed.

In the Node view, the colour of the input ports indicate which ports are active. The lightest input port is thetarget gate, which is the gate from which the transformation applied to the child element is sourced. The
darkest input port is the default gate. The other ports are ignored.
If the Active parameter of the node is set to any value between 0 and 100, the shade difference between thetarget gate and default gate will fade. This indicates that the transformations going through the target gate
and default gate are combined to create the transformation applied to the child element.
Optionally, a Transformation-Gate node can also be connected to a Constraint-Switch node, which can beused to multiply the Active parameter of the Transformation-Gate and override its Target Gate parameter.

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Properties

Parameter

Description

ActiveThe percentage of the transformation sent to the target gate that is applied to thechild element. If set to 100, only the transformation sent through the target gate
will be applied. If set to 0, only the transformation sent through the default gate
will be applied. If set to any value between 0 and 100, an interpolation of thetransformations sent through the target gate and the default gate will be
generated and applied to the child element.
The index of the input port referred to as the target gate.
The input ports are numbered starting from 0. In the node view, they are orderedfrom right to left. Set this parameter to 0 to make the rightmost input port thetarget gate, to 1 to make the second rightmost port the target gate, etc.

Local Target Gate

NOTE
If the Transformation Gate is connected to a Constraint Switch, the Target
Gate parameter of the Constraint Switch will override this value.

The index of the input port referred to as the default gate.
Default Gate

The input ports are numbered starting from 0. In the node view, they are orderedfrom right to left. Set this parameter to 0 to make the rightmost input port thetarget gate, to 1 to make the second rightmost port the target gate, etc.

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Transformation Limit Node
The Transformation Limit node can be used as an intermediary between two nodes to limit the effect of theparent peg's transformations onto the child, by applying a ration to the transformations applied to the parent
before applying them to the child. This ratio can be set for each coordinate in the node's properties and can be
animated.
NOTE
This node is designed to limit 2D and 3D translations, but not 3D rotations or scaling.

Connection
The Transformation Limit node must be connected to its parent peg by its right input port, and must beconnected to the peg or element it will apply the transformation to via its output port. Transformations appliedby the parent peg will be recalculated by the Transformation Limit node, then applied on its child.

The transformations that are processed by the Transform Limit node are not the ones of its immediate parent,
but rather, the ones of the entire hierarchy of parents it is connected to combined. If you need theTransformation-Limit node to only process the transformations of one or some of its parents and ignore theparents past a certain point in the hierarchy, simply connect the first parent the Transformation-Limit node
should ignore to its middle input port.

The effect of the Transformation Limit node on the transformation can be tempered by lowering its Active
parameter. The Transformation Limit node can also be connected to a Constraint Switch node, the Active
parameter of which will be multiplied with the Active parameter of the Transformation limit node, and hence
can also be used to temper its effect on its child.

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Controls
Because the Transformation Limit node can significantly influence the position of its child element relative to its
peg pivot, the Transformation Limit has its own pivot point. The position of this pivot can be set in its layer
properties, but can also be set visually by displaying its control in the Camera view and dragging it to thedesired position using the Transform tool.

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Properties

Parameter

Description

ActiveThe percentage of influence the Transformation Limit node has on thetransformation before it applies it to the child. For example, if its Translate X
parameter is set to 50, and its Active parameter is set to 50, the effective Translate
X limit will be 75.

Switch Effects

Defines which coordinate limits the Active parameter affects. If set to Active
value, it will affect the limits for all coordinates. If set to XYZ Translation, Scale,
Rotation, Scale/Skew or Skew, it will affect the limit on the corresponding
coordinates. If the Transformation-Limit node is connected to a Constraint
Switch, this parameter will also dictate the effect of the switch.

Translate X

The percentage of the parent's horizontal translation to apply to the child.

Translate Y

The percentage of the parent's vertical translation to apply to the child.

Translate Z

The percentage of the parent's translation on the Z axis to apply to the child.

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RotateThe percentage of the parent's rotation to apply to the child.

Skew

The percentage of the parent's skew to apply to the child.

Scale X

The percentage of the parent's horizontal scale to apply to the child.

Scale YThe percentage of the parent's vertical scale to apply to the child.

Allow Flipping

If disabled, the child element will not be flipped when one of the parent's scaletransformations is negative.

Uniform Scale

Averages the horizontal and vertical scale factors to preserve the proportions of
the child.
If this property is set to any value but 0, the Transformation Limit node will go up
its own hierarchy up to the value of this property, and consider the node at thislevel to be the "Ignored parent". The transformations applied by this parent and allits parents will not be affected by the Transform Limit.

Ignore Parents

NOTE
This has the same effect as connecting one of the node's parents to its
middle port.

If the Ignore Parents property is set to any value but 0, this property will also be
used in determining which parent to consider as the "Ignored parent". Whenlooking up the parent hierarchy of the Transformation Limit node, if it finds any
node with a matching name, it will consider it the "Ignored parent", and thetransformations applied by this parent and all its parents will not be taken inaccount for the spring effect.
Parent’s Name

NOTE
When both the Ignore Parents and the Parent's Name parameters are set,the "Ignored parent" will be the first node in the node's parent hierarchy
that either matches the name of the Parent's Name parameter or theparent level in the Ignore Parents parameter.

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TIP
This parameter only works if the Ignore Parents parameter is set to any
value but 0. If you want the ignored parent to only be matched by its
name and not its level in the hierarchy, you can set the Ignore Parents
parameter to an improbably high number (ie: 100 or 1000), and set the
Parent's Name to the name of the parent to ignore.

Affects how the translations are applied in the 3D space.
llFlatten Typel

Allow 3D Translate: The parent's translation on the Z-axis will be affectedby the Translate Z parameter, then applied to the Z axis position of thechild, as with other parameters. This is the default behavior.
Project 3D Translate to Plane: The parent's translation on the Z-axis will
be projected on the X and Y translations based on the position of thecamera. This gives the illusion that the apparent position of the elementfrom the point of view of the camera changes realistically depending on its
position on the Z-axis, but without actually moving it on the Z-axis andhence without changing its order relative to other elements.
Project and Scale 3D Translate to Plane: The parent's translation on the
Z-axis will be projected on the X and Y translations and on the X and Y
scales, based on the position of the camera. This gives the illusion that theapparent position and size of the element from the point of view of thecamera changes realistically depending on its position on the Z-axis, but
without actually moving it on the Z-axis and hence without changing its
order relative to other elements.

Affects how Skew of the parent is applied to the child.
llSkew TypelControl Position

Skew Applied as Rotation: Adds the value of the skew calculated by theTransformation Limit node to the rotation applied to the child.
Skew Ignored by Rotation: Processes the skew and rotation coordinates
separately. Because the effect of these parameters is intertwined, this may
wield unexpected results, but which may be preferable whentransformations are fine tuned and manually calculated.
Skew Optimized for Rotation: Processes the skew and rotation
coordinates together before applying them to the child element. The result
will look more like what the human eye would guess the element would
look like with a limit applied to its rotation and skew.

The following parameters affect the pivot point used to apply the transformations
calculated by the Transformation Limit node.
2D Path: The horizontal and vertical position of the pivot point are stored in asingle function of control points. This makes the trajectory curvilinear and the429

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pace of the movement set to a velocity function.
Separate: The horizontal and vertical position of the pivot point are stored inseparate functions of coordinates. This makes a trajectory where each point isjoined by a straight line and each coordinate can have its own curve.
Path: If the 2D Path option is selected, this allows you to create or link to a
2D Path function.
(x) Axis: The position of the pivot point on the horizontal axis.
(y) Axis: The position of the pivot point on the vertical axis.

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Two-Points Constraint Node
The Two-Points Constraint translates, rotates and scales a drawing to make it follow the pivots of the twopegs connected to it. Hence, it allows an animator to position an element (for example, a limb) by moving thetwo points at its extremities (the articulations).

Contrary to Three-Points Constraint and Multi-Points Constraint nodes, Two-Points Constraint can
automatically stretch and squash the element they are connected to depending on the distance between thetwo points. This effect can be fine-tuned in the layer properties of the Two-Point Constraint node.

Connection
The Two-Points Constraint node must be connected to two Peg nodes. The pivot point of each peg will define
the resting position of one of the points used to transform the drawing connected under it. When one of thepegs is moved, the Two-Points Constraint will transform the drawing so that it follows the pivot point of that
peg.

NOTE
The resting position of the points is based on the pivot point of the peg. The pivot point of a peg
can be set by selecting the peg with the Translate, Rotate, Scaleor Skew

tool, thenclicking and dragging the pivot in the Camera view, or by entering its coordinates in the layer
properties of the peg.
It is possible to rig multiple Two-Points Constraint nodes together in order to connect adjacent parts of acharacter rig by their articulation. For example, the upper and lower part of an arm or a leg could be rigged
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Optionally, the leftmost input port of a Two-Points Constraint node can be connected to a Constraint-Switch,which can be used to reduce the effect of the Two-Points Constraint node on the element it is connected by
setting its Active parameter between 0 and 100.

TIP
It is recommended to disable the Animate Using Animation Tools property of the element the
Two-Points Constraint node is connected to. This will allow the animator to animate the TwoPoints Constraint by selecting the element, then clicking and dragging near one of the two points
using the Transform tool. The Two-Points Constraint will automatically select the closest point to
the mouse cursor and move it.

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Controls
When the controls of the Two-Points Constraint are displayed, the position of the two points are displayedwith blue squares linked by a green line.
These points are only a visual representation and cannot be manipulated.

How to animate an element connected to a Two-Points Constraint
1. In the Tools toolbar, select the Transform tool or press Shift + T.
2. Do one of the following:lSelect one of the pegs the Two-Points Constraint is connected to, then move the peg byclicking and dragging the centre point in the Camera view.

lIn the layer properties of the element, disable the Animate Using Animation Tools option.
Then, select the element, and click and drag the element near one of the two points. The
point that is the closest to the mouse cursor will be automatically selected and moved.

Properties

Parameter

Description

ActiveThe percentage of influence the constraint has on its child element. If set to 100,
the element will follow the two points closely. If set to 0, the element will not beaffected by the constraint.
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the Active parameters of the Transformation Switch and the Two-Points
Constraint nodes will be multiplied together.
Defines how much the Two-Points Constraint node should preserve the width ofthe child element when the distance between the points causes it to stretch or
squash.
Volume Modifier

If set to 100, the width of the element will increase when squashed anddecreased when stretched based on the Volume Max and Volume Min parameters.
If set to 0, the element will always have the same width regardless of how much it
is stretched or squashed. The value can be set to a number between 0 and 100 to
reduce the effect of the volume modifications, to a number above 100 to increase
it, or to a negative number to reverse the volume modification logic.
The maximum width of the element when squashed.

Volume Max

This value represents a percentage of the element's original width. If set to 0, nominimum width will be applied.
The minimum width of the element when stretched.

Volume Min

Distance Min

Distance Max

Skew Modifier

Smoothing

The value represents a percentage of the element's original width. If set to 0, no
maximum width will be applied.
The minimum distance between the two points. If the points are brought closer
together than their minimum distance, the element will stop transforming.
This value represents a percentage of the distance between the two points whenin their respective resting positions.
The maximum distance between the two points. If the points are brought farther
from each other than their maximum distance, the element will stop transforming.
This value represents a percentage of the distance between the two points whenin their respective resting positions.
When set to 0, the element is rotated to follow the two points. If set to 100, theelement will skew to follow the two points. If set between 0 and 100, the element
will be transform with a combination of rotation and skewing to follow the twopoints.
When the two points are moved away from each other and reach their maximum
distance, this value will adds an extra buffer of distance that the two points canreach before the element stops stretching. In this buffer, the way the element
stretches is tapered, making it stop stretching smoothly instead of abruptly.
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Harmony 16.0 Premium Reference Guidein their respective resting positions.

Point BalanceThis parameter comes in effect when the two points are being moved at a
distance exceeding their maximum distance. If set to 0, the element will stop
stretching and remain locked against the primary point. If set to 100, the element
will stop stretching and remain locked against the second point. If set to a value
between 0 and 100, the element will be moved between both points, at a distancefrom the primary point that is proportional to this setting.
This parameter defines what happens if one of the pegs defining the constraint
points is moved on the Z-axis:lll

Flatten TypeIgnore 3D Transform: The element will be constrained to the vertical andhorizontal position of the pegs, and will ignore their position on the Z
axis.
Allow 3D Transform: The element will be 3D-rotated to follow theposition of the pegs in the 3D space.
Project to Plane: The element will be constrained in 2D, but will be madeto follow the perceived position of the points from the camera's point ofview. This means the 3D position of the points will be projected on a 2D
plane that is parallel to the camera.

NOTE
This projection is based on the position of the primary point peg
on the Z-axis. Hence, if the two pegs are on a different position on
the Z-axis, there may be a perceived offset between thesecondary point and its effect on the element.

By default, only the position of the points is used to transform the element. Since
those points are defined by pegs, these pegs can also be subjected to scale, angle
and skew transformations that would be normally ignored by the Two-Points
Constraint node. This parameter can be used to apply the other transformations
done on the peg of the primary point on the element, rather than ignoring them.
lTransform Typell

Translate: Ignores the transformations done on the primary peg, only
applies the transformations required for the element to track the twopoints.
Transform: Applies the transformations calculated by the Two-Points
Constraint node to make the element to track the two points, then applies
the scale, angle and skew values of the primary peg on top of them.
Local Transform: Applies the scale, angle and skew values of the primarypeg on the element, then applies the transformations calculated by the
Two-Points Constraint node for the element to track the two points.

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Defines which one of the ports, and hence, which one of the pegs the node isconnected to, is used to define the primary point, leaving the other port for thesecondary point.
The primary point affects the other parameters in several ways:lPrimary Portl

The Point Balance parameter ranges from 0 to 100, with 0 making theelement balance towards the primary point and 100 making it balance
towards the secondary point.
When the Flatten Type is set to Ignore 3D Transform or Project to Plane,
the position of the element on the Z-axis will be the one of the primarypoint.

ll

When the Flatten Type is set to Project to Plane, the position of the
primary point on the Z-axis is used as the plane on which to project the
3D positions of the points.
If the Transform Type is set to Transform or Local Transform, the scale,angle and skew transformations of the primary peg will be applied to theelement.

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Deformation Nodes
The Deformation nodes category includes all the nodes which are used to make deformers. In Harmony,
deformers are made of chains of deformation nodes connected in a hierarchy. By default, deformation chains
made with the Rigging tool are created in groups by default to avoid cluttering the Node and Timeline views.
Each deformation node represents a point in a deformation chain.
This category also includes nodes that are made to deform drawings without being part of a deformation chain,such as the Mesh Warp node.
Articulation Node438

Auto Fold Node441

Auto Muscle Node443

Bone Nodes

447

Curve Node451

Deformation Composite Node455

Deformation Root Node458

Deformation Scale Node459

Deformation Switch Node464

Deformation Uniform Scale Node466

Deformation Wave Node

468

Fold Node471

Game Bone Node

475

Glue Node477

Kinematic Output Node479

Mesh Warp Node480

Offset Node484

Refract

486

Stick Node488

Turbulence Node

490

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Articulation Node
The Articulation node is no longer used in the current release of Harmony. This node is still available forcompatibility purposes with previous deformation rigs.
The Articulation node is used between two bones (legacy) to create a joint where the limb or element will
rotate. The current Bone and Game Bone nodes include the articulation parameters.

Properties

Parameter

Description

Enable/Disable

Allows you to enable or disable the node. When disabled, a node has
no visible effect on the rendered image, nor on the preview in the
Camera, Perspective, Side and Top views.

Colour Swatch

Sets the colour of the layer in the Timeline view and of the node in
the Node view.

Name

Use this field to rename the node.

Resting Parameters
Rest Radius

Lets you set the resting radius of the articulation (size of the circle).

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Resting Orientation

Lets you set the resting rotation angle value of the articulation.

Rest Bias

Lets you set the resting bias value of the articulation, which can also
be seen as the steepness of the articulation. The smaller the bias
value, the smoother the articulation angle, and the larger the bias
value, the more angular the articulation is.

Deformation Parameters

RadiusLets you set the radius of the articulation (size of the circle). Whenanimated, this value will be connected to a function.

Orientation

Lets you set the rotation angle value of the articulation. Whenanimated, this value will be connected to a function.

Bias

Lets you set the bias value, which can also be seen as the steepnessof the articulation. When animated, this value will be connected to afunction.

Region of Influence

Influence Fade RadiusThis defines the size of the fade area around the actual region of influence's
boundaries.
When the Symmetric Ellipse of Influence option is enabled, this field controls theLeft and Right transversal radius values. When disabled, it controls the size of theleft transversal radius. By default, this value is set to 2.

Transversal Influence Radius
Left

When the Symmetric Ellipse of Influence option is enabled, this field becomesinactive. The Left Transversal radius value is automatically applied to the Right
Transversal. When the Symmetric Ellipse of Influence option is disabled, it
controls the size of the Right Transversal radius. By default, this value is set to 2.
Transversal Influence Radius
Right

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Longitudinal Influence
Radius Begin

When the Symmetric Ellipse of Influence option is enabled, this field becomesinactive. The End Longitudinal value is automatically applied to the Begin
Longitudinal value. When the Symmetric Ellipse of Influence option is disabled, it
controls the size of the Begin Longitudinal radius. By default, this value is set to
0.25.

When the Symmetric Ellipse of Influence option is enabled, this field controls
both the Begin and End Longitudinal radius values. When this option is disabled,
it controls the size of the End Longitudinal radius. By default, this value is set to
0.25.
Longitudinal Influence
Radius End

Enabled by default. The shape of the ellipse will be symmetrical on both theSymmetric Ellipse Influencetransversal and longitudinal radii. In this case, use the Transversal Influence
Radius Left field to set the transversal radius value and use the Longitudinal
Influence Radius End field to set the longitudinal radius value. The two otherfields will remain unused unless you disable the Symmetric Ellipse Influence
option. In that case, you can set up different radius sizes for the four radii
directions.

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Auto Fold Node
The AutoFold node lets you automatically fix the folding area of a deformer, so no line overlap occurs. If yourdrawing pieces are separated on different layers, you will not need the AutoFold node. The AutoFold node issimilar to the Fold node, but since it's automated, it is optimized to fit the most standard folding point withfewer controls to set up. You can also avoid this issue by separating your drawing onto two layers or separating
your drawing in two pieces using the Cutter tool and repasting it in place in the same drawing.

Connect the AutoFold node directly under the Deformation node which is causing the unwanted line effect, forexample the forearm.

Properties

Parameter

Description

Enable/Disable

Allows you to enable or disable the node. When disabled, a node has no visible

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effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top views.
Colour Swatch

Sets the colour of the layer in the Timeline view and of the node in the Node view.

Name

Name this field to rename the node.
Type 1 to enable it or 0 to disable the effect.

Enable AutoFold

If you connect this option to a function, then you can enable or disable the effectat a specific point in your animation.
Sets the length of the fold axis line.

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Auto Muscle Node
The Auto-Muscle node is used to simulate muscle movement. This will allow your characters to flex their muscles
when they lift something or to create muscle tone when they move. When the Auto-Muscle node is connected
to a Bone Deformer that is rotated, the drawing is automatically inflated to simulate muscle movement in the
limb.
NOTE
Connect the Auto-Muscle node above the drawing you want to add a muscle to and after the Bonechain.

Properties

Parameter

Description

Enable/Disable

Allows you to enable or disable the node. When disabled, a node has no visible effect on
the rendered image, nor on the preview in the Camera, Perspective, Side and Top views.

Colour Swatch

Sets the colour of the layer in the Timeline view and of the node in the Node view.

Name

Use this field to rename the node.

Muscle Left

This option is enabled by default. When enabled, the left side of the Bone Deformer will
inflate as the articulation is rotated toward the direction of the Bone Deformer. Disable thisoption if you do not want the left side of the bone to inflate.

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The default value of the starting position of the left muscle is set to -2. This means it will
start at the deformer situated two steps before the position where the Auto-Muscle isconnected. You can change the starting point by typing the number corresponding to thedeformer node.

Left Start

Left Span

This parameter controls the length (muscle length) over which the effect node will beapplied to the left side of the deformer. By default the setting is 1, representing the lengthof the deformer to which it is applied.
This parameter controls the physical size of the left muscle. Increase the value to make themuscle bigger, decrease the value to make it smaller.

Left Amplitude

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This option is enabled by default. When enabled, the right side of the Bone Deformer will
inflate as the articulation is rotated toward the direction of the Bone Deformer. Disable thisoption if you don't want the right side of the bone to inflate.

Muscle Right

This option is enabled by default, allowing each side of the Bone Deformer to inflate tofollow the rotation of the articulation. Enable this option to synchronize the right muscle
with the left so both muscles inflate when the articulation is rotated to the left.

Same as Left

Right Start

The default value of the starting position of the right muscle is set to -2. This means it will
start at the deformer situated two steps before where the Auto-Muscle is connected, in
this case, Bone. You can change the starting point by typing the number corresponding to
the deformer node.

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Right Span

This parameter controls the length (muscle length) over which the effect node will beapplied to the right side of the deformer. By default the setting is 1, representing the lengthof the deformer to which it is applied.

Right Amplitude

This parameter controls the physical size of the right muscle. Increase the value to makethe muscle bigger, decrease the value to make it smaller.

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Bone Nodes
The Bone node is one of the main nodes used to build a deformation rig. Each Bone node consists of a bone andan articulation. You can chain Bone nodes to create a skeleton chain for your character. The Rigging tool can beused to create and connect those nodes automatically.

Properties

Parameter

Descriptions

Enable/Disable

Allows you to enable or disable the node. When disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top views.

Colour Swatch

Sets the colour of the layer in the Timeline view and of the node in the Node view.

Name

Allows you to enter a name for the node.

Resting Parameters Rest Offset(x) AxisThis is the bone x-axis (horizontal) coordinates for the resting position.

(y) AxisThis is the bone y-axis (vertical) coordinates for the resting position.

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Rest RadiusThis is the articulation's radius value (articulation size) for the resting position.

Rest Orientation

This is the bone's orientation angle for the resting position.

Rest Bias

This is the articulation's bias (roundness and smoothness) for the resting
position.

Rest Length

This is the bone's length for the resting position.

Deform Parameters Offset

2D PathWhen this option is enabled, the X and Y-axis parameters are controlled by thesame 2D path function.

Separate

When this option is enabled, the X and Y-axis parameters are individual one fromanother.

Path

When using a 2D Path, this field displays the name of the function.

(x) AxisThis is the bone X-axis (horizontal) coordinates for the animation position. Thisparameter can be linked to a function to be animated over time.

(y) AxisThis is the bone y-axis (vertical) coordinates for the animation position. Thisparameter can be linked to a function to be animated over time.

RadiusThis is the articulation's radius value (articulation size) for the animation position.
This parameter can be linked to a function to be animated over time.

Orientation

This is the bone's orientation angle for the animation position. This parameter canbe linked to a function to be animated over time.

Bias

This is the articulation's bias (roundness and smoothness) for the animation
position. This parameter can be linked to a function to be animated over time.

LengthThis is the bone's length for the animation position. This parameter can be linked
to a function to be animated over time.

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Influence Fade RadiusThis defines the size of the fade area around the actual region of influence's
boundaries.

When the Symmetric Ellipse of Influence option is enabled, this field controls theLeft and Right transversal radius values. When disabled, it controls the size of theleft transversal radius. By default, this value is set to 2.

Transversal Influence Radius
Left

When the Symmetric Ellipse of Influence option is enabled, this field becomesinactive. The Left Transversal radius value is automatically applied to the Right
Transversal. When the Symmetric Ellipse of Influence option is disabled, it
controls the size of the Right Transversal radius. By default, this value is set to 2.

Transversal Influence Radius
Right

Longitudinal Influence
Radius Begin

When the Symmetric Ellipse of Influence option is enabled, this field becomesinactive. The End Longitudinal value is automatically applied to the Begin
Longitudinal value. When the Symmetric Ellipse of Influence option is disabled, it
controls the size of the Begin Longitudinal radius. By default, this value is set to
0.25.

When the Symmetric Ellipse of Influence option is enabled, this field controls boththe Begin and End Longitudinal radius values. When this option is disabled, it
controls the size of the End Longitudinal radius. By default, this value is set to
0.25.

Longitudinal Influence
Radius End

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Symmetric Ellipse Influence

Enabled by default. The shape of the ellipse will be symmetrical on both thetransversal and longitudinal radii. In this case, use the Transversal Influence
Radius Left field to set the transversal radius value and use the Longitudinal
Influence Radius End field to set the longitudinal radius value. The two otherfields will remain unused unless you disable the Symmetric Ellipse Influence
option. In that case, you can set up different radius sizes for the four radii
directions.

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Curve Node
The Curve node is one of the main nodes for building a deformation rig. You can chaining Curve nodes to createa Bezier handles skeleton. The Rigging tool can be used to create and connect the nodes automatically.

Properties

Parameter

Description

Enable/Disable

Allows you to enable or disable the node. When disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top views.

Colour Swatch

Sets the colour of the layer in the Timeline view and of the node in the Node view.

Name

Allows you to enter a name for the node.

Resting Parameters Resting Offset(x) AxisThis is the curve x-axis (horizontal) coordinates for the resting position.

(y) AxisThis is the curve y-axis (vertical) coordinates for the resting position.

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Resting Orientation 0This is the orientation for the first Bezier handle for the resting position.

Rest Length 0This is the length for the first Bezier handle for the resting position.

Resting Orientation 1

This is the orientation for the second Bezier handle for the resting position.

Rest Length 1

This is the length for the second Bezier handle for the resting position.

Deform Parameters Offset

2D PathWhen this option is enabled, the X and Y-axis parameters are controlled by thesame 2D path function.

Separate

When this option is enabled, the X and Y-axis parameters are individual one fromanother.

(x) AxisThis is the curve X-axis (horizontal) coordinates for the animation position.

(y) AxisThis is the curve Y-axis (vertical) coordinates for the animation position.

Orientation 0This is the orientation for the first Bezier handle for the animation position.

Length 0This is the length for the first Bezier handle for the animation position.

Orientation 1

This is the orientation for the second Bezier handle for the animation position.

Length 1

This is the length for the second Bezier handle for the animation position.

Envelope Parameters

Apply Parent Modifier's
Transformation

When this option is disabled, the deformation from the parent curves are nolonger affecting the current curve. Interesting effects can be achieved whendisabling this effect on the last child curve and rotating the Offset point. The
curve tail end will remain pinned on the spot while the rest of the curves deforms.

Close Contour

When this option is enabled, the extrimity of the curve is snapped to the initialchain's Offset point. This creates an Envelope deformation. More than one curve
can be linked to the Offset point.

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Region of Influence

Influence Fade RadiusThis defines the size of the fade area around the actual region of influence's
boundaries.

When the Symmetric Ellipse of Influence option is enabled, this field controls theLeft and Right transversal radius values. When disabled, it controls the size of theleft transversal radius. By default, this value is set to 2.

Transversal Influence Radius
Left

When the Symmetric Ellipse of Influence option is enabled, this field becomesinactive. The Left Transversal radius value is automatically applied to the Right
Transversal. When the Symmetric Ellipse of Influence option is disabled, it
controls the size of the Right Transversal radius. By default, this value is set to 2.

Transversal Influence Radius
Right

Longitudinal Influence
Radius Begin

Longitudinal Influence
Radius End

When the Symmetric Ellipse of Influence option is enabled, this field becomesinactive. The End Longitudinal value is automatically applied to the Begin
Longitudinal value. When the Symmetric Ellipse of Influence option is disabled, it
controls the size of the Begin Longitudinal radius. By default, this value is set to
0.25.

When the Symmetric Ellipse of Influence option is enabled, this field controls boththe Begin and End Longitudinal radius values. When this option is disabled, it
controls the size of the End Longitudinal radius. By default, this value is set to
0.25.

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Symmetric Ellipse Influence

Enabled by default. The shape of the ellipse will be symmetrical on both thetransversal and longitudinal radii. In this case, use the Transversal Influence
Radius Left field to set the transversal radius value and use the Longitudinal
Influence Radius End field to set the longitudinal radius value. The two otherfields will remain unused unless you disable the Symmetric Ellipse Influence
option. In that case, you can set up different radius sizes for the four radii
directions.

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Deformation Composite NodeThe Deformation-Composite node is automatically added to a rig when creating a split deformation chain. It is
used to link the different nodes of a split deformation chain together before deforming the drawing it is linked
to. You can customize its parameters to influence the result of the combination.

Properties
Parameter

Description

Enable/Disable

Allows you to enable or disable the node. When disabled, a node has
no visible effect on the rendered image, nor on the preview in the
Camera, Perspective, Side and Top views.

Colour Swatch

Sets the colour of the layer in the Timeline view and of the node in the
Node view.

Name

Use this field to rename the node.

Output Kinematic Only

This option is disabled by default, allowing the deformation chain to
output deformation and position information. This option should beenabled in order to output the chain information position only. This willallow you to connect a part to the hierarchy without it undergoing thedeformation applied to the rest of the chain.
This option is important if you have several deformation chains for one
element, as in the case of a character with multiple poses.

Output Selected Port Only•

When this option is enabled, it will only use the selected chain,
which you will be able to define in the Output Kinematic Chain
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option is enabled and setup automatically (For example, when
you are working with the Create Posed Deformer in Create
Deformation Above/Under enabled).
•

When this option is disabled, all the different chains for thiselement will be used at once.

Lets you select a deformation chain option to use. This parameter isused when the Output Selected Port Only option is enabled.

Rightmost: Only the first chain connected to the right of the composite
Output Kinematic Chain

node will be used.
Leftmost: Only the first chain connected to the left of the composite
node will be used.
Select: If you select this option, you can define which chain to output
according to the order they are connected from left to right.
Use First Connected Element’s Exposure as Key: Allows thedeformation effect to automatically detect which deformation chain touse (subgroup) by detecting the exposure of the first element
connected to the deformation. This option is used in the case of amultiple pose rig.
Use Parent Composite’s Connected Element Exposure: When the
Output Kinematic Only option enabled, the information from the parent
element’s exposure is used to attach the child to the correct chain,following which pose is exposed—see

Output Kinematic Chain Selection

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option is used as the Output Kinematic Chain setting, this field defines
which deformation chain you want to use on your element. Select the
number which corresponds to the left to right order that the chains areconnected to the Deformation-Composite node.

You can attach this value to a function and enable different chains overa period of time on specific frames. This value can be modified in theTimeline view by using the Deformation-Switch layer. Since theDeformation-Composite node is only visible in the Node view, the layer
has a reference to this parameter enabling you to easily edit the value
when working in the Timeline view.

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Deformation Root NodeThe Deformation-Root is used when creating manual legacy multi-pose rigs. It can be placed at the start of thedeformation chains. This node is no longer used for the current multi-pose rig structure.
You can modify the quality level of the Deformation effect in the Deformation-Root Layer Properties window:

Properties

Parameter

Description

Enable/Disable

Allows you to enable or disable the node. When disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top views.

Colour Swatch

Sets the colour of the layer in the Timeline view and of the node in the Node view.

Name

Use this field to rename the node.
Defines the number of slices the graphic is split into and used when undergoing a
deformation. The higher the quality level, the more slices are created and thesmoother the deformation applied to the graphic. There are five levels of quality:

Quality•Low•

Medium•High•

Very High (default value)•

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Deformation Scale Node
The deformers can only be scaled along the centre axis to adjust the length of the limb. The Deformation-Scalecan be used in combination with a Bone or Curve deformer to scale a drawing so it follows the opposite
direction of the deformer axis (the width). For example, when combined with function curves this can be used
to create advanced muscle effects. All these settings can be animated over time.

How to set up the Deformation-Scale effect node
1. In the Node view, navigate to the node to which you want to add a Deformation-Scale effect.
2. In the Node Library view, select a Deformation-Scale node and drag it to the Node view.
3. Connect the Deformation-Scale node directly under the lower deformer node of your chain.

4. In the Node view, select the Deformation-Scale node and select View > Show > Control to display
its controls in the Camera view.

TIP
You can animate the different parameters of the Deformation-Scale node. To do this,make sure the Animate mode is set tobefore you manipulate it.

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NOTE
If the controls are too far away from the deformer, you can change the default display of
the Deformation-Scale and Deformation-Uniform-Scale controls in the Preferences
dialog box to bring them closer.
5. Click on the square yellow button of the Deformation-Scale node to open the Layer Properties
window.

Properties

Parameter

Description

Enable/Disable

Allows you to enable or disable the node. When disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top views.

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Colour Swatch

Sets the colour of the layer in the Timeline view and of the node in the Node view.

Name

Use this field to rename the node.

This series of options controls the left scaling deformation.

Scale Left

This option is enabled by default. It allows the left side of the deformer to be scaled.
In the Camera view, the dark blue controls are used for the left side. If you disable
this option, the controls will be hidden and no scaling deformation will occur forthis side.

Left Fade In

The value is set to 0 (no fade) by default. Increase the value to add a fade effect tosmooth the transition between the starting point of the scale and the area before it.

Left Fade Out

The value is set to 0 (no fade) by default. Increase the value to add a fade effect tosmooth the transition between the Left Span point of the scale and the area after it.
Defines the starting point of the left scale deformation. The default value is 0 andrepresents the Deformation-Root. Each main control point count for +1.
Move the first blue arrow along the deformer’s central axis to set the starting pointof the Deformation-Scale and the last arrow to set the length (span) of thetransformation.

Left Start

Left Span

Left Start Scale

Defines the length of the left scale effect.
Defines the start of the left scale effect.
Drag the square scaling curve control points away and forward from the deformer

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axis to set the scaling value at the starting and ending point.

Left End Scale

Defines the end of the left scale effect.
Defines the starting position of the left handle.
Drag the two middle blue arrows along the deformer’s centre axis to set the positionof the curve handles.

Left Start Handle Position

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Left End Handle Position

Defines the ending position of the left handle.
Defines the starting position of the left scale handle.
To modify the scaling value of the curve, drag the two control handles away andforward from the deformation axis.

Left Start Handle Scale

Left End Handle Scale

Defines the ending position of the left scale handle.

Scale Right

This option is enabled by default. It allows the right side of the deformer to bescaled. In the Camera view, the light blue controls are used for the right side. If you
disable this option, the controls will be hidden and no scaling deformation will
occur for this side.

Same as Left

This option is disabled by default. It means that the left and right sides will use
different scaling parameters. If you enable this option, the right side controls will behidden in the Camera view and the left parameters will be used for both side for asymmetrical scaling effect.

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Deformation Switch NodeThe Deformation-Switch (Legacy) node acts as a on and off switch for the deformation chain. It is used whenbuilding legacy multi-pose rigs. It is also the node which controls the Region of Influence Fade area. The
Deformation-Switch also displays a Kinematic Chain Selection Reference option, which allows you to modify
the chain selection directly in the Timeline view.
The Deformation-Switch has been replaced with the Transformation-Switch node.

Properties

Parameter

Description

Enable/Disable

Allows you to enable or disable the node. When disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top views.

Colour Swatch

Sets the colour of the layer in the Timeline view and of the node in the Node view.

Name

Use this field to rename the node.
Defines the quality of the deformation effect when your drawings are stretchedand deformed. There are five levels of quality:

Vector Quality

Influence Fade Exponent

•

Low

•

Medium•High•

Very High (default value)•

ExtremeA value of 1 is similar to a linear curve. A higher value will result in an ease-in typeof curve. A lower value will result in an ease-out type of curve.

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Fade Inside Region

This option is disabled by default. The fade effect will occur outside the zone ofinfluence. Enable this option to have the fade effect inside the Zone of Influence.

Enable Deformation

Acts as an on/off switch for the deformation. The value of this field is set to 1 bydefault, which means the deformation is enabled. Enter a value of 0 to disable it.

Kinematic Chain Selection
Reference

Determines which chain is selected and used at a specific frame. It is a reference
to the option in the Deformation-Composite node. Having this reference in the
Deformation-Switch node allows you to use and modify the chain selection value
directly in the Timeline view since the Deformation-Composite node is only
visible in the Node view.

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Deformation Uniform Scale NodeThe Deformation-Uniform-Scale effect node let you create the squash and stretch effect on your animateddeformation rig. You can scale the rigged element on the opposite axis of the deformer (width).

How to use the Deformation-Uniform-Scale node
1. In the Node view, navigate to the deformation node to which you want to add a DeformationUniform-Scale node.
2. In the Node Library view, select the Deformation-Uniform-Scale node and drag it to the Node view.
3. Connect the Deformation-Uniform-Scale node directly below the lowest deformation node in yourchain.

4. Connect the Deform-Uniform-Scale node to all the drawing nodes it should scale.
5. In the Node view, select the Deformation-Uniform-Scale node.
6. Display the Uniform Scale controls in the Camera view by pressing Shift + F11.
7. In the Camera view, drag the handle to resize the width of the limb. You can also use the Scale field
to enter a specific value. These parameters can be animated over time.

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NOTE
If the controls are too far away from the deformer, you can change the default display of the
Deformation-Scale and Deformation-Uniform-Scale controls in the Preferences dialog box tobring them closer.

Properties

Parameter

Description

Allows you to enable or disable the node. When disabled, a node has no
Enable/Disablevisible effect on the rendered image, nor on the preview in the Camera,
Perspective, Side and Top views.

Colour Swatch

Sets the colour of the layer in the Timeline view and of the node in the
Node view.

Name

Allows you to enter a name for the node.

Scale

Use this field to type in the value to resize the width of the limb.

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Deformation Wave NodeThe Deformation-Wave effect deforms the chain by adjusting the scaling in a waveform style. It can be used toanimate a wave deformation effect on your deformation chain over a period of time.

How to use the Deformation-Wave effect
1. In the Node view, navigate inside the Deformation node to which you want to add a DeformationWave effect.
2. In the Node Library view, select an Deformation-Wave node and drag it to the Node view.
3. Connect the Deformation-Wave node to your deformation chain.
A wave deformation is applied to the limb or art connected to the deformation chain.

4. In the Node view, open the Layer Properties window of the Deformation-Wave node.

Properties

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Parameter

Description

Enable/Disable

Allows you to enable or disable the node. When disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top views.

Colour Swatch

Sets the colour of the layer in the Timeline view and of the node in the Node view.

Name

Use this field to rename the node.

Wave Left

This option is enabled by default, allowing the Deformation-Wave effect to be
applied on the left side of the deformer chain. Disable this option to prevent theeffect from being applied.

Left Start

Defines the length of the left wave effect.

Left Span

Defines the starting point of the left wave deformation. The default value is 0 andrepresents the root point. Each main control point count for +1.

Left Offset Deformer

This is the parameter you may want to connect to a function. It controls the offsetof the deformation on the left side and allows you to create a fluid wave
animation along the deformer axis.

Left Amplitude

Controls the height of the left wave effect.

Left Offset Scaling

Used to apply an offset value to the amplitude of the left wave. The wave will be
lifted and become higher, or dropped and become lower, depending whether thevalue is increased or decreased.

Left Period

Controls the interval of occurrence of the left waves. By default the value is 1,
meaning that a wave will occur for every deformer. If you decrease the value to0.5, it will result in a wave occurring every half deformer.

Wave Right

By default this option is enabled, allowing the Deformation-Wave effect to be
applied on the right side of the deformer chain. Disable this option to prevent theeffect from being applied.

Same as Left

This option is disabled by default. It allows the left and right size of the
Deformation-Wave to be controlled separately. Select this option if you want theeffect to be symmetrical and controlled by the left side parameters.

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Right Start

Defines the starting point of the right wave deformation. The default value is 0
and represents the Deformation-Root. Each main control point count for +1.

Right Span

Defines the length of the right wave effect.

Right Offset Deformer

This is the parameter you might want to connect to a function. It controls theoffset of the deformation on the right side, allowing you to create a fluid wave
animation along the deformer axis.

Right Amplitude

Controls the height of the right wave effect.

Right Offset Scaling

Used to apply an offset value to the amplitude of the right wave. The wave will be
lifted and become higher, or dropped and become lower, depending whether thevalue is increased or decreased.

Right Period

Controls the interval of occurrence of the right side waves. By default the value is1, meaning that a wave will occur for every deformer. If you decrease the value at
0.5 it will result in a wave occurring every half deformer.

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Fold Node
The Fold effect is used when bending a deformation further than the drawing is able to take it. This may resultin an unwanted overlap of the line art at the junction of the articulation or deformation. The Fold effect lets you
control certain parameters that will help eliminate the unwanted line effect. You can also avoid this issue by
separating your drawing onto two layers or separating your drawing in two pieces using the Cutter tool andrepasting it in place in the same drawing.

The Fold effect works best with the Curve deformers.

How to set up the Fold node
1. In the Node view, navigate to the Deformation node causing the unwanted overlap (in this case, anarticulation).
2. In the Node Library view, select the Fold node and drag it to the Node view.
3. Connect the Deformation-Fold node directly under the deformation effect node which is causing theunwanted line effect.

4. In the Node view, select the Deformation-Fold node.
5. From the top menu, select View > Show > Control or press Shift + F11 (Windows/Linux) or ⌘ +F11 (macOS) to display its controls in the Camera view.
6. In the Tools toolbar, select the Transform

tool.

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7. In the Camera view, set up the Deformation-Fold. You can also set these parameters directly in the
Deformation-Fold properties:‣

Click on the fold axis and rotate it to match the angle of the bend articulation.

‣

Use the middle arrow to position the axis along the deformer’s central line. It should be in thecorner of the bending area.

‣

Use the right and left arrows to control the appearance of the two overlapping lines.

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Use the axis’s square handle to lengthen or shorten the axis.

8. If your character moves a lot and you need to adjust the fold at different positions to follow the limb
animation, you can set up the Deformation-Fold node in a different position over time. To be able todo this, make sure that the Animate mode is set to

Animate Current Frame in the Tools toolbar.

9. You can also enable/disable the Deformation-Fold node over time by connecting a function to the
Enable Fold parameter in the Layer Properties. A value of 1 enables the effect, a value of 0 disables
the effect.

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Game Bone Node
The Bone node is one of the main node used to build a deformation rig. Each Bone node consists of a bone andan articulation. Chaining Bone nodes will create a skeleton chain for your character. The Rigging tool can beused to create and connect those nodes automatically.

Parameter

Descriptions

Resting Parameters Rest Offset(x) AxisThis is the bone X-axis (horizontal) coordinates for the resting position.

(y) AxisThis is the bone Y-axis (vertical) coordinates for the resting position.

Rest RadiusThis is the articulation's radius value (articulation size) for the resting position.

Rest Orientation

This is the bone's orientation angle for the resting position.

Rest Length

This is the bone's length for the resting position.

Deform Parameters Offset

2D PathWhen this option is enabled, the X and Y axis parameters are controlled by thesame 2D path function.

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Separate

When this option is enabled, the X and Y axis parameters are individual from eachother.

Path

When using a 2D Path, this field displays the name of the function curve.

(x) AxisThis is the bone X-axis (horizontal) coordinates for the animation position. Thisparameter can be linked to a function curve to be animated over time.

(y) AxisThis is the bone Y-axis (vertical) coordinates for the animation position. Thisparameter can be linked to a function curve to be animated over time.

RadiusThis is the articulation's radius value (articulation size) for the animation position.
This parameter can be linked to a function curve to be animated over time.

Orientation

This is the bone's orientation angle for the animation position. This parameter canbe linked to a function curve to be animated over time.

LengthThis is the bone's length for the animation position. This parameter can be linked
to a function curve to be animated over time.

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Glue Node

The Glue effect lets you repair the cracks that appear between joints during animation.
The Glue node has three ports:• Left Port (Matte): Receives the matte.
• Middle Port (Port A): Receives the element that will not be used to fill the joint.
• Right Port (Port B): Receives the element that will be used to fill the joint.

For most effects with the Glue node, the default options are sufficient. However, you can modify these options
using the Glue editor.

Glue Properties
Parameter

Description

Invert Matte

Activate this option to invert the matte used to fill the joint. If you want to use the"B" element as the matte, you must select this element.

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Parameter

Description

Bias

Indicates the tendency to favour the static or moving element. Set to 0, it favours
element A; set to 1 it favours element B; set to 0.5 it is in between A and B.

TensionIndicates how tight the joint will be. Set to 1, the tension has no effect; set lessthan 1, the tension decreases; set greater than 1, the tension increases.

Type

From this menu, select the type of joint to create. You can choose from among
Curve (default), Line and Corner.

Use Z for Composition Order

You can use this option to choose the drawing with the higher front-back value
to create the joint.

A Over B

Indicates which image is rendered on top in the final image. By default, A is
rendered on top of B, which indicates that the image in the middle port (A) is
rendered on top of the image in the right port (B).

Spread A

By default, the image in port B is spread to fill the joint. You can use this option tochoose the image in the A port to create the joint. If you select this option, thedrawing node must receive position information from the "B" element. Thus, youmust connect the Drawing node of the "B" element to the Drawing node of thematte.

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Kinematic Output Node
The Kinematic Output node lets you hook a separate element that you want to be linked to the deformation
chain but not be part of the deformation, such as a hand to an arm or an arm to the body. These elements will
follow the movement of the chain just like a regular cut-out character hierarchy piece without being influenced
by the deformation of the arm. If you don't use the Kinematic Output, the piece's pivot will not follow the
deformation.
Connect a Kinematic Output node below the deformation node you want your drawing to follow.

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Mesh Warp NodeUse the Mesh Warp effect to distort your drawings. With this node you can create effects such as a character ina warped mirror and looking through a glass jar. You can also animate the position of the grid to perform thedistortion over time.
The Mesh Warp node is a position node, same as a Peg node.

How to use the Mesh Warp Effect
1. In the Node Library, under the Filter tab, select the Mesh Warp node and drag it to the Node view.
2. In the Node view, connect the Mesh-Warp node to your drawing or group nodes to deform.

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3. In the Node view, select the Mesh Warp node.
4. Select View > Show > Control or press Shift + F11 (Windows/Linux) or ⌘ + F11 (macOS) to display
the deformation grid.

5. Move the intersection points and move the Bezier handles to deform the grid.

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6. Grab the grid in the void spaces to pan it around. Using keyframes, you can animate its position overtime.

Mesh Warp Properties
Use the Mesh Warp editor to adjust the grid size, deformation quality and the region of interest.

Parameter

Description

Rows

Increase or decrease the Rows value to change the amount of rows to use in
the deformation grid.

Columns

Increase or decrease the Columns value to change the amount of columns to
use in the deformation grid.

Region of Interest

Select the 2D Path option if you want both your X and Y curves to becontrolled by the same velocity function. Select the Separate option if you
want your X and Y curves to be independent and have independent velocity.

(x) AxisThis is the X position of the gird. This value can be animated overtime tomove the grid horizontally.

(y) AxisThis is the Y position of the gird. This value can be animated overtime tomove the grid vertically.

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Width

This is the width value of the gird. This value can be animated overtime tosquash or stretch the grid horizontally.

HeightThis is the height value of the gird. This value can be animated overtime tosquash or stretch the grid vertically.

Deformation Quality

This is the quality of the warm deformation. It ranges from Low to Extreme.
The higher the quality, the better the formation will look, but the longer it willtake to render.

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Offset Node
The Offset node lets you position the root of your deformation chain. It is automatically added to yourdeformation rig when you create a Curve or Envelope deformation rig using the Rigging

Parameter

Description

Name

Use this field to rename the node.

(x) Axis

Sets the resting position on the X (east/west) axis.

(y) Axis

Sets the resting position on the Y (north/south) axis.

Resting Orientation

Sets the rotation angle of the resting position.

tool.

Lets you choose the type of coordinates to use:
Offset Type

Separate: The two coordinates are set separately. If they are connected to afunction, each one will have its own function curve. This is the default setting.
2DPath: The two coordinates are set together within a single 2D path function.

(x) Axis(y) AxisThis option is only available when the Type is set to Separate. It is used to set theactive position value of the Deformation-Root on the X (east/west) and Y(north/south) axis.
You can enter the value, use the up and down arrow buttons to choose a value, or
use the Transform tool, when Setup mode is NOT enabled, to move thedeformation chain. Remember, that if you want to add a keyframe, you need toenable Animation mode from the Tools toolbar.

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Path

Orientation

This option is only available when the Type is set to 2D Path. It is used to set theactive position value of both the Y and X axis. Use the Transform tool when Setup
mode is NOT enabled to move the deformation chain along the 2D path.
Remember, if you want to add a keyframe, you need to enable the Animation
mode on the Tools toolbar.
Sets the rotation angle of the active position of the Deformation-Root. You canenter the angle, use the up and down arrow buttons to choose the desired value,
or use the Transform tool when Setup mode is NOT enabled to rotate thedeformation chain. Remember, if you want to add a keyframe, you need to enable
Animation mode on the Tools toolbar.

Apply Parent Modifier's
Transformation

When this option is disabled, the parent's deformations no longer affect thecurrent deformer.

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Refract

Use the Refract effect to create effects such as ripples and heat haze. This effect is based on the refraction oflight, which occurs when a beam of light passes through media of different density, causing the light to refract
or change angles. This effect makes objects appear distorted or offset from their actual positions. If you imagine
an object in a pool of water the part beneath the surface of the water appears offset from its true position.

This creates the effect of a volume passing over an image, refracting the light that bounces off the contents
below.
The refraction effect uses the matte's alpha values to taper the refractions. Hence, you can create a nicerefraction effect with a drawing containing solid strokes if you run it through a Blur-Radial effect to blur its
alpha values.

You can make the ripple effect move across the image by hooking the matte drawing to a peg and animating
the peg.

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Refract Properties

Parameter

Description

Name

Allows you to change the name given to the node.

Invert Matte

Inverts the matte used to generate the effect. By default, the effect is applied tothe opaque areas of the matte drawing. When this option is enabled, the effect isapplied to the transparent areas of the matte instead.

Intensity

The amount of refraction to apply to the image.
You can attach the value to a function curve to change its value over time.
The amount of depth to add to the refraction effect. When coupled with theHeightIntensity effect, this value can create the effect of bending the objects below therefraction matte.
You can attach the value to a function curve to change its value over time.

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Stick Node
The Stick node is available for compatibility with previous versions of deformation rigs. This node is the legacy
Bone node. When the Stick node is imported in the Node view, it is renamed Bone.

Parameter

Descriptions

Rest Length

This is the bone's length for the resting position.

LengthThis is the bone's length for the animation position. This parameter can be linked
to a function to be animated over time.

Region of Influence

Influence Fade RadiusThis defines the size of the fade area around the actual region of influence's
boundaries.

When the Symmetric Ellipse of Influence option is enabled, this field controls theLeft and Right transversal radius values. When disabled, it controls the size of theleft transversal radius. By default, this value is set to 2.

Transversal Influence Radius
Left

Transversal Influence Radius
Right

When the Symmetric Ellipse of Influence option is enabled, this field becomesinactive. The Left Transversal radius value is automatically applied to the Right
Transversal. When the Symmetric Ellipse of Influence option is disabled, it
controls the size of the Right Transversal radius. By default, this value is set to 2.

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Longitudinal Influence
Radius Begin

When the Symmetric Ellipse of Influence option is enabled, this field becomesinactive. The End Longitudinal value is automatically applied to the Begin
Longitudinal value. When the Symmetric Ellipse of Influence option is disabled, it
controls the size of the Begin Longitudinal radius. By default, this value is set to
0.25.

When the Symmetric Ellipse of Influence option is enabled, this field controls boththe Begin and End Longitudinal radius values. When this option is disabled, it
controls the size of the End Longitudinal radius. By default, this value is set to
0.25.

Longitudinal Influence
Radius End

Symmetric Ellipse Influence

Enabled by default. The shape of the ellipse will be symmetrical on both thetransversal and longitudinal radii. In this case, use the Transversal Influence
Radius Left field to set the transversal radius value and use the Longitudinal
Influence Radius End field to set the longitudinal radius value. The two otherfields will remain unused unless you disable the Symmetric Ellipse Influence
option. In that case, you can set up different radius sizes for the four radii
directions.

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Turbulence Node
The Turbulence effect is a mathematically generated effect that uses fractal noise to create turbulent distortionsin an image. You can see the effect when used with an image as the background. You can create flowing water,
funhouse mirrors, and waving flags.

For detailed video tutorials and sample scenes by Adam Phillips, see:https://www.toonboom.com/resources/video-tutorials/chapter/adam-phillips-harmony-effects

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Turbulence Properties

Parameter

Description
The algorithm used to generate the noise:llNoise Typell

Perlin: Creates pseudo random patterns. The greyscale contains acontinuity between different tones of grey.
Simplex: Creates a more contrasted noise pattern with more variation than
Perlin. There is a smooth variation of intensity.
Sinusoidal: Creates a repeated wavelike pattern.
Sub Scaling: Applies Perlin noise twice. The second noise is added where
dark areas appear in the original. The frequency of the second iteration ishigher so the noise is smaller.

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Chapter 3: Nodes / LayersllRocky: Uses the Perlin pattern but converts the very high and low values
to more moderate values. For example, the whites become light greys andthe blacks become dark greys.
Small Bumps: Uses the Perlin pattern. The transitional grey areas between
blacks and whites become inverted so they look like dark lines. The
extremes, black and white areas, become whitish.

Transforms the noise pattern generated by the Noise type and controls the way
layers are composited. These are variations of the basic noise.
llFractal Typelll

Turbulent Twist: Applies a turbulent effect on the pattern so it changes
the transition between black and white by adding more modulation.
Fractional Brownian: Applies a basic application of noise and composites
by adding subsequent layer with the Complexity parameter.
Threshold: Changes the dark greys into black values so there is more
black in the noise for higher contrast.
Invert Threshold: Inverts all the values of the Threshold type so a negative
image of it is created.
Terrain: Adds contrast and converts the dark greys into white or lightgreys.

Pinning

Constrains the effect within the image boundaries.

AmountSpecifies the amplitude of displacement.

Frequency

The density of displacement appearing in the noise. A higher value produces agreater amount of displacement in a given area; a lower value produces a smaller
amount.

OffsetMoves the entire image.

Seed

This value determines the starting noise pattern on the first evolution of theeffect.

LockedApplies parameter value while retaining the X and Y ratio.

Separate

Allows you to apply different parameter values to X and Y.

xy

When locked, applies parameter values to both X and Y. When separated, allows
you to apply different value to X and Y.

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Evolution

Determines the displacement pattern over time.

Evolution Frequency

This factor makes the complexity iterations animate or transform at a higher
speed. In other words, the second, third, etc. passes, controlled by the Complexity
parameter, will mutate faster than the main one.
The number of noise layers that make up the noise. Each successive layer has ahigher frequency, resulting in a smaller noise effect. You can have up to sevenpasses. Increasing this number increases the depth and amount of detail in the

Complexity

noise. Use Complexity with Sub Scaling when the value is 1 or greater.

NOTE
Increasing the Complexity results in longer rendering times.

Gain

Controls the amount of opacity present in the iteration of noise. This also affects
the layer when using Sub Scaling. With a value of 0, you will not see the sub
noise. A value of 1 will show the sub noise just as strong as the main one. For
example, with water ripples, a higher amount of Gain will reveal more ripple or
subripples.
The factor by which the main noise is modified at each iteration of complexity. A

Sub Scaling:value of 1 make the two noises identical. A value of 2 makes the sub noise twice
as small. The next iteration would be 4 times smaller. Values must be greater than1.

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Filter Nodes
Here is the list of the main filter effects available in Harmony.
Anti-Flicker Node496

Auto-Patch Node498

Bloom Node500

Blur-Box Node504

Blur-Directional Node507

Connection

508

Layer Properties

509

Blur-Gaussian Node511

Blur-Radial Node514

Blur-Radial-Zoom Node516

Blur-Variable Node520

Brightness Contrast Node522

Channel Selector Node524

Channel Swap Node526

Chroma-Keying Node

528

Colour Banding Node534

Colour Art Node537

Colour-Override Node540

Colour-Scale Node545

Colour Selector Node547

Contrast Node550

Dither Node552

Focus Node554

Focus Multiplier Node557

Glow Node559

Grain Node

563

Greyscale Node565

Hue-Saturation Node

567
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Layer Selector Node574

Line Art Node577

Luminance Threshold Node579

Matte-Blur Node582

Matte-Resize Node585

Median Node587

Motion-Blur Node590

Negate Node592

Overlay Layer Node594

Pixelate Node596

Remove Transparency Node598

Shadow Node

600

Transparency Node603

Underlay Layer Node

605

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Anti-Flicker NodeUse the Anti-Flicker to compensate for flickering in your output to TV formats. The Anti-Flicker effect applies avertical blur to the rendered output. You should place the Anti-Flicker before a Write node in the Node view.

Refer to the following example to connect this effect:

Use the Anti-Flicker editor to control the amount of blur that is applied to rendered output. In the Radius field,
enter a value for the number of pixels to be considered in the blur.

Properties

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Parameter

Description

Name

Allows you to enter a name for the node.

RadiusSize of the blur. The larger the value, the greater the strength or reach of the blur.
The blur radius is affected by the drawing scale and camera position. Click the
Edit Curve button to change these values over time by adjusting the function
curve.

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Auto-Patch Node
T-RIG-005-001
The Auto Patch node is used mainly when creating joint patches for cut-out puppets drawn with pencil lines
and painted in the Colour Art layer. Instead of removing a portion of the outline to attempt to create a seamlessjoint, you can draw complete pieces, and with the Auto Patch node, automatically create a perfect articulation.

The requirements for this effect to work are:l

Drawing outlines must be drawn in pencil lineslDrawing outlines must be drawn in the Line Art layerlDrawing fill colours must be painted in the Colour Art layer

Pencil lines are central vector lines. The vector is located along the centre of the line. This means that when you
paint a zone delimited by a pencil line, the colour fill will expand to the centre of the pencil line.

When using the regular patch technique, recommended for the brush line, the result with pencil lines is very
odd looking because the colour fill zone is bigger than the pencil line inner contour.

Instead of using the regular patch method, you can use the Auto Patch node. It will automatically extract the
Colour Art and clip it to the right size. Then, you can connect it in front of the piece to be covered.

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The node connection for the Auto Patch is quite simple. Once your basic character rigging is done, add theAuto Patch node to the joints you want to cover. There is no need to set any parameters.
Refer to the following example to connect this effect:

Properties
Parameter

Description

Name

Allows you to enter a name for the node.

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Bloom Node
The Bloom effect is used to make a specular area blurrier on a bitmap image, such as street lamps at night.

Connection
The Bloom node takes an image of any type as its input and outputs an image in which pixels that pass thethreshold are softened, blurred and their gamma is adjusted.

Optionally, it can also be connected to a matte image. In this case, only the parts of the input image thatintersect with the matte will be affected by the effect.
The Bloom node is a combination of the Luminance Threshold, Cutter, Blur-Gaussian and Composite Genericnodes—see Luminance Threshold Node on page 579, Cutter Node on page 385 Blur-Gaussian Node on page511, and Composite-Generic Node on page 379.

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Layer Properties

Parameter

Description

Name

Allows you to enter a name for the node.

ThresholdControls how much of the dark value to clamp off. A high value will keep only the bright areasof your image.

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Parameter

Description

Brings back the entire spectrum of luminance in areas defined by the threshold to avoid
having only bright values.

Soften Colours

Multiplies the gamma value to make the area brighter or darker. A value of 1 keeps the gamma
the same as the original image. You can use the gamma modification on the whole image if
you use a threshold of 0 for example.

Gamma
Correction

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Parameter

Description

OutputGreyscale Matte

Allows you output an image in levels of grey. This can be used in combination with a
Blending or Cutter node, or other effects that use greyscale mattes.

Invert Matte

Inverts the matte used to generate the effect. By default, the effect is applied to the opaqueareas of the matte drawing. When this option is enabled, the effect is applied to thetransparent areas of the matte instead.

Truck Factor

Activated by default, this option readjusts the blur when the elements undergo a change of
depth or scale. When this option is deselected, the effect's values remain unchanged
regardless of any depth or scale changes. This option should be deselected when multiple
drawings are composited and attached to this effect.

RadiusAdjusts the amount of blur applied to the image.

Quality

Controls the quality of the blur. A higher quality yields better results, but will be slower torender.

Composite with
Source Image

Blends the area defined by the threshold with the original image.

Blend Mode

Defines the blending mode between the original image and the area defined by the thresholdto avoid having to add a Composite Generic node after the Bloom node.

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Blur-Box Node
T-COMP2-003-003
The Blur - Box effect is a quick and easy way to create a blurring effect. The Box blur changes the colour valueof each pixel based on the pixels next to it in the vertical and horizontal directions. The look of the blur is similar
to the look achieved using Gaussian blur, but renders much faster. This effect is useful when a fast rendering
time is important, and the quality of the blur is less important. Also, you can use a matte with this effect toisolate areas of the image.

Refer to the following example to connect this effect:

For detailed video tutorials and sample scenes by Adam Phillips, see:https://www.toonboom.com/resources/video-tutorials/chapter/adam-phillips-harmony-effects504

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Properties

Parameter

Description

Name

Allows you to enter a name for the node.

Truck Factor

Activated by default, this option readjusts the blur when the elements undergo achange of depth or scale. When this option is deselected, the effect's values
remain unchanged regardless of any depth or scale changes. This option should
be deselected when multiple drawings are composited and attached to this effect.

Repeat Edge Pixels

Makes the blur algorithm operate as if the pixel values beyond the edge of thelayer are the same as the values of the edge pixels. This keeps edges sharp,
preventing them from darkening and becoming more transparent.

BlurrinessDirectional

Blurs according to the length, width, and angle you specify. For example, if acharacter is walking east, the blur may fall to the west.

RadiusSize of the blur. The larger the value, the greater the strength or reach of the blur.
The blur radius is affected by the drawing scale and camera position. Click the
Edit Curve button to change these values over time by adjusting the function
curve.

LengthLength of the blur.

Width

Thickness of the blur.

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Parameter

Description

Angle

The direction in which the blur is applied: sideways, up, down, 90 degrees, 45
degrees, and so on.

Bidirectional

Applies the blur on both sides of the pixel.
The distance where the blur fades from the edge of the image. Select a value
between 0 and 1. A fall-off rate of 0 causes the blur to fade out slowly,

Fall Off

Number of Iterations

distributing the blur evenly from the edge of the character to the farthest edge ofthe blur. A fall-off rate of 1 causes the blur to fade out quickly, so the blur isheaviest closer to the edge of the image.
The number of times the blur is applied to the image. A higher number of
iterations creates smoother transitions between colours and increases the blur,
but also increases render time.

Matte

Invert Matte

Inverts the matte used to generate the effect. By default, the effect is applied tothe opaque areas of the matte drawing. When this option is enabled, the effect isapplied to the transparent areas of the matte instead.

Precision

Blurs the image the number of times the precision indicates at different radius(between 0 and the specified radius).

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Blur-Directional Node
T-COMP2-003-005
The Blur-Directional effect creates the effect of a motion blur that pulls and smears the image from one contour
edge to a different direction or angle. This effect is useful in creating the impression of speed, such as thestreaks of colour that follow a car travelling at high speed.

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Connection
The Blur-Directional node takes an image of any type as its input and outputs a blurred bitmap image.

Optionally, it can also be connected to a matte image. In this case, only the parts of the input image thatintersect with the matte will be affected by the effect.

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Layer Properties

Parameter

Description

Name

Allows you to enter a name for the node.

Truck Factor

Activated by default, this option readjusts the blur when the elements undergo achange of depth or scale. When this option is deselected, the effect's values
remain unchanged regardless of any depth or scale changes. This option should
be deselected when multiple drawings are composited and attached to this effect.

RadiusSize of the blur. The larger the value, the greater the strength or reach of the blur.
The blur radius is affected by the drawing scale and camera position. Click the
Edit Curve button to change these values over time by adjusting the function
curve.

Falloff Rate

The distance where the blur fades from the edge of the image. Select a value
between 0 and 1. A fall-off rate of 0 causes the blur to fade out slowly,
distributing the blur evenly from the edge of the character to the farthest edge ofthe blur. A fall-off rate of 1 causes the blur to fade out quickly, so the blur isheaviest closer to the edge of the image.
The angle of the blur. The value goes from 0 to 360, with 0 meaning west, andangles going counterclockwise. For example:
l0: Blurs the image to the west.

l

90: Blurs the image to the south.

l180: Blurs the image to the east.

l

270: Blurs the image to the north.

Angle

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Parameter

Description

Direction of trail

If you do not set an Angle for the direction of the blur, you can select a direction(north, south, east, or west) from this menu. The calculations for this feature are
faster than the calculations for the Angle setting.

Ignore Alpha

Controls the leading edge of the blur. Deselect this option for a solid or hardleading edge on the blur.

Extra Final Blur

Adds a second blur after the Blur-Directional is created. If you have a BlurDirectional that begins at 0 and gradually gets stronger, deselect this option toensure a smooth progression.

Number of Iterations

The number of times the blur is applied to the image. A higher number of
iterations creates smoother transitions between colours and increases the blur,
but also increases render time.

Matte

Invert Matte

Inverts the matte used to generate the effect. By default, the effect is applied tothe opaque areas of the matte drawing. When this option is enabled, the effect isapplied to the transparent areas of the matte instead.

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Blur-Gaussian Node
T-COMP2-003-002
The Blur-Gaussian effect softens the image, reducing the amount of noise and detail. The look of the Gaussian
blur is smooth, but does take some rendering time. This effect is useful when rendering time is less important,and quality is more important. Also, you can use a matte with this effect to isolate areas of the image.

For detailed video tutorials and sample scenes by Adam Phillips, see:https://www.toonboom.com/resources/video-tutorials/chapter/adam-phillips-harmony-effects
Refer to the following example to connect this effect:511

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Properties

Parameter

Description

Name

Allows you to enter a name for the node.

Truck Factor

Activated by default, this option readjusts the blur when the elements undergo achange of depth or scale. When this option is deselected, the effect's values
remain unchanged regardless of any depth or scale changes. This option should
be deselected when multiple drawings are composited and attached to this effect.

Repeat Edge Pixels

Makes the blur algorithm operate as if the pixel values beyond the edge of thelayer are the same as the values of the edge pixels. This keeps edges sharp,
preventing them from darkening and becoming more transparent.

BlurrinessDirectional

Blurs according to the length, width, and angle you specify. For example, if acharacter is walking east, the blur may fall to the west.

BlurrinessAmount of blur applied to the layer.

Horizontal BlurrinessLength of the blur.

Vertical Blurriness

Thickness of the blur.

Angle

The direction in which the blur is applied: sideways, up, down, 90 degrees, 45
degrees, and so on.

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Parameter

Description

Bidirectional

Blurs in both horizontal and vertical directions.

Matte

Invert Matte

Inverts the matte used to generate the effect. By default, the effect is applied tothe opaque areas of the matte drawing. When this option is enabled, the effect isapplied to the transparent areas of the matte instead.

Precision

Blurs the image the number of times the precision indicates at different radius(between 0 and the specified radius).

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Blur-Radial Node
T-HFND-010-007
The Blur-Radial effect creates an effect that softens, fogs or obscures the image evenly in all directions. Thiseffect is useful when you want to make cloudy images not realistically seen in detail, such as a drawing object
that is farther back or in the background of your scene, usually blurry due to the laws of atmosphericperspective. Other uses include the general softening of objects such as snow, stars and shadows that do notnaturally have a hard outline.

Refer to the following example to connect this effect:

Properties

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Parameter

Description

Name

Allows you to enter a name for the node.

Truck Factor

Activated by default, this option readjusts the blur when the elements undergo achange of depth or scale. When this option is deselected, the effect's values
remain unchanged regardless of any depth or scale changes. This option should
be deselected when multiple drawings are composited and attached to this effect.

RadiusSize of the blur. The larger the value, the greater the strength or reach of the blur.
The blur radius is affected by the drawing scale and camera position. Click the
Edit Curve button to change these values over time by adjusting the function
curve.

Quality

Select High for a slow and accurate operation or Low for a faster operation with amore raw look.

Matte

Invert Matte

Inverts the matte used to generate the effect. By default, the effect is applied tothe opaque areas of the matte drawing. When this option is enabled, the effect isapplied to the transparent areas of the matte instead.

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Blur-Radial-Zoom Node
T-COMP2-003-007
The Blur - Radial Zoom effect creates blurs around a centre point, simulating the look of a zooming or rotatingcamera. You can use a matte to isolate the area of the image from which you want the effect to radiate from. For
example, in the illustration below, a circular matte was created to mask the eyeball and a Negate effect wasapplied so the blur is outside the matte. Then the centre point was positioned on the character's iris, which isthe centre of the matte.

For detailed video tutorials and sample scenes by Adam Phillips, see:https://www.toonboom.com/resources/video-tutorials/chapter/adam-phillips-harmony-effects
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Properties

Parameter

Description

Enable/Disable

Allows you to enable or disable the node. When disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top views.

Colour Swatch

Sets the colour of the layer in the Timeline view and of the node in the Node view.

Name

Allows you to enter a name for the node.

Truck Factor

Activated by default, this option readjusts the blur when the elements undergo achange of depth or scale. When this option is deselected, the effect's values
remain unchanged regardless of any depth or scale changes. This option should
be deselected when multiple drawings are composited and attached to this effect.

Focus

The focus point is the point from which the radial-zoom blur radiates. By default,
it is in the centre of the stage, but it can be positioned anywhere and it can also
be animated.

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Parameter

Description

If you want to animate the focus point, you can choose which type of function to
use to store the animation.
ll

2D Path: The horizontal and vertical position are on the same function.
This makes the point move in a curvilinear trajectory between each
keyframe.
Separate: The horizontal and vertical position are on separate
functions. This makes the point move in a straight line between each
keyframe and it allows you to modulate the trajectory differently on each
axis.

NOTE
The position of the Focus point is also influenced by the transformation
information sent to the node's middle input (Focus Point) port. You can
attach a peg to the middle input-port and position or animate the focus
point by positioning or animating the peg.

(x) Axis

The horizontal position of the focus point.

(y) Axis

The vertical position of the focus point.

BlurrinessAmount of blur applied to the layer.
Constant: An equal, constant blur is applied on all pixels.

Variation

Linear: A gradual blur is applied on all pixels.
Quadratic: An exponential blur is applied on all pixels.

Direction

Lets you select preset blur types or create a custom blur.

Presets

A set of preset radial, zoom, and spiral blurs to get you started. You can thenadjust the type to customize the blur.

CustomCreate your own blur by entering a value for the direction of the blur lines.

Fall OffThe distance where the blur fades from the edge of the image. Select a value
between 0 and 1. A fall-off rate of 0 causes the blur to fade out slowly,
distributing the blur evenly from the edge of the character to the farthest edge ofthe blur. A fall-off rate of 1 causes the blur to fade out quickly, so the blur isheaviest closer to the edge of the image.

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Parameter

Description

Bidirectional

Applies the blur on both sides of the pixel.

QualityAffects the quality of the blur by defining how fine the reference radial grid is on
the image. This determines the width of all the wedges. A higher quality yields
achieve better results, but will be slower to render.

Matte

Precision

Blurs the image the number of times the precision indicates at different radius(between 0 and the specified radius).

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Blur-Variable Node
T-COMP2-003-004
Use the Blur-Variable effect to create a radial blur that varies within a single image based on the white andblack values in the matte you supply. You can set one blur value for the black regions in the matte, and anotherblur value for the white regions. The blur value for each grey region is interpolated between your black andwhite blur settings.

The following example is a network for a Variable Blur effect. A black and white copy of the character was used
to create the effect. Use the Blur-Variable editor to control the blur value for the white and black radius.
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Properties

Parameter

Description

Name

Allows you to enter a name for the node.

Black radius

The amount of blur to apply to the black (transparent) values in the matte. Higher
values create more blur in the colour image's regions that correspond to the black
matte region.

White radius

The amount of blur to apply to the white (opaque) values in the matte. Higher
values create more blur in the colour image's regions that correspond to the whitematte region.

Quality

Select High for a slow and accurate operation or Low for a faster operation with amore raw look.

Keep inside source image

This option confines the blur to the source image.

Matte

Invert Matte

Inverts the matte used to generate the effect. By default, the effect is applied tothe opaque areas of the matte drawing. When this option is enabled, the effect isapplied to the transparent areas of the matte instead.

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Brightness Contrast Node
The Brightness and Contrast effect allows you to modify the brilliance or dullness of an image or to create agreater difference between the lights and darks of an image by increasing their respective intensities. Thiseffect can be used when an image appears too flat. Increasing the brightness or contrast can give a drawing amore attractive and 3D quality. This can be useful if you want to push your background to the rear by making it
look dull and flat and pulling your foreground elements to the front by giving them a higher contrast.

Connection
The Brightness Contrast node takes an image of any type as its input and outputs an image with different
brightness and contrast parameters.

Optionally, it can also be connected to a matte image. In this case, only the parts of the input image thatintersect with the matte will be affected by the effect.

Layer Properties

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Parameter

Description

Name

Allows you to enter a name for the node.

Legacy Brightness

If you created this effect in an older version of Harmony, this option is enabled bydefault to prevent enhancements done to the effect in more recent versions ofHarmony from affecting the rendered image.

Brightness

A value less than 0 will darken the image; a value greater than 0 will brighten it.
Attach a Bezier or Ease function to change the brightness over time.

Contrast

A value less than 0 will reduce contrast; a value greater than 0 will increase
contrast. Attach a Bezier or Ease function to change the contrast over time.

Legacy Contrast

If you created this effect in an older version of Harmony, this option is enabled bydefault to prevent enhancements done to the effect in more recent versions ofHarmony from affecting the rendered image.

Matte
Inverts the matte used to generate the effect. By default, the effect is applied toInvert Mattethe opaque areas of the matte drawing. When this option is enabled, the effect isapplied to the transparent areas of the matte instead.

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Channel Selector Node
The Channel Selector effect allows you to filter out some of the colour channels in an image.

Refer to the following example to connect this effect:

Properties

Parameter

Description

Name

Allows you to enter a name for the node.

Red

Allows the red values to go through.

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Parameter

Description

Green

Allows the green values to go through.

Blue

Allows the blue values to go through.
Allows the alpha values to go through.

Alpha

Invert Matte

NOTE
When this parameter is disabled, the input image is composited with thescene as if the alpha value of each pixel was the sum of the red, green
and blue values.

Inverts the matte used to generate the effect. By default, the effect is applied tothe opaque areas of the matte drawing. When this option is enabled, the effect isapplied to the transparent areas of the matte instead.

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Channel Swap Node
The Channel Swap effect lets you take the image information from one channel and use it in another channel toachieve interesting effects. You can extract the following: red, green, blue, alpha values, hue, saturation,lightness, and luminance, as well as turn the information on or off.

For detailed video tutorials and sample scenes by Adam Phillips, see:https://www.toonboom.com/resources/video-tutorials/chapter/adam-phillips-harmony-effects
Refer to the following example to connect this effect:

Properties

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Parameter

Description

Name

Allows you to enter a name for the node.

Red Channel From

Allows you to select from which channel to get the red values.

Green Channel From

Allows you to select from which channel to get the green values.

Blue Channel From

Allows you to select from which channel to get the blue values.

Alpha Channel From

Allows you to select from which channel to get the alpha values.

Invert Matte

Inverts the matte used to generate the effect. By default, the effect is applied tothe opaque areas of the matte drawing. When this option is enabled, the effect isapplied to the transparent areas of the matte instead.

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Chroma-Keying Node
The Chroma-Keying effect lets you create an alpha channel (transparency zone) for a bitmap image or image
sequence. For example, if you have a series of bitmap images with a character filmed on a green or blue screen,
you can use this node to create an alpha channel based on the screen colour and cut it out from your image
sequence.

Refer to the following example to connect this effect:

NOTES
l

The input image must be a bitmap image.

l

If a matte drawing is connected to the Chroma-Keying node, only the parts of the input image
that intersect with the matte will be keyed out.

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Properties

Parameter

Description

Name

Allows you to enter a name for the node.

ColourThe colour to filter out of the image. This should be set to the colour of the
background in the image.
l

Red: The red value of the background colour.

lGreen: The green value of the background colour.

l

Blue: The blue value of the background colour.

lAlpha: The alpha value of the background colour.

ColourColour Swatch

Opens the Colour Picker dialog, in which you can visually select a colour for theeffect.

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Parameter

Description

TIP
Since the Chroma Key node works better if its colour is set to the exact
colour of the background of your image, it is recommended to open the
Colour Picker dialog, then click and drag on the Dropperand drop it

over the background of your image to instantly select its backgroundcolour.

Matte

Black Point

Increases the transparent (black) portion of the Chroma Key matte. This will
reduce the edge of the visible image.

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Parameter

Description

Reduces the transparent (black) portion of the Chroma Key matte. This will
increase the edge of the visible image.

White Point

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Parameter

Description

Allows you to set the number of times the input image is blurred before it isprocessed, which smooths out the small areas.
Blur Passes

When blurring the matte edge's with the Blur Passes parameter, the Adjacent
Pixel parameter will blur the matte border with the next few pixels (amountindicated in the field) to create a nicer edge.

Adjacent Pixels per Pass

Invert Matte

If a matte drawing is connected to the node, by default, only parts of the input
image that intersect with opaque areas of the matte drawing are keyed out. If thisoption is enabled, only parts of the input image that intersect with transparent
areas of the matte drawing are keyed out.

OutputThreshold Matte

Applies a threshold (tolerance) to the selected colour to be removed. The
Threshold amount is set in the Threshold field.

ThresholdIncreases or decreases the tolerance for the selected colour to be removed fromthe image. The higher the value, the more coloured pixels will be considered in the
Chroma-Keying matte. The pixel colour value will not have to be as close to the
RGB value as the one selected in the colour swatch. A lower Threshold valuemeans the RGB values must be closer to the selected colour in order to be part of532

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Parameter

Description

the matte.

Cut Colour

Removes the selected colour from the image and leaves a transparent zone so you
can see the background and other layers behind the image. If the option isdisabled, the colour will remain, but an alpha channel is created that you can use
with any other nodes with a a Matte input.

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Colour Banding NodeUse the Colour Banding effect to add a colour banding visual effect to your elements. The node will associate aflat colour to the different regions of your element. These regions are delimited according the alpha values thatare set up in the effect node and which will be recognized on the original element. You can use this effect tochange the visual style of a particle node, for example, by giving it a more cartoonish look.

In this example, a Colour Banding node has been connected to a fire created with particle effects.
Refer to the following example to connect this effect:

Properties
The Colour Banding node requires you to configure it with four colours, and to assign each of these colours witha threshold. Colours with a high threshold will replace brighter areas of the input image, and colours with a low
threshold will replace its darker areas. Hence, the order in which you configure these colours does not matter.
TIP
If you only want to use 1, 2 or 3 colours, you can exclude a colour by setting its threshold to 100.

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Parameter

Description

Name

Allows you to enter a name for the node.
The minimum value required in the source pixel for this colour to replace thesource image colour. The threshold can be set to a value between 0 and 100. A
high setting will make the colour replace brighter areas of the input image,whereas a low setting will make it replace darker areas.

Threshold

Colours are applied on the output image in order of their threshold. The colourwith the lowest threshold is applied first, then the one with the second lowest
threshold is applied over it, followed by the one with the second highest
threshold and finally the one with the highest threshold.
Setting this parameter to 100 will remove the colour from the effect, allowing you
to use less than four colours if preferred.
The colour with which to fill the zone that exceeds the threshold:

Colourl

Red: The amount of red in the colour.

lGreen: The amount of green in the colour.

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Parameter

Descriptionl

Blue: The amount of blue in the colour.

lAlpha: The amount of alpha in the colour.

Colour Swatch

Opens the Colour Picker dialog, in which you can visually select a colour for the
zone.

Blur

The amount of blurriness to apply to the zone.

Invert Matte

Inverts the matte used to generate the effect. By default, the effect is applied tothe opaque areas of the matte drawing. When this option is enabled, the effect isapplied to the transparent areas of the matte instead.

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Colour Art Node
The Colour-Art effect lets you isolate the colour art in a layer. Placing a Colour Art node after a drawing node in
the Node view only displays the Colour Art output. You can connect the Colour-Art node after nodes of any
type. Any bitmap information will pass through the node and be processed.

This effect will only work if there is something on the Colour Art layer of the drawing.
Refer to the following example to connect this effect:537

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Properties

Parameter

Description

Name

Allows you to enter a name for the node.

Flatten

When placing the node below a Composite node containing several drawing
nodes, such as a cut-out character, you can use this option to flatten theextracted result. For example, when extracting a series of outlines, parts that may
have been hidden by colour fills might now be visible. Enable the Flatten option
to cut the extra artwork. Harmony will use the colour fills to cut unnecessary
artwork. If your zones are not painted, nothing will be cut. This option works withboth pencil lines and brush strokes.

Apply to Matte Ports
on Input Effects

At times, you may have situations where your node is placed below a Cutter nodeusing a mask input and a drawing input. By default, the effect only processes thecolours in the drawing input. The mask drawing remains untouched. If you want
to also filter the mask drawing, select the Apply to Matte Ports on Input Effects
option.

Antialiasing Quality

Smoothness setting applied to Colour-Art. Choose from Low (no antialiasing),
Medium Low, Medium and High (extensive antialiasing). The higher the setting,the greater the amount of antialiasing applied. Higher quality images require moretime to render and more memory from your system. Use a lower quality whenrendering a pencil test.

Antialiasing Exponent

Controls the extent of the area around the Colour-Art edges used in theantialiasing process. A higher value uses less area, resulting in sharper edges,

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while a lower value uses more area, resulting in softer edges. If the Antialiasing
Quality value is set to Low (no antialiasing), this value is ignored.

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Colour-Override Node
The Colour-Override effects processes the colours in a drawing layer. Using this effect, you can change colours
from the palette without affecting the actual palette, swap clone palettes, or even replace a specific colour zone.
You can also substitute colour areas with bitmap textures. The drawings in this layer must be .tvg files as theColour-Override uses the colour palettes linked to them.

The Colour-Override effect lets you:l

Change colour values in drawings during the compositing process.

l

Use colour values from a specific colour palette in the palette list.

lEstablish the priority of override palettes in the palette list. For example, you may have different clonesof the same palette, such as a daytime and nighttime version.

lIsolate specific areas of a drawing by selecting certain colours. For example, using specific colours togenerate a matte for a glow effect.

lHide certain colours.

Refer to the following example to connect this effect:540

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Interface

Palettes
The Palettes section displays the palettes in the palette list of the selected layer. You can move these palettes
into the Whole Palette Overrides section to reorder them. If you have cloned palettes, the higher one in the list
will override the others. This is useful for overriding the clone palette ordering set in the scene through theColour view.
You can load additional palettes in the palette list from either your project, by clicking on The Palettebutton, or your computer by clicking on the Browsel

The Palettebutton.

button allows you to load a palette contained within the project hierarchy (Environment,

Job, Scene and Elements).
l

The Browse

button allows you to load a palette located outside the project hierarchy, anywhere on

your system or server. If you link to a palette outside of your project, you will be prompted with thefollowing warning message:

You can hover your mouse over the palette name in any of the override sections to display the path to thepalette.

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Colours
The Colours section displays the colour swatches of the selected palette. Move a swatch into the ColourOverrides section to change its value.

Whole Palette Overrides
The Whole Palette Overrides section forces the use of a particular palette (clone palette) or palette list ordering
during the compositing process. You must drag palettes from the Palettes section to change their order.
Harmony uses the palettes in the order they appear in the palette list to find the colour values associated withthe colour IDs of each colour zone. To apply a different version of a colour palette to, for example, switch from a
day to a night palette, use the Override section to change the order of the colour palettes (you must be working
with cloned palettes).

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Individual Colour Overrides
When you drag a swatch from the Colours section to this section, you can override its value. You can also
override a colour with a texture. The default override mode is set to New RGBA so you can override the RGB
value as well as the transparency value.
The Current column always displays the colours from the currently active palette. Selecting a clone palette in
the Palettes area will not change the colours if you haven't changed the active palette in the Whole PaletteOverrides section. The update will be done once you close and reopen the Colour Override Layer Properties
window.

Render Selected Colours Only
The Render Selected Colours Only section is used to display some colours and ignore all others. You may, forexample, want to display only the colour used for the character outline and ignore all the filling colours.

Only the colour swatches listed in the Rendered Selected Colours Only section will be rendered. The option is
not activated by default. If you want to display only the selected colours, you must select the correct option fromthe Rendering menu:lRender All: This is the default option. All colours in the palettes are rendered regardless of the listed
selection. This allows you to quickly switch back and forth between your selection of colours and all thecolours without having to delete and add your swatches from and to the list.

lRender Selected Colours: When this option is selected, the Colour Override module displays only thecolours listed in your selection.

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Chapter 3: Nodes / LayerslRendered Selected Colours and Bitmaps: This option displays all colours listed as well as any bitmap
images passing through the Colour Override node. For example, if you have a Composite node groupinga series of drawing and bitmap nodes, the vector colours will be filtered through the Colour Override
nodes but the bitmap images will pass through without being affected. Note that you must be in RenderView mode to see the colours and bitmaps.

You might have situations where your Colour Override node is placed below a Cutter node using a mask input
and a drawing input. By default, the Colour Override only processes the colours in the drawing input. The mask
drawing remains untouched. If you want the Colour Override to also filter the mask drawing, select the Apply
to Matte Ports on Input Effects option.

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Colour-Scale Node
The Colour-Scale effect offsets an image's colours. This effect is useful in creating ambient transitions, such as
from daytime to nighttime.

Refer to the following example to connect this effect:

Properties

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Parameter

Description

Name

Allows you to enter a name for the node.

Red

The factor by which to multiply red values in the image.

Green

The factor by which to multiply green values in the image.

Blue

The factor by which to multiply blue values in the image.

Alpha

The factor by which to multiply alpha values in the image.

Hue

The colour or hue to offset the image.

Saturation

The amount of colour to offset the image.
Enter the value for the colour to offset the image. The actual colour values of theimage are not changed; instead, the channels are multiplied by a selected amount.
For example:
l

Value
l

l

Invert Matte

A value of 1 does not change the colour values.
A value greater than 1 brings the colour channel value closer to 255 (orwhite).
A value less than 1 brings the colour channel value closer to zero (0 orblack).

Inverts the matte used to generate the effect. By default, the effect is applied tothe opaque areas of the matte drawing. When this option is enabled, the effect isapplied to the transparent areas of the matte instead.

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Colour Selector Node
The Colour Selector node filters colours in the input image and outputs an image containing only the selectedcolours. The colours to display can be selected in the Layer Properties of the Colour Selector.
The Colour Selector does not just cut out the colours that are not selected from the input image, it outputs theimage it is connected to as if these colours were invisible. Hence, if two brush strokes with different colours
overlay each other, and the colour of the overlaying brush stroke is filtered out, the underlay brush stroke will
not be cropped, it will display as if the overlay stroke did not exist.

NOTE
The Colour Selector node works exactly as when using the Render Selected Colours Only tab of theColour Override node, except that it is made for that specific purpose, allowing the use of thisfeature to be more simple and streamlined.

Connection
To use the Colour Selector, simply connect it as the intermediary between an image output (such as a drawing
or composite's output port) and an image input (such as a composite's input port):547

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The Colour Selector node will take the input image and output the image without the colours that are not in its
colours list in its layer properties. By default, no colours are in the Colour Selector's list, so the output image will
be completely invisible until colours are added.

Properties

Parameter

Description

Name

Allows you to enter a name for the node.

Apply to Matte Ports
on Input Effects

By default, the Colour Selector does not filter out colours in drawings that areconnected to the matte port of a node. This is because drawings connected to amatte port are used for their shape and transparency levels, and not their colours.
If this option is checked, the Colour Selector will filter out the colours that are notin the list, even in drawings that are connected to a matte port.
The Add Colour menu allows you to add colours to the list of selected colours.
You must add colours to the list for the Colour-Selector to know which colours to
let through.

Add Colour Menu

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The Add Colour menu has three sections:lll

The palette list: The first section lists all palettes in the scene. When you
select one of the palettes, it will list all the colours in that palette. This
allows you to add any colour available in your scene to the list of selectedcolours.
The drawing list: The second section lists all drawings connected to the
Colour Selector node. When you select a drawing, it will only list thecolours used by that drawing. This allows you to quickly select a colourthat is used by one of the drawings being filtered, without having to go
through every colour in the scene.
Add All Colours: This option will instantly add all colours used by all
drawings connected to the Colour Selector node. You can then remove thecolours you want to hide using the Remove Colour button. This can be
useful if you only want to filter out a few of many colours.

Remove Colour

Removes the selected colour from the list.

Selected colour list

The list of colour that the Colour Selector will let through. Every other colour inthe input image will be filtered out.

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Contrast NodeUse the Contrast effect to increase or decrease the level of contrast in an image. This is done by changing thecontrast in the dark and bright pixels and setting the transition point between dark and bright.
You can enter static values in the dialog box fields or you can attach these values to function curves to changeover time.

Refer to the following example to connect this effect:

Properties

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Parameter

Description

Name

Allows you to enter a name for the node.
The value that separates dark from bright colours. The midpoint is a value between 0 and 1 that
represents the percentage of the 0 to 255 RGB channel range.

Mid Point

Dark Pixel
Adjustment
Bright Pixel
Adjustment

Invert Mattel

Pixels with colour values lower than the midpoint: These are considered dark pixels.

l

Pixels with colour values higher than the midpoint: These are considered bright pixels.

The amount of contrast to be applied to pixels that fall on either side of the Mid Point value.
l

A value equal to 1: No change.

l

A value less than 1: Makes the pixel brighter.

l

A value greater than 1: Makes the pixel darker.

Inverts the matte used to generate the effect. By default, the effect is applied to the opaque areas ofthe matte drawing. When this option is enabled, the effect is applied to the transparent areas of thematte instead.

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Dither Node
Dithering is the process of approximating a higher number of colours in a low bit-depth colour system. Use theDither effect to give the appearance of greater colour variability in 8-bit per channel colour images.

Refer to the following example to connect this effect:

The Dither effect is useful in the case of a gradient that varies between 100 and 105 in the blue channel, forexample. Since the difference in the colour values is not great, banding might appear in the image. In this case,use the Dither node to give the impression of greater values of blue, decreasing the unwanted banding effect.
The results of the dither operation may be imperceptible.

Properties

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Parameter

Description

Name

Allows you to enter a name for the node.

Magnitude

A magnitude of 1 performs a normal dithering operation, using all bands ofcolour. A magnitude greater than 1 introduces a bias towards brighter colours. A
magnitude of less than 1 creates a faster transition between bands of colour,lessening the bias towards brighter colours.

Correlate

When selected, the three colour channels (RGB) are changed simultaneously, forbetter colour accuracy. When this option is not selected, the three channels are
dithered separately, resulting in smoother transitions.

RandomThe standard algorithm for the dithering operation.

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Focus Node
T-COMP2-011-006
Use the Focus effect to set up depth-of-field effects for your scene. The Focus node is used to determine howmuch blur will be applied to images, based on their distance from the focal point.

The focal point can be the zero value of your scene or you can link the Focus node to another node, such as a
drawing or peg layer, to retrieve the focal point from the node's Z-axis position.
Refer to the following example to connect this effect:

Use the Focus editor to determine how the focus will change as objects move farther from the focal point.
In the Side view window, you can see how the blur values change based on their distance from the focal point.
Select the Focus node in the Node view, make sure you are using the Transform tool, then right-click on theSide view window and select Control from the pop-up menu.

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If you edited the function curve and adjusted the velocity, you can also adjust the Bezier handles in the Side
view.

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Properties

Parameter

Description

Name

Allows you to enter a name for the node.

Mirror

Select this option to also blur images in front of the focal point.

Mirror Front/Back Ratio

When the Mirror option is selected, this ratio is applied to the calculation of theblur on images in front of the focal point. The default ratio of 1:2 produces
realistic results. Experiment with different values to create customized effects.
Controls the amount of blur applied to an element based on its distance from theRadius

Quality

focal point. Click on the Edit Curve button to change these values by adjusting
the function curve.
Controls the quality of the blur. A higher quality will achieve better results but will
be slower to render.

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Focus Multiplier Node
T-COMP2-011-006A
The Focus Multiplier effect works with the Focus node. This node applies a blur to the selected layer, based on
the blur radius in the Focus node.

Use the Focus Multiplier node when you want to apply the focus to selected elements or when you need toapply the focus before doing more effects in a composite operation.
Refer to the following example to connect this effect:

You must disable the Apply Focus option in the Composite node in order to apply the focus effect to theselected node only. If you do not disable that option, the focus effect will be calculated twice on the selected
node.
Use the Focus Multiplier editor to multiply the Focus Radius by a selected value. You can enter a static value inthe Multiplier field or attach it to a function curve.

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Properties

Parameter

Description

Name

Allows you to enter a name for the node.

MultiplierThis is the value by which the normal focus radius value is multiplied.

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Glow Node
T-HFND-010-009B
The Glow effect turns your image into a glow area with a bright soft-edged light or diffuse light region aroundan image. The Glow effect is useful for creating a shining rim around objects, such as the sun or stars. Clone yourlayer or connect it a second time to the Composite node to display the original image on top of the glow.

Refer to the following example to connect this effect:

NOTE
If this effect is connected below a Composite node set to Pass-Through, the effect will be applied toeach element connected in the Composite node individually. If some of these elements areoverlapping, the effect will also overlap.

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Properties

Parameter

Description

Enable/Disable

Allows you to enable or disable the node. When disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top views.

Colour Swatch

Sets the colour of the layer in the Timeline view and of the node in the Node view.

Name

Allows you to enter a name for the node.

Truck Factor

Activated by default, this option readjusts the blur when the elements undergo achange of depth or scale. When disabled, the effect's values will remainunchanged regardless of depth or scale changes. It is recommended that thisoption be disabled when multiple drawings are composited and attached thiseffect.
Allows you to choose between the following blur types for the effect:l

Blur Typel

Radial: The edges of the matte are blurred evenly around points that makeup the edge of the matte.
Directional: The matte is blurred in the direction configured with the
Directional Angle and Directional Falloff Rate parameters.

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Parameter

Description

RadiusEnter a value for the size of the blur. The larger the value, the greater the blureffect. The blur radius is affected by the drawing scale and camera position.
If you set the Blur Type to Directional, this sets the angle of the blur. The value
goes from 0 to 360, with 0 meaning west, and angles going counterclockwise.
For example:

Directional Anglel0: Blurs the image to the west.

l

90: Blurs the image to the south.

l180: Blurs the image to the east.

l

270: Blurs the image to the north.

The distance where the blur fades from the edge of the image. Select a decimalvalue between 0 and 1. For example:
Directional Falloff Ratell

Invert Matte

0: Makes the blur fade out slowly, distributing the blur evenly from theedge of the character to the farthest edge of the blur.
1: Makes the blur fade out quickly. The blur is heaviest closer to the edgeof the image.

Inverts the matte used to generate the effect. By default, the effect is applied toopaque areas of the drawing. When this option is enabled, the effect is applied totransparent or empty areas of the drawing.
Instead of using the colour in the Colour parameters, this uses the colours in thesource drawing to generate the effect.

Use Source Colour

NOTE
The effect of this parameter is only visible in Render View

Multiplicativemode.

Multiplies the colours of the effect with the colours of the background. Thisintensifies the effect.

ColourRed

The amount of red to add to the colour in the background image.

Green

The amount of green to add to the colour in the background image.

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Parameter

Description

Blue

The amount of blue to add to the colour in the background image.

Alpha

The alpha value of the effect.

Colour Swatch

Opens the Colour Picker dialog, in which you can visually select a colour for theeffect.

Intensity

Allows you to set the factor by which to multiply the intensity of the effect. Thisparameter can take a decimal value between 0 and 1. At 1, the effect is fully
applied. At 0, the effect is not visible.

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Grain NodeUse the Grain effect to add a film grain to an image; the film grain looks like video noise.

Refer to the following example to connect this effect:

The Grain node has two input ports.
• On the left port, attach the element that will act as the matte defining the grain area.
• On the right port, attach the element on which you want to apply the grain effect.
The Grain node requires a matte drawing. If you simply want to apply a grain over the source drawing, simply
connect it to both the image input port and the matte input port of the node:563

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Properties
In the Layer Properties of the Grain node, you can adjust the amount of grain to add to an image as well as the
sharpness and softness of the grain.

Parameter

Description

Name

Allows you to enter a name for the node.

Noise

The amount of grain to add to the image based on the percentage of pixels toalter. The larger the value, the courser the grain. The smaller the value is to 0
(zero), the finer the grain.

SmoothThe amount of blending to apply to the grain effect, based on the blur radius, tomake the effect appear less pixelated. The larger the value, the greater thesmoothing.

Random at Each Frame

Computes the colour shift in the grain using a different value at each composite.
This means that your images will look different each time you render them.
Deselect this option and select a Seed Value to ensure the same result every time
you composite the grain effect.

Seed Value

This value corresponds to a unique pattern in the grain. If you want to retain thispattern in other frames, you can reuse this value.

Matte

Invert Matte

Inverts the matte used to generate the effect. By default, the effect is applied tothe opaque areas of the matte drawing. When this option is enabled, the effect isapplied to the transparent areas of the matte instead.

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Greyscale Node
The Greyscale effect lets you convert a colour image to greyscale. This example demonstrates what happens
when you set the greyscale to 100% using the Greyscale node.

TIP
You can use this effect in combination with the Brightness Contrast effect to adjust the different
levels of grey in the output image.
Refer to the following example to connect this effect:

Properties

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Parameter

Description

Name

Allows you to change the name given to the node.

Percent

The percentage of greyscale to apply to the input image. Lowering this parameter
will only partially desaturate the image's colours.

Matte Output

Invert Matte

Preserves the colours of the input image, but applies the greyscale version of the
input image to the alpha channel of the output image. As a result, the darker apixel in the image is, the more transparent it is. White pixels will remain opaque,and black pixels will become invisible.
Inverts the matte used to generate the effect. By default, the effect is applied tothe opaque areas of the matte drawing. When this option is enabled, the effect isapplied to the transparent areas of the matte instead.

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Hue-Saturation NodeThe Hue-Saturation effect lets you adjust the hue, saturation and lightness values individually or by using the
HLS picker or Hue Range picker. You can achieve effects over the entire image, such as a sepia tone. Changes
you make to the values are additive to the final image.

For detailed video tutorials and sample scenes by Adam Phillips, see:https://www.toonboom.com/resources/video-tutorials/chapter/adam-phillips-harmony-effects

Connection
The Hue-Saturation node takes an image of any type as its input and outputs an image with different hue,saturation and lightness parameters.

Optionally, it can also be connected to a matte image. In this case, only the parts of the input image thatintersect with the matte will be affected by the effect.

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Layer Properties

Parameter

Description

Enable/Disable

Allows you to enable or disable the node. When disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top views.

Colour Swatch

Sets the colour of the layer in the Timeline view and of the node in the Node view.

Name

Allows you to enter a name for the node.

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Master Tab

The master tab allows you to adjust the hue, saturation and lightness settings for all the hues in the source
drawing simultaneously. It should be used unless you want to apply specific parameters on specific ranges ofhues.
Parameter

Description

Opens the Hue Range Picker. In the Master tab, the Hue Range Picker can only be
used to see the original colour spectrum of the image and compare it to the colour
spectrum as processed by the Hue-Saturation effect.

Hue Range Picker

Hue

Offsets the hues in the source image. The hue of every pixel in the source image isoffset on the spectrum of hues. This parameter can be set to a value between 360 and 360.

Saturation

Changes the saturation of the source image. This parameter can be set to a value
between -100 and 100. Negative values make the image closer to a greyscale

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Parameter

Description

image. Positive values make the colours appear more saturated by exacerbating
the difference between each channel.

Lightness

Changes the lightness of the source image. The lightness can vary between -100
and 100, where -100 makes the image solid back and 100 makes the image solid
white. Hence, negative values darkens the colours by making every pixel
proportionally closer to black, and positive values lighten the colours by making
every pixel proportionally closer to white.
Enables colourization. Instead of affecting the existing colours of the input image,the Hue-Saturation effect will convert the image to greyscale, then add a single
colour over the levels of grey based on the Hue, Saturation and Lightness settings
you input below.

Colourize

NOTE
When the Colourize parameter is enabled, fields below the check box areaccessible and fields above the check box are greyed out.

Hue

The colour with which to colourize the image.

Saturation

The saturation with which to colourize the image. A lower setting will make thecolourized image closer to a greyscale image. A higher setting will make thecolour more saturated.

Lightness

Changes the lightness of the source image. The lightness can vary between -100
and 100, where -100 makes the image solid back and 100 makes the image solid
white. Hence, negative values darkens the colours by making every pixel
proportionally closer to black, and positive values lightens the colours by making
every pixel proportionally closer to white.

Colour Swatch

When Colourize mode is enabled, you can click on the colour swatch to open a
Hue, Saturation and Lightness picker.
The lightness can be selected by moving the slider at the top. The hue andsaturation can be selected by moving the cursor in the box underneath the slider.

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Parameter

Description

Hue Tabs

The other tabs in the Hue-Saturation Layer Properties are meant to allow you to specify the hue, saturationand lightness parameters for specific colour ranges. By default, each tab is configured to affect a specific colour
range corresponding to their tab name, namely:
l

Reds

l

Greens

l

Blues

l

Cyans

l

Magentasl

Yellows

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At their default settings, all tabs combined cover the entire spectrum of hues. The colour spectrum that eachtab affects can however be customized.
Parameter

Description

Open the Hue Range Picker dialog. This allows you to tweak the range of huesthat the settings in the current tab affects. For example, this is the default range
for the Blue tab:

Hue Range Picker

Every pixel in the source drawing that has a hue within the hard range will beaffected by the settings in the tab.
As for pixels with a hue within the soft range, how much they are affected by thesettings in the tab depends on how much their hue is closer to the hard range orto the limit of the soft range. The further away from the hard range the hue of a
pixel is, the lesser the effect of the hue, saturation and lightness settings on thispixels is. This allows you to taper the effect of the ranges so as to not create hardseams between areas of different colours.

Hue

Offsets the hues in the area covered by the selected hue range. The hue of every
pixel in this area is offset on the spectrum of hues. This parameter can be set to avalue between -360 and 360.

Saturation

Changes the saturation of the area covered by the selected hue range. Thisparameter can be set to a value between -100 and 100. Negative values make thearea closer to greyscale. Positive values make the colours in the area appear moresaturated by exacerbating the difference between each channel.

Lightness

Reset Range

Changes the lightness of the area covered by the selected hue range. The
lightness can vary between -100 and 100, where -100 makes the area solid backand 100 makes the area solid white. Hence, negative values darkens the colours
by making every pixel proportionally closer to black, and positive values lighten
the colours by making every pixel proportionally closer to white.
Resets the range selected in the Hue Range Picker to the default range for thecurrent colour tab.

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IO TabThe IO tab contains parameters relating to the input and out ports of the effect.
Parameter

Description

Invert Matte

Inverts the matte used to generate the effect. By default, the effect is applied tothe opaque areas of the matte drawing. When this option is enabled, the effect isapplied to the transparent areas of the matte instead.

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Layer Selector Node
The Layer Selector effect lets you isolate and display one or more art layers:lOverlaylLine ArtlColour Artl

Underlay

Refer to the following example to connect this effect:574

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Properties

Parameter

Description

Name

Allows you to change the name given to the node.

Read Overlay, Line Art,
Colour Art, Underlay

Turns the display of the Overlay, Line Art, Colour Art and Underlay layers on or
off.
When placing the node below a Composite node containing several drawing
nodes, such as a cut-out character, you can use this option to flatten the

Flattenextracted result. For example, when extracting a series of outlines, parts that may
have been hidden by colour fills might now be visible. Enable the Flatten option
to cut the extra artwork. Harmony will use the colour fills to cut unnecessary
artwork. If your zones are not painted, nothing will be cut. This option works withboth pencil lines and brush strokes.

Apply to Matte Ports
on Input Effects

At times, you may have situations where your node is placed below a Cutter nodeusing a mask input and a drawing input. By default, the effect only processes thecolours in the drawing input. The mask drawing remains untouched. If you want
to also filter the mask drawing, select the Apply to Matte Ports on Input Effects
option.

Antialiasing Quality

Smoothness setting applied to the art layer. Choose from Low (no antialiasing),
Medium Low, Medium and High (extensive antialiasing). The higher the quality of
the chosen setting, the greater the amount of antialiasing that is applied. Higher

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quality images require more time to render and more memory from your system.

Antialiasing Exponent

Controls the amount of area around the art layer edges that is used in theantialiasing process. A higher value uses less area, resulting in sharper edges,
while a lower value uses more area, resulting in softer edges. If the Antialiasing
Quality value is set to Low (no antialiasing), this value is ignored.

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Line Art Node
The Line Art effect lets you read only the Line Art in an element. Place a Line Art node after a drawing node in
the Node view to display only the node's Line Art output. The Line Art node can be connected after nodes ofany type. Any bitmap information will pass through and be processed.

This effect will only work if you drew something on the Line Art layer of the drawing.
Refer to the following example to connect this effect:577

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Properties

Parameter

Description

Name

Allows you to change the name given to the node.

Flatten

When placing the node below a Composite node containing several drawing
nodes, such as a cut-out character, you can use this option to flatten theextracted result. For example, when extracting a series of outlines, parts that may
have been hidden by colour fills might now be visible. Enable the Flatten option
to cut the extra artwork. Harmony will use the colour fills to cut unnecessary
artwork. If your zones are not painted, nothing will be cut. This option works withboth pencil lines and brush strokes.

Apply to Matte Ports
on Input Effects

At times, you may have situations where your node is placed below a Cutter nodeusing a mask input and a drawing input. By default, the effect only processes thecolours in the drawing input. The mask drawing remains untouched. If you want
to also filter the mask drawing, select the Apply to Matte Ports on Input Effects
option.

Antialiasing Quality

Smoothness setting applied to the art layer. Choose from Low (no antialiasing),
Medium Low, Medium and High (extensive antialiasing). The higher the quality of
the chosen setting, the greater the amount of antialiasing that is applied. Higher
quality images require more time to render and more memory from your system.

Antialiasing Exponent

Controls the amount of area around the art layer edges that is used in theantialiasing process. A higher value uses less area, resulting in sharper edges,
while a lower value uses more area, resulting in softer edges. If the Antialiasing
Quality value is set to Low (no antialiasing), this value is ignored.

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Luminance Threshold Node
The Luminance Threshold effect generates a matte by thresholding the luminance of an image. This works wellwith bitmap images that have many shades of colours. A pure vector image with flat colors could use a color
override to isolate areas.

Thresholding is a method to segment or isolate certain zones in an image. This effect will isolate areas based on
the image's luminance. Thresholding is used within the Bloom effect—see Bloom Node on page 500.

Connection
The Luminance-Threshold node takes an image of any type as its input and outputs an image in which pixels
that do not pass the threshold are filtered out and the remaining pixels are softened and have their gamma
adjusted.

Optionally, it can also be connected to a matte image. In this case, only the parts of the input image thatintersect with the matte will be affected by the effect.

Layer Properties

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Parameter

Description

Enable/Disable

Allows you to enable or disable the node. When disabled, a node has no visible effect on therendered image, nor on the preview in the Camera, Perspective, Side and Top views.

Colour Swatch

Sets the colour of the layer in the Timeline view and of the node in the Node view.

Name

Allows you to enter a name for the node.
Controls how much of the dark value to clamp off. A high value will keep only the bright areasof your image.

ThresholdBrings back the entire spectrum of luminance in areas defined by the threshold to avoid
having only bright values.

Soften Colours

Gamma
Correction

Multiplies the gamma value to make the area brighter or darker. A value of 1 keeps the gamma
the same as the original image. You can use the gamma modification on the whole image if

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Parameter

Description

you use a threshold of 0 for example.

OutputGreyscale Matte

Allows you output an image in levels of grey. This can be used in combination with a
Blending or Cutter node, or other effects that use greyscale mattes.

Invert Matte

Inverts the matte used to generate the effect. By default, the effect is applied to the opaqueareas of the matte drawing. When this option is enabled, the effect is applied to thetransparent areas of the matte instead.

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Matte-Blur NodeUse the Matte-Blureffect to blur a matte or change its colour. Here is an example of a network with the result ofa Matte-Blur effect.

Refer to the following example to connect this effect:

NOTE
If this effect is connected below a Composite node set to Pass-Through, the effect will be applied toeach element connected in the Composite node individually. If some of these elements areoverlapping, the effect will also overlap.

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Properties

Parameter

Description

Name

Allows you to enter a name for the node.

Truck Factor

Activated by default, this option readjusts the blur when the elements undergo achange of depth or scale. When this option is deselected, the effect's values
remain unchanged regardless of any depth or scale changes. This option should
be deselected when multiple drawings are composited and attached to this effect.

Blur Type

Directional: Blurs the matte in the direction you select. For example, if a characteris walking east, the blur may fall to the west.
Radial: Blurs the edges of the matte evenly around points that make up its edge.

RadiusEnter a value for the size of the blur. The larger the value, the greater the blureffect. The blur radius is affected by the drawing scale and camera position.
If you select a Blur Directional type, you can select the direction of the blur byentering a value from 0 to 360 in this field.

Directional Angle‣

0: Blurs the image to the west.

‣

90: Blurs the image to the south.

‣

180: Blurs the image to the east.

‣

270: Blurs the image to the north.

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The distance where the blur fades from the edge of the image. Select a value
between 0 and 1.
Directional Fall-off Ratell

A fall-off rate of zero causes the blur to fade out slowly, distributing theblur evenly from the edge of the character to the farthest edge of the blur.
A fall-off rate of 1 causes the blur to fade out quickly so that the blur isheaviest closer to the edge of the image.

Invert Matte

Inverts the matte used to create the glow. The matte will become a blacksilhouette while the glow fills the background space.

Use Source Colour

Uses the colours painted in the matte for the glow effect. If you deselect thisoption, select a colour and alpha values in the Colour section.

Multiplicative

Creates a more diffused glow.

ColourLets you choose the colour and alpha values for the glow effect.

Intensity

Allows you to set the factor by which to multiply the intensity of the effect. Thisparameter can take a decimal value between 0 and 1. At 1, the effect is fully
applied. At 0, the effect is not visible.

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Matte-Resize Node
The Matte-Resize effect lets you evenly expand a matte outward in all directions. The matte increases size fromits centre.

Refer to the following example to connect this effect:

If you use the Matte-Resize node to create a pulsating glow, you can enlarge the region without softening theedges. Using the Blur-Radial effect, the effect may be softer than you intend. This node produces a limited
antialiased matte, which can have slightly jagged edges. You could use this node in combination with othernodes, such as:
l

Tone

l

Highlight

l

Glow

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Matte-Blur

Properties

Parameter

Description

Name

Allows you to change the name given to the node.

RadiusLets you enter a static value for the radius (size increase or decrease) of the matte.
You can also attach the Radius value to a function column to change the value
over time.

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Median Node
The Median effect lets you reduce the noise in a drawing while preserving its edges. Harmony sorts the valuesof pixels within a specified radius and uses the median value. You can also use this effect to create a
Impressionist type of style.

Connection
The Luminance-Threshold node takes a bitmap image as its input and outputs a bitmap image in which pixels
that do not pass the threshold are filtered out.

Optionally, it can also be connected to a matte image. In this case, only the parts of the input image thatintersect with the matte will be affected by the effect.

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Layer Properties

Parameter

Description

Enable/Disable

Allows you to enable or disable the node. When disabled, a node has no visible effect on therendered image, nor on the preview in the Camera, Perspective, Side and Top views.

Colour Swatch

Sets the colour of the layer in the Timeline view and of the node in the Node view.

Name

Allows you to enter a name for the node.
Lets you specify the size of the area of values to consider determining the median value. A
median is calculated by sorting all the pixel values from the surrounding area into numericalRadiusorder. Then the middle pixel value is used to replace the pixel being considered.
The median tends to make an image look a bit blurrier because it reduces the contrast ofadjacent pixels. However, it does a good job of smoothing the image and removing artifacts.
Determines the number of levels per colour channel. The larger the number, the more levels of
colour are used in the image and the more time it takes to render. Conversely, the lower thecolour depth, the fewer colours are used, the faster it is to render.

Colour Depth

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Parameter

Description

Invert Matte

Inverts the matte used to generate the effect. By default, the effect is applied to the opaqueareas of the matte drawing. When this option is enabled, the effect is applied to thetransparent areas of the matte instead.

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Motion-Blur Node
The Motion-Blur effect is used to create a faded trail behind objects animated on a motion path. You cannot
create a Motion-Blur on a hand-drawn animation. The layer must be moving along a trajectory (motion path) inorder to work properly.

Connection
As a filter-type effect, the Motion-Blur node takes an input image in its right-most input port, and outputs theblurred image from its only output port.

You can also connect another drawing to its left-most input port to act as the matte. The shape of the matte
input drawing will determine the area of the actual input drawing to blur.

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Properties

Parameter

Description

Name

Allows you to enter a name for the node.

Number of Frames in Trail

The number of frames before the current frame that will be used in the trail.

Number of Samples

The number of copies of each drawing used in the trail. The higher the number,the more continuous the trail appears.
The distance where the blur fades from the edge of the image. Select a value
between 0 and 1.
l

Fall-off Ratel

A fall-off rate of 0 causes the trail to fade out slowly, distributing thecolour evenly from the edge of the character to the farthest edge of thetrail.
A fall-off rate of 1 causes the trail to fade out quickly so that the trail ismore opaque closer to the edge of the image and transparent at the end of
the trail.

Intensity

Select a value to define the opacity of the trail between 0 and 10. A value of 10
will make the trail very dark and almost opaque, where as a value of 0 will makethe trail quite pale and ghostly transparent.

Use Mirror on Edges

When enabled this option appear when the image is close to the edge of thecamera frame. It forces the software to use a mirror of the image to calculate theblur so that it appears on both sides of the drawing object. Without this option
once your drawing reaches the edge of the Camera frame, it gets cropped so does
the trail.

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Negate Node
The Negate effect lets you invert the colour and/or alpha values in the Colour Art and Line Art of an image. The
original value of each channel (RGB or A) is subtracted from the maximum value of that channel (255 for 8-bit
channels) to produce the negative image.

Connection
The Negate node takes an image of any type as its input and outputs an image in which colour values areinverted relative to their maximum.

Optionally, it can also be connected to a matte image. In this case, only the parts of the input image thatintersect with the matte will be affected by the effect.

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Parameter

Description

Enable/Disable

Allows you to enable or disable the node. When disabled, a node has no
visible effect on the rendered image, nor on the preview in the Camera,
Perspective, Side and Top views.

Colour Swatch

Sets the colour of the layer in the Timeline view and of the node in the Node
view.

Name

Allows you to enter a name for the node.

Negate Colour

Inverts the values of the colour channels.

Negate Alpha

Inverts the transparency value (alpha channel).

Negate Colour Clamp to Alpha

Limits the negated area to the alpha channel.

Invert Matte

Inverts the matte used to generate the effect. By default, the effect is applied
to the opaque areas of the matte drawing. When this option is enabled, theeffect is applied to the transparent areas of the matte instead.

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Overlay Layer Node
The Overlay Layer effect lets you read an element's Overlay Art layer. By placing an Overlay Layer node after adrawing node in the Node view, you can display only the node's Overlay layer output. The Overlay Layer node
can be connected after nodes of any type. Any bitmap information will pass through and be processed.

This effect will only work if something has been drawn or painted on a drawing's Overlay Art layer.
Refer to the following example to connect this effect:594

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Properties

Parameter

Description

Name

Allows you to change the name given to the node.

Flatten

When placing the node below a Composite node containing several drawing
nodes, such as a cut-out character, you can use this option to flatten theextracted result. For example, when extracting a series of outlines, parts that may
have been hidden by colour fills might now be visible. Enable the Flatten option
to cut the extra artwork. Harmony will use the colour fills to cut unnecessary
artwork. If your zones are not painted, nothing will be cut. This option works withboth pencil lines and brush strokes.

Apply to Matte Ports
on Input Effects

At times, you may have situations where your node is placed below a Cutter nodeusing a mask input and a drawing input. By default, the effect only processes thecolours in the drawing input. The mask drawing remains untouched. If you want
to also filter the mask drawing, select the Apply to Matte Ports on Input Effects
option.

Antialiasing Quality

Smoothness setting applied to the art layer. Choose from Low (no antialiasing),
Medium Low, Medium and High (extensive antialiasing). The higher the quality of
the chosen setting, the greater the amount of antialiasing that is applied. Higher
quality images require more time to render and more memory from your system.

Antialiasing Exponent

Controls the amount of area around the art layer edges that is used in theantialiasing process. A higher value uses less area, resulting in sharper edges,
while a lower value uses more area, resulting in softer edges. If the Antialiasing
Quality value is set to Low (no antialiasing), this value is ignored.

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Pixelate Node
The Pixelate effect lets you apply a mosaic effect to an image (and its matte) based on the matte you supply.
Pixelation makes the image look like it is made up of square tiles.

Connection
The Pixelate node takes an image of any type in the right (Image) input port, and a matte drawing in the left
(Matte) input port. It outputs a version of the input image where the parts of the image that intersect with thematte are pixelated.

The Pixelate node requires a matte drawing. If you want to pixelate the entire input image, simply connect it toboth the Image input port and the Matte input port.

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Layer Properties

Parameter

Description

Enable/Disable

Allows you to enable or disable the node. When disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top views.

Colour Swatch

Sets the colour of the layer in the Timeline view and of the node in the Node view.

Name

Allows you to enter a name for the node.

Invert Matte

Inverts the matte used to generate the effect. By default, the effect is applied tothe opaque areas of the matte drawing. When this option is enabled, the effect isapplied to the transparent areas of the matte instead.

Factor

The pixelation factor. This parameter takes a decimal value between 0 and 1. The
higher the value, the bigger the pixels. The default value is 0.0125 and creates
sizeable pixels, so this parameter must be set to low values unless you want the
pixels to take up the whole stage.

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Remove Transparency Node
The Remove Transparency effect negates transparent values in an image. You can use the Remove
Transparency node to remove the result of antialiasing around an image.

Refer to the following example to connect this effect:

Properties

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Parameter

Description

Name

Allows you to change the name given to the node.

ThresholdAll values above the Threshold represent a transparent value. In this field, youmust identify the value above which all alpha values are considered transparent.
Alpha is measured from 0 to 255.

Remove Colour Transparency

Remove Alpha Transparency

Determines which pixels in the Colour-Art (RGB channels) to make fully opaqueor fully transparent.
When selected, the Threshold value is used to determine which pixels in thealpha channel to make fully opaque or fully transparent.

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Shadow NodeWith the Shadow effect, you can turn a drawing into a shadow. It doesn't matter if the drawing layer is a fully
coloured character. The Shadow effect will render it into a grey, semitransparent, slightly blurry silhouette. You
must connect your layer a second time to the your Composite node to see the original image displayed on top of
the shadow.

Refer to the following example to connect this effect:

NOTE
If this effect is connected below a Composite node set to Pass-Through, the effect will be applied toeach element connected in the Composite node individually. If some of these elements areoverlapping, the effect will also overlap.

Properties
Parameter

Description

Enable/Disable

Allows you to enable or disable the node. When disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top views.

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Parameter

Description

Colour Swatch

Sets the colour of the layer in the Timeline view and of the node in the Node view.

Name

Allows you to enter a name for the node.

Truck Factor

Activated by default, this option readjusts the blur when the elements undergo achange of depth or scale. When disabled, the effect's values will remainunchanged regardless of depth or scale changes. It is recommended that thisoption be disabled when multiple drawings are composited and attached thiseffect.
Allows you to choose between the following blur types for the effect:l

Blur Typel

RadiusRadial: The edges of the matte are blurred evenly around points that makeup the edge of the matte.
Directional: The matte is blurred in the direction configured with the
Directional Angle and Directional Falloff Rate parameters.

Enter a value for the size of the blur. The larger the value, the greater the blureffect. The blur radius is affected by the drawing scale and camera position.
If you set the Blur Type to Directional, this sets the angle of the blur. The value
goes from 0 to 360, with 0 meaning west, and angles going counterclockwise.
For example:

Directional Anglel0: Blurs the image to the west.

l

90: Blurs the image to the south.

l180: Blurs the image to the east.

l

270: Blurs the image to the north.

The distance where the blur fades from the edge of the image. Select a decimalvalue between 0 and 1. For example:
Directional Falloff Ratell

Invert Matte

0: Makes the blur fade out slowly, distributing the blur evenly from theedge of the character to the farthest edge of the blur.
1: Makes the blur fade out quickly. The blur is heaviest closer to the edgeof the image.

Inverts the matte used to generate the effect. By default, the effect is applied toopaque areas of the drawing. When this option is enabled, the effect is applied totransparent or empty areas of the drawing.

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Parameter

Description

Instead of using the colour in the Colour parameters, this uses the colours in thesource drawing to generate the effect.
Use Source Colour

NOTE
The effect of this parameter is only visible in Render View

Multiplicativemode.

Multiplies the colours of the effect with the colours of the background. Thisintensifies the effect.

ColourRed

The amount of red to subtract from the colour in the background image. To obtaina shadow effect, this value must be negative.

GreenThe amount of green to subtract from the colour in the background image. To
obtain a shadow effect, this value must be negative.

Blue

The amount of blue to subtract from the colour in the background image. To
obtain a shadow effect, this value must be negative.

Alpha

The alpha value of the effect.

Colour Swatch

Opens the Colour Picker dialog, in which you can visually select a colour for theeffect.

Intensity

Allows you to set the factor by which to multiply the intensity of the effect. Thisparameter can take a decimal value between 0 and 1. At 1, the effect is fully
applied. At 0, the effect is not visible.

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Transparency Node
T-HFND-010-008
The Transparency effect is used to make an image partially transparent. The Transparency effect is usefulwhen fading images in and out, such as a phantom or to make something partially see-through, such as awindow.

Refer to the following example to connect this effect:

You can enter a value in the Transparency field or change the transparency value over time by linking it to afunction curve. Entering a value of 100 in the Transparency field will make the element 100% transparent, inother words, invisible. Entering a value of 0 will render the element completely opaque.
It is also possible to adjust a drawing layer's transparency directly in the Layer Properties window without
using the Transparency node. In the layer's properties, go to the Drawing tab and adjust the Opacity
parameter. This parameter is visible in OpenGL mode.

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Properties

Parameter

Description

Name

Allows you to enter a name for the node.

Transparency

Lets you set the opacity of an element. Values range from 0 to 100. A value of 100
will make the element 100% transparent and a value of 0 will render the element
completely opaque.

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Underlay Layer Node
The Underlay Layer effect lets you read an element's Underlay Art layer. By placing an Underlay Layer node
after a drawing node in the Node view, you can display only the node's Underlay layer output. The Underlay
Layer node can be connected after nodes of any type. Any bitmap information will pass through and beprocessed.

This effect will only work if something has been drawn or painted on a drawing's Underlay layer.
Refer to the following example to connect this effect:605

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Properties

Parameter

Description

Name

Allows you to change the name given to the node.

Flatten

When placing the node below a Composite node containing several drawing
nodes, such as a cut-out character, you can use this option to flatten theextracted result. For example, when extracting a series of outlines, parts that may
have been hidden by colour fills might now be visible. Enable the Flatten option
to cut the extra artwork. Harmony will use the colour fills to cut unnecessary
artwork. If your zones are not painted, nothing will be cut. This option works withboth pencil lines and brush strokes.

Apply to Matte Ports
on Input Effects

At times, you may have situations where your node is placed below a Cutter nodeusing a mask input and a drawing input. By default, the effect only processes thecolours in the drawing input. The mask drawing remains untouched. If you want
to also filter the mask drawing, select the Apply to Matte Ports on Input Effects
option.

Antialiasing Quality

Smoothness setting applied to the art layer. Choose from Low (no antialiasing),
Medium Low, Medium and High (extensive antialiasing). The higher the quality of
the chosen setting, the greater the amount of antialiasing that is applied. Higher
quality images require more time to render and more memory from your system.

Antialiasing Exponent

Controls the amount of area around the art layer edges that is used in theantialiasing process. A higher value uses less area, resulting in sharper edges,
while a lower value uses more area, resulting in softer edges. If the Antialiasing

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Quality value is set to Low (no antialiasing), this value is ignored.

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Generator Nodes
The nodes found in the Generator category are nodes that output an image without requiring an input image.
Hence, they generate an image rather than transforming an existing image. Among those nodes is the
Element node, also known as drawing layers, which generate an image based on the drawing exposed at thecurrent frame. Other nodes in this category generate an image based on their parameters.
Animated Matte Generator Node609

Burn-In Node620

Colour-Card Node624

Element / Drawing Node627

Connection

628

Field Chart Node644

Gradient Node649

Grid Node655

Lens Flare Node658

Turbulent Noise Node

661

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Animated Matte Generator NodeThe animated matte generator is a very advanced tool in Harmony's suite of effects which, once connect to a
drawing or character model, gives you three important capabilities.
l

Digitally animate the lines and contours of vector drawingslCreate animated feathered (gradient) visual effects in specific shapes.

lSnap to the contours of a drawing to make the shape of its effect match the shape of the drawing.

The resulting image can be used as a deformed drawing or an effect, and can also be used as a transparency
mask for other drawings or effects.
At the very least, the Animated Matte Generator node requires a vector drawing to be connected to its Image
Source (right) input port. The node will generate animatable control points for each of the vector shapes ineach of the drawings in its matte drawing layer, which can be manipulated and animated, allowing you toanimate your drawing's vector points directly.

TIP
If the image source layer is moved, rotated or scaled, either directly or because of a parent peg, thecontrol points of the Animated Matte Generator will follow these transformations. If you want thematte generated by the Animated Matte Generator node to follow the animation of anotherdrawing, you can simply connect that drawing's output port to the image source drawing's input
port.

IMPORTANT
If the Overlay and Underlay Arts preference is enabled, the Overlay art layer of the source drawing
is reserved for annotations. Any artwork in the Overlay art layer of the source drawing will beignored by the Animated Matte Generator node.
Based on its parameters, the Animated Matte Generator node will either output the source drawing after
deforming it to match the position of the control points, or a feathered special effects matte gradating from its
inner contour to its outer contour. In either case, this allows to animate the image source, either as a simple
vector drawing, as a special effect or as part of a more complex rig, without making new drawings for it.

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Optionally, another vector drawing may be connected to the node's Snapping Source (left) input port. Using
the Set to Snap editing mode in the Animated Matte Generator view, you can set some of the points andcontours of the input drawing to automatically snap to the snapping source drawing's contours, making iteasier to animate a matte to follow the contours of a drawing in your scene. A contour that is set to snap to oneof the snapping source's contours will even match the precise shape of this contour.

IMPORTANT
Only single vector drawing layers can be used for the image source and the snapping source of an
Animated Matte Generator. The input ports of an Animated Matte Generator node should not be
connected to a composite, an effect, or anything but a vector drawing node.
Often, an Animated-Matte-Generator will be used to add a fine-tuned effect, such as a glow or shadow, onpart of a drawing. A typical set-up to accomplish this will make use of the Colour Selector node and Cutter
nodes to trim the effect generated by the Animated Matte Generator so that it only affects zones of thedrawing that are painted with the specific colour. Since the effect generated for this drawing should follow thatdrawing's movements, if any, pegging the Animated Matte Generator's drawing source to the drawing theeffect is applied over will lock their position together. Likewise, it may be useful to connect the drawing theeffect will be applied over as the Animated Matte Generator's snapping source, since the matte might need tobe snapped to that drawing's contours.

You can instantly add this template to your scene by clicking on the Add Matte Generator button in the
Animated Matte Generator view. As an alternative, the Add Matte Generator as Mask button will add a similar
template, except that the Animated-Matte Generator will be connected to the Cutter's matte port, and the610Harmony 16.0 Premium Reference Guide

drawing's Colour-Selector will be connected to the Cutter's input port. This can be used for example to use theAnimated Matte Generator as a sophisticated transparency filter for an effect or element in your scene.
The contours of an Animated Matte Generator can be configured and animated by using the Animated Matte
Generator view along with its control points in the Camera view.

How to access the Animated Matte Generator view
1. Do one of the following:l

From the top-right corner of any currently visible view, click the Add View

button andselect Animated Matte Generator.
l

From the top menu, select Windows > Animated Matte Generator.

How to display the Animated Matte Generator controls and enable the Animated Matte
Generator view options
1. In the Tools toolbar, select the Transform tool or press Shift + T.
2. In the Timeline or Node view, select the Animated Matte Generator node you wish to configure oranimate.
3. In the Camera view toolbar, click on Show Controls

or press Shift + F11.

NOTE
For more information on the Animated Matte Generator view, see Animated Matte Generator View
on page 1044.

Layer Properties
Using the Layer Properties dialog or view, you can configure the kind of matte the Animated Matte Generator
should output, how the matte's points and contours should snap to its snapping source as well as the colours
and other parameters for generating a feathered effect.
NOTE
The examples below demonstrate the effects of using the Animate Matte Generator with a simple
drawing of a square. However, it is able to deform vector drawings of any shape and complexity.

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Matte tab
The matte tab allows you to configure whether the Animated Matte Generator node will output a deformed
version of its input source drawing or a feathered effect based on its outer and inner contour as well as how thecontour's control points and lines should snap to the snapping source's contours, if any.

Property

Description

OutputDetermines which one of the following type of matte the node generates:lFeathered: Generates a matte that gradates from the inner contour's colour tothe outer contour's colour, based on the parameters in the Advanced tab.

TypelOuter Contour: Displays the matte drawing as deformed by the outer contour'scontrol points.

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Inner Contour: Displays the matte drawing as deformed by the inner contour'scontrol points.

Interpolate between contours: Displays the matte drawing as deformed by acontour that is an intermediate between the outer contour and the inner contour.
How close to the inner or outer contour this intermediate contour is is based on
the Interpolation Factor parameter below.

When the output type is set to Interpolate between contours, the matte drawing isdeformed according to a contour that is an intermediate between the outer contour andthe inner contour.

Interpolation Factor

The interpolation factor determines the percentage by which the intermediate contour isinterpolated from the outer contour to the inner contour. For example, if theinterpolation factor is set to 50, the intermediate contour will be halfway between theouter contour and the inner contour. By default, it is set to 0, which means theintermediate contour is the same shape as the outer contour. If it is set to 100, theintermediate contour will match the inner contour.

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TIP
The Interpolation Factor parameter can be animated. This can be useful if you
want your drawing to morph back and forth between two different shapes, oneof which would be defined by the outer contour and the other defined by the
inner contour.

Snap

Drag-to-Snap DistanceIf the Animated Matte Generator mode has a drawing connected to its Snapping Source
port, and some of the matte's control points or contours are set to snap to that drawing,
those points will always snap to the closest contour in the snapping source drawing, aslong as it can find a contour within a certain distance.
This distance is determined by the Drag-to-Snap distance parameter. By default, it is set
to 15. You can increase it if you want the snapping points to snap to contours from afurther distance to their actual position, or decrease it if you only want snapping points
to snap to contours that are very close to their actual position.
Make Snapping points and contours only snap to the outlines of the snapping source
drawing. In this case, a contour is an outline that defines the silhouette of the drawing.

Snap to Outlines Only

Snap toAllows you to select which ones of the snapping source drawing's art layers the matte's
points and contours will snap to, if they are set to snap. This can be useful if yoursnapping source drawing has its line art and colour art on different layers, as both art
layers are likely to have a lot of meshing contours.

Advanced Tab
The settings in the Advanced tab are only available when the matte's output type is set to Feathered. A
feathered matte ignores the colours and pencil lines in the drawing and, instead, uses the outer and inner
matte's shape to generate a gradated colour effect, the colours and parameters of which can be set in the
Advanced tab.

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Property

Description

Feathering
Determines the way the colour is gradated from the inner contour to the outer contour:lNone: The outer and the inner contour are solid shapes, filled with theirrespective colours.

Interpolation ModelParametric: Generates a linear gradient going from each side of the innercontour to the corresponding side of the outer contour. This mode is different
from the Distance interpolation mode by how it makes the gradients track thematching sides of the inner and outer contours.

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Chapter 3: Nodes / Layersll

Dot: Generates a gradient going from the inner contour to the outer contour, but
based on a power function that creates the illusion of a thinner, harder outline.

Distance: Generates a linear gradient going from the inner contour to the outer
contour.

ColourDetermines the way the colours between the inner and outer contours are generated:
Colour InterpolationlConstant: Generates a gradient based on the inner colour, gradating intransparency only. The inner contour will have the opacity of the inner colour,
and will gradate towards full transparency towards the outer contour.

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Harmony 16.0 Premium Reference GuidellLinear 2 Colours: Creates a gradient that steadily gradates from the inner colour
to the outer colour.

Gamma 2 Colours: Creates a gradient that gradates from the inner colour to theouter colour on a Gamma curve, the power of which can be set in the Colour
Gamma field. For more information, see the Colour Gamma field section below.

When the Colour Interpolation parameter is set to Gamma 2 Colours, use this field toenter the gamma power used to generate the gradient. By default, it is set to 1, creating
a linear gradient. When set to any value between 0 and 1, the gradient will ease in fromthe inner colour to the outer colour. When set to any value above 1, the gradient willease out from the inner colour to the outer colour.

Colour Gamma

Inner Colour

The colour used to fill the matte's inner contour.

Outer Colour

The colour used for the matter's outer contour.

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NOTE
If the Interpolation mode is set to None, this colour will fill the outer contour.
Otherwise, it is used to create a gradient going from the inner contour to theouter contour.

NOTE
If the Colour Interpolation parameter is set to Constant, this parameter is ignored
and the outer colour will be set to the same colour as the inner colour, except
with an alpha value of zero, making the matter a single solid colour with atransparency gradient.

Alpha
Determines the way the alpha between the inner contour and the outer contour isgradated:lLinear: Steadily gradates from the inner contour's alpha to the outer contour's
aplha.

Alpha MappinglAlpha Gamma

Gamma: Calculates the alpha going from the inner contour to the outer contour
based on a Gamma curve, the power of which can be set in the Alpha Gamma
field. For more information, see the Alpha Gamma field section below.

When the Colour Mapping parameter is set to Gamma, use this field to enter the gamma
power used to calculate the alpha values in the gradient. By default, it is set to 1,
creating a linear alpha gradient. When set to any value between 0 and 1, the gradient's
alpha values will ease in from the inner contour's alpha value to the outer contour'salpha value. When set to any value above 1, the alpha values of the gradient will easeout from the inner contour's alpha value to the outer contour's alpha value.

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Burn-In Node

The Burn-In effect lets you add scene information which is visible in the Camera view. The information isdisplayed on top of any content in the scene. You can choose to display the scene name, timecode, frame count,environment and job, as well as add a frame offset if you need blank frames to precede the scene content. Also,
to make the information more visible, you can also add a background and choose its colour, and customize thetext font and alignment.
When you attach a Burn-In node to a Composite node, the burn-in information is rendered when you export
the scene.
NOTE
When you're working with 3D objects with a high Z position value, you may find the objects
obscuring the scene information. To work around this, use a peg to ensure the burned in scene
information is always visible.

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How to add burn in scene information
1. In the Node Library, drag a Burn-In node to the Node view.
2. Connect it to the Composite node.
3. On the Burn-In node, click the square yellow properties button.
The Burn-In property window displays.

4. In the Show section, enter the following information:‣

Frame Number: The frame number to start the burn-in information.

‣

Time code: The time code at which the burn-in information starts.

‣

Scene name: By default the scene name, environment and job information is display. Type thefollowing to display specific types of information.
Scene Name: %s
Environment: %e
Job: %j‣

Frame Offset: Add lead-in frames before the scene begins or at a specific frame. Use positive
values for frames that precede the scene content and negative values to start your scene
information at a certain frame number.

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5. In the Text section, customize the text that is displayed.
6. In the Background section, add a background box to make the text more visible and then customize
the colour.

Burn-In Properties
Parameter

Description

Name

Allows you to enter a name for the node.

Show
Frame Number

Displays the number of the current frame.

Time CodeDisplays the time code of the current frame.
Lets you display different types of information, including the scene name,environment and job. You can display one or all of these pieces of information. To
do so, type the following in the Scene Name field:

Scene Name•

Scene Name: %s•

Environment: %e• Job: %j
You can rearrange the order in which the information is displayed. For example,
you may want to see the job before the environment.

Frame Offset

Lets you add blank lead-in frames before the scene or somewhere in the scene.
Use positive values for frames that precede the scene content and negative values
to start your scene information at a certain frame number.

Text
Font

Lets you select a font for the information displayed.

Alignment

Lets you set the alignment of the text: Left, Center, Right.

Size

Lets you set the size of the text.

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Add Background Box

Adds a box behind the scene information which is useful when the scene
contains colours or content that may make it difficult to read the scene
information.

Colour
Red/Green/Blue/Alpha

Colour Swatch

Lets you enter R, G, B and A values for the colour of the background box.
Opens the Colour Picker dialog, in which you can visually select a colour for theeffect.

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Colour-Card Node
T-ANIMPA-012-001
The Colour Card allows you to fill the scene's background with a solid colour when there is no backgroundimage. If no drawing or colour-card is present to cover the scene's background, the scene will be rendered on apitch black canvas.

NOTE
By default, the Colour Card has a Z ordering value of 12 Backward. This puts the Colour cardbehind all elements that have a value lower than 12 Backward. Most of the time, the Colour card
will appear automatically behind all the scene elements as they are all set to 0 Backward, unless
you have changed the Z ordering of the scene components. If so, the Colour Card will be in front of
the elements that are pushed back to more than 12 fields backward.

Connection
The Colour Card only needs to be connected to a composite, and does not require an input image.

It is recommended to connect your Colour Card to the right-most port of the Composite for coherence, but
because a Colour Card has a default position on the z-axis of 12 Backward, it will appear behind all theelements in your scene regardless of where you connect it on the scene's composite.

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Optionally, a Colour Card can also be connected to a matte image. In this case, the Colour Card will only fill the
shape of the matte with its colour, rather than the whole scene.

Layer Properties

Parameter

Description

Enable/Disable

Allows you to enable or disable the node. When disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top views.

Colour Swatch

Sets the colour of the layer in the Timeline view and of the node in the Node view.

Name

Allows you to enter a name for the node.

DepthThis parameter can be used to determine whether the colour card displays behindor in front of elements with the same position on the z-axis. Elements andGradient nodes also have a depth parameter.

Offset Z

The position of the Colour Card on the Z-axis. By default, this is set to 12 B toensure the Colour Card appears behind other elements in the scene. You can set
this to 0 F to make the Colour Card respect the order in which nodes areconnected to the composite.

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Parameter

Description

ColourThe colour and transparency of the Colour Card. You can also attach theseparameters to function columns to change their values over time.
Click the colour swatch to open the Colour Picker window and select a colour.

Colour Swatch

Opens the Colour Picker window in which you can specify the colour.

Invert Matte

If an image is connected to the Colour Card's matte port, by default, the colour isonly applied on the opaque areas of the matte. If this parameter is enabled, thecolour is applied to the transparent areas of the matte instead.

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Element / Drawing Node
The Element node is at the very core of a scene's structure. An element is a directory in which drawings are
stored, which is associate to an Xsheet column indicating when and for how long each drawing is exposed, andwhich is in turn linked to a layer which indicates the position of the drawings in the scene. The Element node
allows you to connect the element to effects, pegs and composites, determining how its drawings areprocessed and rendered.

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Connection
The Element node does not need an input image. It generates its output image from the drawings in its
element and their exposure. Hence, it can be simply connected to a composite.

Although Element nodes can be transformed and animated on their own, it is typical to connect their input port
to a Peg. This allows you to keep the position and animation information of the element in a separate node,
making it easier to manipulate the exposure and the transformations separately. This is especially useful indigital cut-out animation where manipulating and transforming layers is often the main method of simulating
movement, and changing drawings is the secondary method.

You can also connect an Element node to another Element node. Just like with pegs, any transformation doneon the parent Element node, whether on itself or through one of its parents, will also be applied to the child
Element node.

Optionally, you can connect a matte drawing to the left edge of an Element node. When an Element node isconnected to a matte drawing, only the parts of the drawings that intersect with the opaque areas of thematte drawing will be rendered. This allows you to accomplish the same effect as connecting the Element node
to a cutter node, without using an extra node.

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Layer Properties
The drawing node's properties are organized in the following tabs:lTransformation TablDrawing TablControls TablLine ThicknesslAdvanced Tab

Transformation Tab
The Transformation tab contains parameters for adjusting the position, scale, rotation, skew and pivots of anelement.

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Parameter

Description

Enable 3D

Allows the layer to be rotated and scaled in 3D. This means it can be rotated on
the X and Y axes and scaled on the Z axis.
3D Path: Use a 3D path to position the element. A 3D path uses a single function
to define the position on the X, Y and Z axes. This function is made of control
points linked by a curvilinear path, making the movement follow a natural curve.
The pace and ease of the movement is determined by a single velocity function.

Position

Separate: Positions the element using separate functions for the X, Y and Z axes.
This allows to control the direction and pace of the movement across all threeaxes separately. Unless ease is applied to the axes, the trajectory of the element
will follow straight lines going between each keyframe.
Path: If the 3D Path option is selected, this field allows you to create or select the
3D Path function used to position the element.
Path (x) Axis: The position of the element on the East-West axis, in fields.
Path (y) Axis: The position of the element on the South-North axis, in fields.

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Path (z) Axis: The position of the element in the Back-Front axis, in fields.
Velocity: If the 3D Path option is selected, this function is used to control thepace at which the element moves towards each control point in the 3D Pathfunction, on all three axes simultaneously.
Locked: Uses a single scale parameter to scale the element, preserving its
proportions.
Scale

Separate: Uses a separate parameter to scale the element on the X and Y axis, aswell as on the Y axis if the element is 3D-enabled, allowing to stretch or squash
the element.
(x) Axis: The horizontal scale factor. The default value is 1.
(y) Axis: The vertical scale factor. The default value is 1.
(z) Axis: The depth scale factor for 3D-enabled elements. The default value is 1.
Scale in Fields: With this option enabled, the scale factor is based on the amountof fields in the scene. For example, to shrink one of the dimensions of an element
to half its original size, the scale factor would normally bet set to 0.5. If thisoption is enabled and the amount of fields in the scene is 12, then the scale factor
to shrink the element by half would be 6.
Ignore Parent Scaling: When this option is enabled, scaling factors applied to aparent layer will not be applied to the current layer. This can be handy in cut-out
rigs when you need to scale an arm without affecting the forearm.

RotationAngle z: The angle at which the element is rotated, based on the 360 degrees
scale. Values below 0 or above 360 degrees will cause the rotation to cycle.
Quaternion: Similar to a 3D Path, the Quaternion determines the angle of a 3D
object using a single function.
Euler Angles: Determines the angle of a 3D object by rotating it on the X, Y and Z
axes using separate angles.

Rotation (3D enabled)

3D Rotation: If the Quaternion option is selected, this field allows you to createor select the Quaternion function used to rotate the element.
(x) Axis: The angle at which the element is rotated on the horizontal axis.
(y) Axis: The angle at which the element is rotated at the vertical axis.
(z) Axis: The angle at which the element is rotated on the depth axis.
Velocity: If the Quaternion option is selected, this function is used to control the
speed at which the element is rotated on all 3 axes.

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Skew

Skew: The angle at which the element is skewed. This value can range from -90
to 90 degrees.
(x) Axis: The horizontal position of the pivot point of the element relative to thepivot point of the drawing, in fields.
(y) Axis: The vertical position of the pivot point of the element relative to the pivot
point of the drawing, in fields.

Pivot

NOTE
These parameters can be changed visually by clicking and dragging thepivot point when using on of the tools in the Advanced Animation toolbar.

An element layer has two pivots:l

The pivot of the element, which is set by the Pivot parameters above.

l

The pivot of the currently exposed drawing, which is set using the
Drawing Pivot

tool.

This preference is used to determine what to do with the pivot point of thecurrently exposed drawing:lDon't Use Embedded Pivot: Ignores the pivot point of the exposeddrawing. The pivot point of the element is positioned using the Pivot
parameters above, relative to the centre of the drawing.

Drawing Pivotll

Apply Embedded Pivot on Parent Peg: Use the pivot point of the exposeddrawing to determine the position of the pivot point of the parent peg ofthe drawing layer. This is useful when making a character rig where eachelement has a parent peg, and those parent pegs are intended to be used
for animation. The pivot point of these parent pegs will be based on thepivot point set for the exposed drawing.
Apply Embedded Pivot on Drawing Layer: Use the pivot point of thedrawing to determine the pivot point of the element. This means the pivot
point is positioned using the Pivot parameters above, but relative to thepivot point of the drawing.

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TIP
The two latter options are useful when making a character rig where alayer can represent a body part from different angles. Since each angle isrepresented by a drawing, and each angle is liable to have a different
pivot point, you can set the pivot point of each angle by using the Drawing
Pivot

tool on each drawing. Then, if you want to animate the drawing

layers directly, you can set this parameter to the Apply Embedded Pivot

on Drawing Layer option, and if you want to animate using the parent
pegs of the drawing layers, you can set this parameter to the Apply
Embedded Pivot on Parent Peg option, so that these pivots are used
when animating the different parts of the rigs.

Drawing Tab
The Drawing tab contains parameters for element and timing columns, the art layers, bitmap images and theelement's matte drawing.

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Parameter

Description
Full Name: Select which element to connect to the node from the list of elementsthat already exist in your scene.

Element Columns

Synced Sub Element: If the layer is synced to another layer, this field displays thename of the layer's sub-element. A sub-element is an element stored insideanother element for syncing layers.
Drawing Path: Displays the full path to the current drawing.
Name: The path to the drawing file the element links to.

Timing Columns

Timing Column: The name of the Xsheet timing column used for the layer's
timing.
Extension: The extension of the drawing file the element links to.
Field Chart: The size of the field chart used for the drawings the element links to.
This setting is useful when linking to traditional animation drawings.

Art Layers

These parameters allow you to set whether each art layer in the drawing layer is634

Harmony 16.0 Premium Reference Guide

enabled, and whether they should contain vector or bitmap artwork. By default,
options for the Line Art and Colour Art layers will be available. If the Enable
Overlay and Underlay Arts preference is enabled, options for the Overlay Art andUnderlay Art layers will also be available.
Enabled: Determines whether the art layer is displayed.
Vector: Makes the art layer enabled for vector artwork, Vector drawing tools will
be used to draw in this art layer, and vector artwork information will be preserved.
Bitmap: Makes the art layer enabled for bitmap artwork. Only bitmap-compatible
drawing tools will be enabled when drawing on this layer, and all artwork will berasterized into a bitmap image.
Colour: Determines whether or not the colours in the image is processed. If
unchecked, the image will be solid black.
Transparency: Determines whether or not the transparency in the image isprocessed. If unchecked, the image will be fully opaque.
Transparency Type: If the layer contains bitmap images with a transparency
channel, there are several approaches to rendering the image's transparency. You
may need to select the proper transparency type to make sure Harmony renders
the image as intended.
lPremultiplied with Black: Semi-transparent pixels in the original image are
blended with black.

ll

Bitmap File OptionslPremultiplied with White: Semi-transparent pixels in the original image
are blended with white.
Straight: Semi-transparent pixels in the original image are left as is(unmatted).
Clamp Colour to Alpha: Semi-transparent pixels in the original image are
blended with black. On import, each of the RGB channels is clamped sothat a color value never exceed the alpha value for a given pixel. When the
RGB values are multiplied with the alpha value, that is to say, if you have apixel of value R=247, G=188, B=29 and the alpha is 50% or the image has
a 50% transparency, then the actual RGB values output would be half of
the amounts listed above.

Colour Space: If the element is displaying original bitmap files that are not taggedwith their colour space information, this allows you to set the colour space inwhich Harmony should render the image.
lLinear: The default value. The linear colour space is one where theintensity of each primary is directly proportional to their value. Typically,visuals are rendered in a linear colour space until the final compositing
stage.

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Chapter 3: Nodes / LayersllsRGB: The most common colour space used with computer and digital
device displays. With this colour space, the relation between the value ofeach primary and their intensity is defined by a gamma function.
Rec.709: A colour space commonly used for HD television. It is very
similar to sRGB with a slightly lower gamma curve.

Tile Horizontally: Repeats the bitmap image infinitely to the left and to the right of
the layer. This can be useful for making looping backgrounds.
Tile Vertically: Repeats the bitmap image infinitely to over and underneath thelayer. This can be useful for making looping backgrounds.

NOTE
When both the Tile Horizontally and Tile Vertically options are used
together, the bitmap image is tiled all over the scene.

Matte

Invert Matte: If a drawing, composite or effect is connected to the drawing's
matte input port, the part of the drawing that intersect with the matte's opaqueareas will be cut out by default. If this parameter is enabled, the part of thedrawing that intersect with the matte's transparent areas will be cut out instead.

Controls Tab
The Controls tab contains animation control options.

Parameter

Description

Animation

Animate Using Animation Tools: By default, a drawing layer can be animateddirectly, as if it was its own peg. If you disable this option, it will only be possible

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to animate the layer using its parent peg. If the layer has no parent peg, it will be
immutable.
This can be useful if you want to create cut-out character rigs that should only be
animated using pegs, which can help separate the drawing exposure from thetransformations on the drawings. If every drawing layer in a character rig has thisoption disabled, only layers that have a parent peg will be animatable, and theanimator will only be able to animate on the pegs. This also rules out thepossibility of accidentally animating an element directly and using its parent peg
concurrently.
When this option is disabled, clicking on the drawing layer in the Camera view
with the Transform tool will automatically select the layer's parent peg.
Lets you set a maximum and minimum rotation angle for a drawing. This option isused mainly for a cut-out character when you do not want an elbow to bend too
far in or out.
Angle Limit Values

Enable Min/Max Angle: Activates the minimum and maximum angle constraints.
Min Angle: The minimum rotation angle for the element.
Max Angle: The maximum rotation angle for the element.
If the layer's controls are displayed, you can see its animation trajectory in the
Camera view. This is referred to as the spline. By default, the position of eachpoint in the spline is based on the element's pivot point. However, you can use
the spline offset to give it a more fitting position if desired. You can do this byusing the Spline Offset tool of the Advanced Animation toolbar, or by manuallyentering the offset values in the Spline Offset fields.
(x) Axis: The horizontal offset of the spline, in fields.
(y) Axis: The vertical offset of the spline, in fields.

Spline Offset(z) Axis: The depth offset of the spline, in fields.

TIP
To display the animation trajectory of the layer in the Camera view, selectthe layer, then do one of the following:l

In the Camera toolbar, click on Show Control.

l

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

lPress Shift + F11 (Windows/Linux) or ⌘ + F11 (macOS).

Line Thickness
The Line Thickness tab contains options regarding the way pencil lines in the element are rendered. These
options can be very useful to enhance the quality of line art without having to work on it.

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Parameter

Description
Adjust Pencil Lines Thickness: Enables the options below to adjust the line
thickness in the rendered image.
Normal Thickness: This setting makes the line thickness adjustments take one of
two very different behaviors:lEnabled: The line thickness settings are applied to pencil lines in all art
layers in the element. This setting should be used if you want to adjust theline thickness of pencil lines.

lLine Thickness

Disabled: The line thickness settings are applied to all art, whether brushstrokes or pencil lines, in the line art layer, so that it fits the desired
thickness pattern around art in the colour art layer. This setting should be
used for drawings that have their line art on the line art layer and theircolour art on the colour art layer, which is typical of traditional andpaperless animation productions.

NOTE
When this option is disabled, all artwork in the line art layer that
does not surround artwork in the colour art layer will be cropped
out.

Zoom Independent Thickness: Makes the thickness of pencil lines remainunchanged when the camera zooms in or zooms out.
Proportional: The factor by which to adjust line thickness. The original line
thickness in the drawing will be multiplied by this value. A value between 0 and 1
can be used to make pencil lines thinner.
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to the original line thickness in the drawing. A negative number can be entered tomake pencil lines thinner.
Minimum: The minimum pencil line thickness allowed. Line thickness will not go
below this value.
Maximum: The maximum pencil line thickness allowed. Line thickness will not go
above this value. Set it to 0 to disable maximum line thickness.
Pencil Lines Quality: The quality of the rendered pencil lines when deformed bydeformation chains. Increasing this parameter is unlikely to wield noticeable result
unless rendering in very high resolutions.
Preserve Line Thickness: If this option is checked, the thickness of pencil lines
will not be affected by deformations. Only their directions will be affected. Also, if
a pencil line is textured, it will not be stretched or squashed by deformations.

NOTE
This setting must be enabled for the Pencil Lines Smoothing and Fit Error
parameters to be available.

Deformation

Pencil Lines Smoothing: The smoothing factor applied to pencil lines whenrendering. This value can range from 0 to 10. The higher it is, the more corners
and points will appear smoothed out.
Fit Error: When this parameter is increased, pencil lines in the rendered image will
have less vector points and the curves between the remaining vector points will
be adjusted to fit the original shape. This setting can be increased if the amountof details and points in the pencil lines creates problems around deformation
articulations and corners. Its value can range from 1 to 100.

NOTEThe Fit Error parameter will have no effect if the Pencil Lines Smoothing
parameter is set to 0.

Advanced Tab
The Advanced tab contains options for setting the alignment of drawings, clipping, line thickness, vector
render options, and more.

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Parameter

Description
Alignment Rule: The alignment rule selections are intended to deal with drawings
that were created on paper of a different size or orientation from the defaultalignment rule (set up in the Scene Settings dialog box) or imported bitmap
images. The drawings are then scaled to match the Harmony alignment rectangle.
Note that alignment rules are not based on the camera frame, but on the scene
frame. Refer to the Fundamentals Guide to learn more about scene alignment andscene settings.
ll

Alignment

l

l

l

l

Left: The default alignment for drawings; aligns the drawings to the left
side of the scene’s alignment rectangle. Harmony scales the drawings tomatch their height to the alignment rectangle of the scene.
Right: Aligns the drawings to the right side of the alignment rectangle.
Harmony scales the drawings to match their height to the height of thealignment rectangle of the scene.
Top: Aligns the drawings to the top of the alignment rectangle. Harmony
scales the drawings to match their widths to the width of the alignment
rectangle of the scene.
Bottom: Aligns the drawings to the bottom of the alignment rectangle.
Harmony scales the drawings to match their widths to the width of thealignment rectangle of the scene.
Centre Fit: Centers the drawings.
Centre Fill: Centers the drawings and then scales them so the width orheight fills the available space.

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l

l

l

Centre LR: Aligns the drawings in the left-right centre of the alignment
rectangle. Harmony scales the drawings to match their height to theheight of the alignment rectangle of the scene.
Centre TB: Aligns the drawings in the top-bottom centre of the alignment
rectangle. Harmony scales the drawings to match their widths to thewidth of the alignment rectangle of the scene.
Stretch: Scales the drawings so they fit within the alignment rectangle ofthe scene. This is particularly useful for images that you will manipulate
with a Quadmap node. If the drawings in the Quadmap node do not havethe same aspect ratio as the alignment rectangle of the scene (from the
Scene Settings dialog box), the handles on the quadmap will not appear
on the corners of the image, making it difficult to manipulate thequadmap. In this case, you would set the drawing layer of the quadmap
images to Stretch to make the handles appear on the corner of the image.
This can have the effect of distorting the images, but it is not an issue
with images that will be distorted through the Quadmap node anyways.

ll

As Is: Leaves the drawings aligned as they are.
Centre First Page: Aligns the centre of the first part of a standard pan celwith the centre of the field chart.

Turn Before Alignment: Rotates the drawings in the selected element 90 degrees
to the left before scaling and aligning them according to the alignment rule, andbefore performing any offset, rotation or scaling for the element or peg. This andthe Alignment Rule are intended for drawings that were created on paper of adifferent size or orientation than the other paper in the scene, and requiresalignment so they are treated accurately.
Flip Horizontal: Flips the drawing on the horizontal axis.
Flip Vertical: Flips the drawing on the vertical axis.

Clipping

No Clipping: By default, when using the Apply-Image-Transformation node on abitmap layer, the image is clipped by the camera frame before the transformation.
This can cause the resulting image to appear cropped if the peg connected to the
Apply-Image-Transformation node brings the element from outside of the camera
frame, or shrinks it. Enable this option to avoid clipping the image—see Apply
Image Transformation Node on page 691.

NOTE
In the great majority of cases, it is recommended to use an Apply-PegTransformation node instead to avoid clipping—see Apply Peg

Transformation Node on page 694.

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Clipping Factor (X): This parameter would extend the horizontal clipping area ofvector drawings before effects are applied to it. Using this parameter is no longer
required as Harmony manages the clipping areas of vector drawings
automatically, and is only made available for legacy support.
Clipping Factor (Y): This parameter would extend the vertical clipping area ofvector drawings before effects are applied to it. Using this parameter is no longer
required as Harmony manages the clipping areas of vector drawings
automatically, and is only made available for legacy support.
Antialiasing Quality: The smoothness (antialiasing) setting used to make the crisp
vector contours appear smooth.
lNone - No Transparency: Dsables antialiasing, renders semi-transparent
pixels either fully opaque or fully transparent, and fills single-pixel gaps
with an opaque pixel to avoid generating out-of-place gaps when lines
intersect each other.

lLow: Disables antialiasing, but renders transparency.

lMedium Low: Renders vector artwork with basic antialiasing.

llMedium: Renders vector shapes with improved antialiasing. Bitmap
texture fills will appear blurred.
High: Renders vector shapes with improved antialiasing, without blurring
bitmap texture fills.

TIP
Vector Render Options

It is recommended to leave this setting to High unless you are working ona pencil test, or another type of scene where rendering speed is more
important than rendering quality.

TIP
If the production requires exporting line art without antialiasing to colour
them in a third-party software, it is recommended to use the None - No

Transparency setting. This setting automatically fills one-pixel gaps
created by crisp lines intersecting each other, which would otherwise need
to be filled manually in the third-party software.

Antialiasing Exponent: Determines how much the artwork is scaled up to apply
antialiasing onto it. A higher value will results in sharper edges, and a lower value
will result in softer edges. Typical values range between 0 and 3. Higher values
may be attempted but may result in overly crisp outlines. Negative values willcause the outlines to appear blurry.
Texture Filter: This setting determines how textures in the element are resampledwhen rendering:642

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l

l

l

Bilinear: This option takes the four pixels around each point and makes abilinear interpolation between them, which may make them look blurry.
Nearest: When sampling the texture up, this option generates extra pixels
by using the colour of the nearest defined pixel. When sampling the
texture down, this option simply removes pixels from the texture.
Nearest (Filtered): This option is similar to Nearest, but it adds an extra
layer of resampling to make all pixels look like they are the same size.

Depth: Overrides the order of cables in the node system to determine theforward/backward order in which this element is rendered. The Z position value
overrides the depth value.
MiscellaneousMorphing Velocity: When morphing drawings in the element using the Morphing
tool, this parameter can be used to create or select the velocity function used todetermine the pace of the morphing animation.
Opacity: Lets you quickly change the transparency of the selected element.
Opacity settings here will be reflected in both OpenGL preview, and full render.

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Field Chart Node

The Field Chart node displays a traditional animation field chart, which allows you to position elements in the
Camera view. The Field Chart node doesn't export. If you want to export a field chart, use the Grid node—see
Grid Node on page 655.

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Field Chart Properties

Parameter

Description

Name

Allows you to change the name given to the node.

Drawing

Size

Adjusts the number of units in the grid (field chart). The grid size will always be a
4:3 ratio, as per traditional animation standards. The gird is available in 12 or 16
fields.

OpaqueInserts a white background behind the grid and covers everything else behind it.
By default, you can see through the grid.
Antialiasing Quality: The smoothness (antialiasing) setting used to make the crisp
vector contours appear smooth.
l

Antialiasing

None - No Transparency: Dsables antialiasing, renders semi-transparent
pixels either fully opaque or fully transparent, and fills single-pixel gaps
with an opaque pixel to avoid generating out-of-place gaps when lines
intersect each other.

lLow: Disables antialiasing, but renders transparency.

lMedium Low: Renders vector artwork with basic antialiasing.

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Chapter 3: Nodes / LayersllMedium: Renders vector shapes with improved antialiasing. Bitmap
texture fills will appear blurred.
High: Renders vector shapes with improved antialiasing, without blurring
bitmap texture fills.

TIP
It is recommended to leave this setting to High unless you are working ona pencil test, or another type of scene where rendering speed is more
important than rendering quality.

TIP
If the production requires exporting line art without antialiasing to colour
them in a third-party software, it is recommended to use the None - No

Transparency setting. This setting automatically fills one-pixel gaps
created by crisp lines intersecting each other, which would otherwise need
to be filled manually in the third-party software.

Antialiasing Exponent: Determines how much the artwork is scaled up to apply
antialiasing onto it. A higher value will results in sharper edges, and a lower value
will result in softer edges. Typical values range between 0 and 3. Higher values
may be attempted but may result in overly crisp outlines. Negative values willcause the outlines to appear blurry.
The alignment rule selections are intended to deal with drawings that werecreated on paper of a different size or orientation from the default alignment rule(set up in the Scene Settings dialog box) or imported bitmap images. The
drawings are then scaled to match the Harmony alignment rectangle. Note thatalignment rules are not based on the camera frame, but on the scene frame. Referto the Fundamentals Guide to learn more about scene alignment and scene
settings.
l

Alignment Rulelll

Left: The default alignment for drawings; aligns the drawings to the left
side of the scene’s alignment rectangle. Harmony scales the drawings tomatch their height to the alignment rectangle of the scene.
Right: Aligns the drawings to the right side of the alignment rectangle.
Harmony scales the drawings to match their height to the height of thealignment rectangle of the scene.
Top: Aligns the drawings to the top of the alignment rectangle. Harmony
scales the drawings to match their widths to the width of the alignment
rectangle of the scene.
Bottom: Aligns the drawings to the bottom of the alignment rectangle.
Harmony scales the drawings to match their widths to the width of thealignment rectangle of the scene.

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l

l

l

l

l

l

l

Centre Fit: Centers the drawings.
Centre Fill: Centers the drawings and then scales them so the width orheight fills the available space.
Centre LR: Aligns the drawings in the left-right centre of the alignment
rectangle. Harmony scales the drawings to match their height to theheight of the alignment rectangle of the scene.
Centre TB: Aligns the drawings in the top-bottom centre of the alignment
rectangle. Harmony scales the drawings to match their widths to thewidth of the alignment rectangle of the scene.
Stretch: Scales the drawings so they fit within the alignment rectangle ofthe scene. This is particularly useful for images that you will manipulate
with a Quadmap node. If the drawings in the Quadmap node do not havethe same aspect ratio as the alignment rectangle of the scene (from the
Scene Settings dialog box), the handles on the quadmap will not appear
on the corners of the image, making it difficult to manipulate thequadmap. In this case, you would set the drawing layer of the quadmap
images to Stretch to make the handles appear on the corner of the image.
This can have the effect of distorting the images, but it is not an issue
with images that will be distorted through the Quadmap node anyways.
As Is: Leaves the drawings aligned as they are.
Centre First Page: Aligns the centre of the first part of a standard pan celwith the centre of the field chart.

Turn Before Alignment

Turn Before Alignment: Rotates the drawings in the selected element 90 degrees
to the left before scaling and aligning them according to the alignment rule, andbefore performing any offset, rotation or scaling for the element or peg. This andthe Alignment Rule are intended for drawings that were created on paper of adifferent size or orientation than the other paper in the scene, and requiresalignment so they are treated accurately.

Depth

Overrides the order of cables in the node system to determine theforward/backward order in which this element is rendered. The Z position value
overrides the depth value.

Position

Animate Using Animation
Tools

By default, the grid can be animated using the same parameters as a peg, but you
can disable this feature so the field chart remains in place. You can connect it to apeg to animate it or move it.
When this option is deselected, you cannot move the layer in the Camera viewusing the Transform and Advanced tools. This prevents you from accidentallydisplacing or modifying a layer.

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3D Path: Use a 3D path to position the element. A 3D path uses a single function
to define the position on the X, Y and Z axes. This function is made of control
points linked by a curvilinear path, making the movement follow a natural curve.
The pace and ease of the movement is determined by a single velocity function.
Separate: Positions the element using separate functions for the X, Y and Z axes.
This allows to control the direction and pace of the movement across all threeaxes separately. Unless ease is applied to the axes, the trajectory of the element
will follow straight lines going between each keyframe.
Position

Path: If the 3D Path option is selected, this field allows you to create or select the
3D Path function used to position the element.
Path (x) Axis: The position of the element on the East-West axis, in fields.
Path (y) Axis: The position of the element on the South-North axis, in fields.
Path (z) Axis: The position of the element in the Back-Front axis, in fields.
Velocity: If the 3D Path option is selected, this function is used to control thepace at which the element moves towards each control point in the 3D Pathfunction, on all three axes simultaneously.
Locked: Uses a single scale parameter to scale the element, preserving its
proportions.
Separate: Uses a separate parameter to scale the element on the X and Y axis, aswell as on the Y axis if the element is 3D-enabled, allowing to stretch or squash
the element.
(x) Axis: The horizontal scale factor. The default value is 1.

Scale(y) Axis: The vertical scale factor. The default value is 1.
(z) Axis: The depth scale factor for 3D-enabled elements. The default value is 1.
Scale in Fields: With this option enabled, the scale factor is based on the amountof fields in the scene. For example, to shrink one of the dimensions of an element
to half its original size, the scale factor would normally bet set to 0.5. If thisoption is enabled and the amount of fields in the scene is 12, then the scale factor
to shrink the element by half would be 6.

Angle Z

Pivot

Lets you type in a degree value for the rotation angle. Note that you can enter
values greater than 360 and -360 degrees. If you enter 720, the object will rotate
twice.
(x) Axis: The horizontal position of the pivot point of the element relative to thepivot point of the drawing, in fields.
(y) Axis: The vertical position of the pivot point of the element relative to the pivot
point of the drawing, in fields.

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Gradient Node
The Gradient node is similar to a Colour Card in which it fills all of the space in the stage, except that instead offilling it with a solid colour, it fills it with a configurable gradient. A gradient is a colour that tapers into anothercolour. The Gradient node can generate linear or radial gradient, between colours with or withouttransparency. The colours as well as the start and end points of the gradient in the stage can be configured
and animated.

The Gradient node covers the entire camera frame and beyond. You do not need to scale it up or down. It willautomatically cover an infinite zone. You simply need to connect it behind your scene's elements. You canconnect it in front of some elements you want to cover. By default, the Gradient has a Z ordering value of 0.
When you select the Gradient node, the Camera view displays yellow triangles to indicate that it's selected.

Connection
Being a generator, the Gradient node does not need an input image. It generates a gradient on its own, basedon its parameters alone.

Just like Element nodes, Gradient nodes can be hooked to a peg, allowing you to easily move, rotate, scale andanimate the gradient.

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Optionally, the Gradient node can be connected to a matte image. In this case, the gradient will only be applied
over the opaque areas of the matte.

Controls
If you want to control the gradient's orientation and points position in the Camera view, you can use theControl command to display the points and move them.

How to control the gradient in the Camera view
1. In the Tools toolbar, select the Transform

tool.

2. In the Timeline or Node view, select the Gradient node.
3. Do one of the following:l

In the Camera toolbar, click on the Show Controll

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

button.

The starting and ending points of the gradient will appear in the Camera view, like so:

4. Click and drag on one of the points to change its position.

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Layer Properties

Use the Gradient property editor to modify the values of the gradient and the position of its output.
Parameter

Description
Allows you to select between the following types of gradient:

Gradient TypelLinear: Lines of colour are drawn perpendicular to the axis between point
0 and point 1.

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Chapter 3: Nodes / LayerslRadial: Circles of colour are drawn with point 0 as their center, with a ray
progressing between point 0 and point 1.

Point 0The colour of point 0. The gradient will start with this colour and taper to thecolour of point 1.
l

Red: The value of red in the colour.

lGreen: The value of green in the colour.

l

Blue: The value of blue in the colour.

lAlpha: The opacity of the colour.

ColourPosition 0

The position of point 0 in the stage. The gradient will start from this position andend at the position of point 1.
If you want to animate the point, you can choose which type of function to use tostore the animation.

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2D Path: The horizontal and vertical position are on the same function.
This makes the point move in a curvilinear trajectory between each
keyframe.
Separate: The horizontal and vertical position are on separate
functions. This makes the point move in a straight line between each
keyframe and it allows you to modulate the trajectory differently on eachaxis.

(x) Axis

The position of point 0 on the x-axis.

(z) Axis

The position of point 0 on the y-axis.

Point 1
The colour of point 1. The gradient will start with the colour in point 0 and taper
to this colour.
lRed: The value of red in the colour.

lGreen: The value of green in the colour.

l

Blue: The value of blue in the colour.

lAlpha: The opacity of the colour.

Colour

The position of point 1 in the stage. The gradient will start from the position ofpoint 0 and end in this position.
If you want to animate the point, you can choose which type of function to use tostore the animation.
lPosition 1l

2D Path: The horizontal and vertical position are on the same function.
This makes the point move in a curvilinear trajectory between each
keyframe.
Separate: The horizontal and vertical position are on separate
functions. This makes the point move in a straight line between each
keyframe and it allows you to modulate the trajectory differently on eachaxis.

(x) Axis

The position of point 1 on the x-axis.

(z) Axis

The position of point 1 on the y-axis.

Position

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Offset Z

The position of the Gradient layer on the z-axis.

DepthThis parameter can be used to determine whether the gradient displays behind or
in front of elements with the same position on the z-axis. Elements and Colour
Cards also have a depth parameter.

Matte
If an image is connected to the Gradient node's matte port, by default, theInvert Matte

gradient is only applied on the opaque areas of the matte. If this parameter isenabled, the gradient is applied to the transparent areas of the matte instead.

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Grid Node

The Grid node displays a grid, in field chart unit, which allows you to position elements in the Camera view.

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Grid Properties

Parameter

Description

Name

Allows you to change the name given to the node.

Size

Adjusts the amount of units in the grid (field chart). The grid size will always be a
4:3 ratio, as per traditional animation standards, but will adjust the camera frame
width. You can change the grid to adjust to the camera frame by deselecting the
Fit Vertical option.

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Aspect

The grid size default format is 4:3 ratio, as per traditional animation standards, butwill adjust the camera frame width. You can change the grid ratio by entering a
new ratio. To find your scene ratio, select Scene > Scene Settings.

Fit Vertical

Makes the grid size adjust the camera width or height.
Display Text

Turns the display of numbers on or off.

Fill

Makes the grid's background opaque. Nothing behind will be shown. You canalso click on the colour swatch to open the Colour Picker window and select abackground colour.

RGBA

The colour and alpha values of the corresponding point. You can also click on thecolour swatch to open the Colour Picker window and select a grid or backgroundcolour. Default values: 0,0,0 and 255, 255, 255.

Colour Swatch

Opens the Colour Picker window in which you can specify the colour.

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Lens Flare Node

The Lens Flare effect simulates the refraction caused by shining a bright light into a camera lens. The shape ofthe lens flare can be circular or hexagonal.
For detailed video tutorials and sample scenes by Adam Phillips, see:https://www.toonboom.com/resources/video-tutorials/chapter/adam-phillips-harmony-effects
Here is how a typical lens flare can be set up:

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Lens Flare Properties

Parameter

Description

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Custom: Lets you use your own custom art or drawing.
Flare TypeType 1: Circular lens flare.
Type 2: Hexagonal lens flare.
Lets you apply a normal or screen blending mode to the image.
Normal: When selected, this operation will not create any blending mode effect.

Blend Mode: Normal/Screen

Screen: When deselected, this operation multiplies the inverted colour of theblending element with the image. This lightens the colour of the overlapping area.
Screen is the default blending mode.

Position X, Y, Z

Lets you precisely orient the flare in the x, y, and z axes.

Brightness
Intensity

The strength of the lens flare.

Red

Red values of the image.

Green

Green values of the image.

Blue

Blue values of the image.

Alpha

Alpha values of the image.

Colour Swatch

Opens the Colour Picker where you can specify the colour of the main flare.

Flare 1–10

Lets you create custom lens flares by associating them with specific drawings.
You can create up to 10 different flares.
Drawing: Lets you specify a drawing to use for the flare.
Position: The position of the flare.
Size: The size of the flare.
Blur Intensity: The strength of the flare.

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Turbulent Noise Node

The Turbulent Noise effect uses Perlin noise to create greyscale noise for organic-looking backgrounds,
displacement maps and textures. Among other things, it can be used to simulate fluid effects like clouds, fire,lava, steam, flowing water, or vapour. The Turbulent Noise effect models turbulent systems with smaller noisefeatures moving more quickly than larger noise features. The Turbulent Noise effect creates smooth animations
and takes less time to render than other noise or grain effects.
For detailed video tutorials and sample scenes by Adam Phillips, see:https://www.toonboom.com/resources/video-tutorials/chapter/adam-phillips-harmony-effects

Connection
Being a generator, the Turbulent Noise node does not require an input image. It generates noise using its Layer
Properties. However, its default settings will only output solid black.

The Turbulent Noise node can be hooked to a peg, allowing you to transform and animate the effect.

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NOTE
In the example above, it is hooked to a Quadmap to simulate a perspective effect.
Optionally, a Turbulent Noise node can also be connected to a matte image. In this case, the noise will only fill
the shape of the matte.

Layer Properties

Parameter

Description

Enable/Disable

Allows you to enable or disable the node. When disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top views.

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Parameter

Description

Colour Swatch

Sets the colour of the layer in the Timeline view and of the node in the Node view.

Name

Allows you to enter a name for the node.
The algorithm used to generate the noise:lPerlin: Creates pseudo random patterns. The greyscale contains acontinuity between different tones of grey.

llNoise Type

l

l

l

Simplex: Creates a more contrasted noise pattern with more variation than
Perlin. There is a smooth variation of intensity.
Sinusoidal: Creates a repeated wavelike pattern.
Sub Scaling: Applies Perlin noise twice. The second noise is added where
dark areas appear in the original. The frequency of the second iteration ishigher so the noise is smaller.
Rocky: Uses the Perlin pattern but converts the very high and low values
to more moderate values. For example, the whites become light greys andthe blacks become dark greys.
Small Bumps: Uses the Perlin pattern. The transitional grey areas between
blacks and whites become inverted so they look like dark lines. The
extremes, black and white areas, become whitish.

Frequency

The density of displacement appearing in the noise. A higher value produces agreater amount of displacement in a given area; a lower value produces a smaller
amount.

OffsetMoves the entire image.

LockedApplies parameter value while retaining the X and Y ratio.

Separate

Allows you to apply different parameter values to X and Y.

xy

When locked, applies parameter values to both X and Y. When separated, allows
you to apply different value to X and Y.

Evolution

Determines the displacement pattern over time.

Evolution Frequency

This factor makes the complexity iterations animate or transform at a higher
speed. In other words, the second, third, etc. passes, controlled by the Complexity

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Parameter

Description

parameter, will mutate faster than the main one.

Complexity

The number of noise layers that make up the noise. Each successive layer has ahigher frequency, resulting in a smaller noise effect. You can have up to sevenpasses. Increasing this number increases the depth and amount of detail in thenoise. Use Complexity with Sub Scaling when the value is 1 or greater.

NOTE
Increasing the Complexity results in longer rendering times.

Gain

Sub Scaling:

Controls the amount of opacity present in the iteration of noise. This also affects
the layer when using Sub Scaling. With a value of 0, you will not see the sub
noise. A value of 1 will show the sub noise just as strong as the main one. For
example, with water ripples, a higher amount of Gain will reveal more ripple or
subripples.
The factor by which the main noise is modified at each iteration of complexity. A
value of 1 make the two noises identical. A value of 2 makes the sub noise twice
as small. The next iteration would be 4 times smaller. Values must be greater than
1.

Depth

This value determines the composition order when the Z value of two elements isthe same.

Matte

Invert Matte

If the Turbulent Noise node is connected to a matte image, by default, the noise
will only fill the opaque areas of the matte. If this parameter is enabled, the noise
will fill the transparent areas of the matte instead.

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Group Nodes
The nodes found in the group category are used to organize the Node view by grouping nodes and providing
input and output ports for these groups.
Group Node666

Multi-Port-In Node667

Multi-Port-Out Node

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Group Node
The Group node is the node containing all the layers in a group. In the Timeline view, a Group node appears asa layer that you can expand or collapse to display or hide the layers it contains in the layer list. In the Nodeview, a Group appears as a node that can be entered by clicking on the arrow in the right end of the node.

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Multi-Port-In Node
A Multi-Port-In node is added by default in a new Group node. Use it to add one or more input ports to theGroup node so that you can process an image through the nodes in the Group node.

When you plug an element to a Multi-Port-In node, an input port appears at the top of the Group node. You
can add additional ports to the nodes as needed.
Pass your cursor over the Group node input port to see the name of the Port Image In node that it connects to.
You will notice that the Group node in these examples has no output port. It requires a Multi-Port-Out node to
output data from its network.
A Multi-Port-In is automatically added when you create a group.
Use the Multi-Port-In editor to rename the node.

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Multi-Port-Out Node
A Multi-Port-Out node is added in a new Group node by default. Use it to add output ports to the Group nodeso that you can output the result of the group operation to the rest of the network. After you plug an element toa Multi-Port-Out node, an output port appears on the bottom of your Group node. You can add additional
output ports as needed.

A Multi-Port-Out is automatically added when you create a group.
Use the Multi-Port-Out editor to rename the node in the network.

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Miscellaneous Nodes
The nodes found in the Miscellaneous category are various nodes used to either add notes to the Node view,use external scripts or previous and hide elements in OpenGL and Render view.
External Node670

Master Controller Node673

Note Node

679

OpenGL Bypass Node

680

OpenGL-Cache-Lock Node

682

Render Preview Node685

Script Node686

Visibility Node

689

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External NodeUse the External node to process images through external programs and input the resulting images back into
the network. Note that not all programs work with the External node.

Using the External node lets you avoid having to export your animation to another software to do someprocessing over it and then bringing it back to Harmony. This way, you can modify your scene and animation as
much as you want and still use the effects or render process from a third-party software.
NOTE
Harmony also supports OpenFX plugins.

The External node writes input files to temporary files on the system. It then calls the external program, which
will process the input images. If two images are input into the node, the program must composite them

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together to produce one output image. Finally, the file produced by the external program is read back into the
network.
The command is sent to the external program in the following format:
program_name file_1 file_2 output_file numerical_param extension
Use the External editor to control the program that is launched by the node, the files that it reads, and the filethat it outputs into the network.

In this example, the ImageMagick 6.3 software was used without a matte connection.
Use the External editor to write down the parameters matching the chosen external program.

External Properties
Parameter

Description

External Program

The name of the program launched by the External node. This field can include afull or relative path to the executable file. If no path is entered, the user's path issearched to locate the program.

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Enter the command directly into this field.
For example:
mogrify -spread $NUM $IN1
Where:
mogrify: Is the name of the program
spread: Is the option to be applied,$NUM and $IN1: Are the numerical parameter and first input file variable declaredin the External node.

Program First Input File($IN1)The name and location of the temporary file that Harmony will write to the filesystem for the external program to read. It must not include the dot or theextension; the External node will add these based on the Extension field.

Program Second Input File($IN2)

When processing two files through this node (such as an image and a matte),
this is the name and location of the second temporary file that Harmony writes tothe file system for the external program to read. It must not include the dot or theextension; the External node will add these based on the Extension field.

Program Output File ($OUT)

The name and location of the temporary file that the external program will write to
the file system so that Harmony can read it back into the network.

Extension ($EXT)

The file type that will be processed by the external program.

Numerical Parameter($NUM)

A value passed to the external program as a file processing option. It can be
attached to a function curve to change over time.

The program files are temporary files that are overwritten at each frame as the node is executed. They are only meant
to temporarily store the image that is being processed at each frame.

Generate Unique FileNames

If this option is enabled, the temporary output file will have a unique identification
number added to its name to avoid any file override if another scene or External
script is rendered at the same time. It could be possible to have an override when
two scenes using the External nodes are rendered in batch processing.

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Master Controller NodeThe master controller node is a special kind of script node that allows you to create visual widgets that you candisplay in the Camera view, and script to programmatically affect a character rig when manipulated by theuser.
For information and examples on how to use the Master Controller node, refer to the Master Controller subsection of the Rigging chapter of the User Guide.

Connection
The Master Controller does not need to be connected to a node in order to work, unless it is scripted to affectnodes that are connected to it.

If a Master Controller is connected to a node, the node system it is connected to should ultimately end up
connected to a Display node in order for the Master Controller to work.

If you configure the Master Controller's first (rightmost) input port to be a transformation (peg) input port, you
can connect a peg to the Master Controller, and use this peg to move its widget around in the Camera view,
allowing you to easily set the widget's default position in the scene.

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IMPORTANTA Master Controller node must have at least one output port to function, even if this port is notconnected to anything.

Controls
The Master Controller can be scripted to display any one of the following kinds of controls in the Camera view:
Control

Appearance

Description

Slider

A slider that allows the user to slide a handle up or down. When manipulated, it
provides a value between its minimum and maximum values.

2D Line
Display

Displays a line going between two 2D Point widgets, make a "bone" typemanipulator that can be moved by either end.

2D Point

A point that the user can freely drag around the stage. When manipulated, it
provides its position.

3D Rotation

A 3D sphere that the user can rotate in all directions. When manipulated, it
provides an object with a rotation angle for each axis.

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Control

Appearance

Description

X Rotation

A circle that can be rotated around the x-axis. When manipulated, it provides arotation angle.

Y Rotation

A circle that can be rotated around the y-axis. When manipulated, it provides arotation angle.

Z Rotation

A circle that can be rotated around the z-axis. When manipulated, it provides arotation angle.

X
Translation

An arrow that can be dragged along the x-axis. When manipulated, it provides anoffset.

Y
Translation

An arrow that can be dragged along the y-axis. When manipulated, it provides anoffset.

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Control

Appearance

Z
Translation

Description

An arrow that can be dragged along the z-axis. When manipulated, it provides anoffset.

Scripting Interface
To see the reference for the scripting interface used by the Script node, see the Scripting Interface reference
guide, which is packaged with Harmony and can be found on the following location on your system:
l

l

l

l

Windows: C:\Program Files (x86)\Toon Boom Animation\Toon Boom Harmony 16.0
Premium\help\script\index.html
macOS (Harmony Stand Alone): /Applications/Toon Boom Harmony 16.0
Premium/tba/help/script/index.html
macOS (Harmony Server): /Applications/Toon Boom Harmony 16.0 Premium
Network/tba/help/script/index.html
GNU/Linux: /usr/local/ToonBoomAnimation/harmonyPremium_16.0/help/script/index.html

Layer Properties
The Master Controller node is essentially a Script node with an extra layer of functionality in its scriptinginterface. Hence, its layer properties are very similar to that of the Script node. However, its most important tabis the UI Script tab. The script in this tab is executed when the layer is selected and the user clicks on theShow Control button in the Camera toolbar. This is where you can define which widget the node displays, andwhat happens when the user manipulates the widget.

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Parameter

Description

Name

Allows you to enter a name for the node.

Tabs

Attributes

This tab allows you to set values for the attributes defined in the Specifications
tab.
This tab allows you to define the attributes as well as the input and output ports
for the Master Controller.
The Master Controller supports the following types of attributes:

Specifications

l

bool

l

int

l

doublelStringl

TextlColourlPosition2dlPosition3d

The Master Controller supports the following types of ports:
l

Image

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Parameter

Descriptionl

Peg

This tab allows you to write or link to a script that will be executed whenrendering the node.
Softrender

NOTE
Scripts in this tab are ignored by the Master Controller node. The
Softrender tab is only executed by Script nodes.

Initialization

This tab allows you to write or link to a script that will be executed when loading
the scene.

CleanupThis tab allows you to write or link to a script that will be executed when closing
the scene.

UI Script

This tab allows you to write or link to a script that will be executed when using
the Show Control command while the node is selected. This is where widgets
and their functionalities should be defined.
This tab allows you to define folders or files from root directory of the scene thatshould be preserved when creating templates or saving the scene in a different
location. Any asset, such as external scripts, user interface files, data files orimages that the Master Controller requires should be listed in this tab.

NOTES
l

To add Extra Files to the Extra Files attribute, click on the
Function button right of the Extra Files field to create the Extra
Files attribute, then click on it again to open a dialog box inwhich you can type the file path of each file or folder that you
want to copy with the Master Controller, with one file path perline.

Extra Filesl

File paths must use forward slashes (/) and must be relative tothe scene directory. They can point to files or folders. For
example, if you want to copy everything in the scripts subdirectory of your scene with your Master Controller, you cansimply add scripts to the list.

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Note Node
The Note node allows you to record any textual information that is relevant to your project. You can add
comments, suggestions or reminders. You can add Note nodes anywhere in the network, including groups.

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OpenGL Bypass Node
The OpenGL Bypass node can be used to define what is displayed in the OpenGL preview of the Camera view
separately from what appears in the final rendered image. This can be used to help with performance whenworking on a scene or during playback. The OpenGL preview can be made to only display elements that areimportant to the animator as they are working on the scene, making the generation of the OpenGL preview a
lot less demanding for Harmony, without affecting the rendered image.

Connection
The OpenGL Bypass node has two input ports and one output port. What is connected to the left input port
displays in the OpenGL preview, and what is connected to the right input port appears in the rendered image.

How to connect an OpenGL Bypass node
1. Identify a part of the scene's node system that adds a lot of unnecessary load to the OpenGL
preview.
2. If that part of the node system is not connected to a composite, add a Composite node and connect
all the elements of that area to this composite. This will be the render composite.
3. Connect the OpenGL Bypass node under the render composite through its right input port.
4. Create another composite. This will be the preview composite.
5. Connect only the parts of the node system that are useful to the animator to the preview composite.
6. Connect the preview composite to the left input port of the OpenGL Bypass node.
In the following example the scene includes a background, a character (which is rigged to be cut by part of the
background), a drop shadow, light and shadow effects, a node system deformed by a Quadmap to make acomputer or television screen effect, a snowstorm particle system and an overlay. All of these elements areconnected to a composite that is connected to the right port of the OpenGL Bypass. Connected to the left portof the OpenGL Bypass is a composite that is only connected to the character without the cutter, thebackground, and the content of the screen without the Quadmap deformation, which would typically be all theanimator needs to work on the scene.

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NOTE
This example showcases the OpenGL Bypass node being used for the scene's main composite. It isalso possible to use it for very precise areas of a node system, such as individual body parts of acharacter, as long as they are linked together by a composite.

Properties
Parameter

Description

Name

Allows you to enter a name for the node.

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OpenGL-Cache-Lock Node
The OpenGL Cache Lock node can significantly increase the performance of Harmony when working in heavy
scenes with many characters, very complex rigs or an otherwise heavy node system.
Without the OpenGL-Cache-Lock node, Harmony must regenerate the OpenGL preview displayed in
the Camera view every time an element is changed or manipulated from scratch. This means it has to process
every node in the scene's node system all over again. Although the OpenGL preview is optimized for quick
real-time rendering, a complex enough node system can make this process slow enough that each action doneon the scene causes a delay, ultimately making working on heavy scenes excessively time-consuming.
A typical way to circumvent this is to temporarily disable elements in the scene that are not being worked on.
For example, an animator working on a scene with several characters can disable the characters they are notworking on at the time, and can also temporarily disable the scene's background and props, so that only theelements they need to manipulate are visible which reduces the load on OpenGL previewing.
The purpose of the OpenGL-Cache-Lock is to obtain virtually the same benefit in performance without having
to hide any element in the scene. When connected under a node system, this node creates a cache of the
OpenGL preview of the elements it is connected to. Every time a change is made to any element in the scene
and the OpenGL preview must be refreshed, the OpenGL-Cache-Lock node checks if the change affects one of
the elements it is connected to. If it does not, it will simply output the cached image for the preview, saving
Harmony the burden of regenerating the preview for these elements.
Hence, in the previous example, an OpenGL-Cache-Lock node could be connected under the main composite ofeach character. Harmony would then cache the preview of each character separately, and would only
regenerate the preview of a character when one of its parts is manipulated or modified. The animator would
not need to disable any characters as Harmony will keep re-using the cached previews of the characters they
are not currently working on.
NOTE
The OpenGL Cache Lock node only affects the way the OpenGL preview is generated and has noeffect on the actual rendered image.

Connection
The OpenGL-Cache-Lock node must be connected under elements or composites that should be cachedseparately for the OpenGL preview. Typically, this means adding an OpenGL-Cache-Lock node underelements that will be animated individually. In the example below, an OpenGL-Cache-Lock node can beconnected under the main composite of each character. But for a scene with very complex character rigs, an
OpenGL-Cache-Lock node could also be connected under composites for each limb of the character, for their
torso, for their head, etc.

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An OpenGL-Cache-Lock node can also be connected between the scene's main composite and its main
display. This can help with performance when zooming in, panning and rotating the scene. Harmony will use
the cached preview while zooming in, panning or rotating, and will only regenerate the preview half a second
after the operation is done.
IMPORTANTThe OpenGL-Cache-Lock node must be used with some caution:l

If the user begins zooming in, rotating or panning the Camera view, the preview will notregenerate immediately. Rather, it will regenerate half a second after the user releases is done.
During that short delay, because the preview cached by the OpenGL-Cache-Lock is a bitmap
image and that it does not extend the borders of the Camera view, zoomed-in areas will appear
pixelated, and areas that are brought from outside of the Camera view's borders by zooming
out or panning will appear blank until the preview is regenerated.

l

It is important not to add too many OpenGL-Cache-Lock nodes, and to only use them forcomplex node systems. If a scene has too many OpenGL-Cache-Lock nodes and that they areused on node systems that are too simple, the caching overhead as well as the need tocomposite all the different caches is liable to cause more load on Harmony than it would save.

l

Likewise, whether adding an OpenGL-Cache-Lock node under layout elements such as
backgrounds, underlays and overlays will enhance performance depends on how complex theyare. For example, a single vector drawing layer might benefit from an OpenGL-Cache-Lock if it
has an exceptionally high amount of detail. Otherwise, the performance gain for a few drawing
layers is unlikely to surpass the incurred caching overhead. You should use them with discretion
with such elements, and test whether they cause a noticeable improvement or decrease inperformance.

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Properties

Parameter

Description

Name

Allows you to enter a name for the node.
Determines the way the elements connected to the OpenGL-Cache-Lock node areordered in the preview:lInput Orderingl

2D: Elements connected to the node will appear flattened together. Theirapparent position on the Z axis relative to other elements in the scene willbe the one of the foremost element.
3D: Elements will appear in their appropriate order based on their positionon the Z axis relative to other elements in the scene.

NOTE
This only affects the way elements are displayed in the OpenGL preview.
The OpenGL-Cache-Lock node does not affect the way elements are
rendered in the final render.

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Render Preview Node
To adjust the effect's visual controls in OpenGL mode, from the Node Library view, drag a Render Preview node
to the Node view. Connect it between the effect and the Composite nodes.

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Script NodeYou can use the script node to create a custom node that processes peg and image information from othernodes using the Harmony scripting interface.

Connection
By default, the Script node has one image input port and one image output port, which do not have any
purpose until you add scripts to it.

The Script node can be configured to have as many input and output ports as needed. Each port can be
configured to carry image information or transformation (peg) information.

Scripting Interface
For a reference on the modules and methods available in the scripting interface used by the Script node, referto the Script Node reference guide, which is packaged with Harmony and can be found on the following
location on your system:
l

l

l

l

Windows: C:\Program Files (x86)\Toon Boom Animation\Toon Boom Harmony 16.0
Premium\help\scriptmodule\index.html
macOS (Harmony Stand Alone): /Applications/Toon Boom Harmony 16.0
Premium/tba/help/scriptmodule/index.html
macOS (Harmony Server): /Applications/Toon Boom Harmony 16.0 Premium
Network/tba/help/scriptmodule/index.html
GNU/Linux: /usr/local/ToonBoomAnimation/harmonyPremium_16.0/help/scriptmodule/index.html

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Layer Properties
The layer properties of a Script Node allow you to configure which properties and ports it has, to set values forthe properties you added to it, to link it to files and to script its behaviour in various events.

Parameter

Description

Name

Allows you to enter a name for the node.

Tabs

Attributes

This tab allows you to set values for the attributes defined in the Specifications
tab.
This tab allows you to define the attributes as well as the input and output ports
for the Script node.
The Script node supports the following types of attributes:
l

bool

l

int

l

doublelStringl

TextlColourlPosition2d

Specifications

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Parameter

DescriptionlPosition3d

The Script node supports the following types of ports:

Softrender

l

Image

l

Peg

This tab allows you to write or link to a script that will be executed whenrendering the node.

Initialization

This tab allows you to write or link to a script that will be executed when loading
the scene.

CleanupThis tab allows you to write or link to a script that will be executed when closing
the scene.

UI Script

This tab allows you to write or link to a script that will be executed when using
the Show Control command while the node is selected.
This tab allows you to define folders or files from root directory of the scene thatshould be preserved when creating templates or saving the scene in a different
location. Any asset, such as external scripts, user interface files, data files orimages that the Script node requires should be listed in this tab.

NOTES
l

To add Extra Files to the Extra Files attribute, click on the
Function button right of the Extra Files field to create the Extra
Files attribute, then click on it again to open a dialog box inwhich you can type the file path of each file or folder that you
want to copy with the Master Controller, with one file path perline.

Extra Filesl

File paths must use forward slashes (/) and must be relative tothe scene directory. They can point to files or folders. For
example, if you want to copy everything in the scripts subdirectory of your scene with your Master Controller, you cansimply add scripts to the list.

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Visibility Node
The Visibility node lets you control whether an item is visible in OpenGL mode versus the Soft Render mode in
the Camera view. If the Soft Render option is not enabled, the layer will not be exported.

Visibility Properties
Parameter

Description

Display in OpenGL View

Displays your render in OpenGL mode.

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Move Nodes
The nodes found in the Move category are used to animate layers as well as camera motions.
Apply Image Transformation Node691

Apply Peg Transformation Node694

Camera Node698

OrthoLock Node700

Peg Node

702

Shake Node704

Transform-Loop Node708

Quadmap Node711

Quake Node

714

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Apply Image Transformation Node
The Apply Image Transformation effect is mainly used when you want to pan an object out of the camera frame
and that object has an effect such as a Glow or a Blur on it. When you use a peg or the Apply Peg
Transformation node to translate an object such as the sun out of the camera frame, as soon as the sun starts togo outside of the camera frame, the sun's circle is cropped and the blur is applied on the shape left over. This
also means that when the sun is completely out of the frame, the Blur is not calculated anymore and the Blurpops out.
To prevent this from happening, you must use the Apply Image Transformation node to pan the sun out.
The Apply Image Transformation node applies the panning transformation once the full drawing of the sun isblurred, once the image is composited. Here is an example of this network:

Here is how to connect the Blur effect for a sun panning out:

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Look at the following example to understand better why using the Apply Image Transformation instead of aregular peg or the Apply Peg Transformation node.

The normal rendering behaviour is to crop the image before applying the effects. When planning a sunset
using either a Peg or the Apply Peg Transformation node, as soon as the drawing of the sun is out of thecamera frame, the drawing is cropped and there is no image left to blur. This means that the glowing edge
pops out of the camera instead of panning out gradually. Using the Apply Image Transformation node, the692Harmony 16.0 Premium Reference Guide

image is blurred before being panned out, so this means that even once the drawing is out of the camera frame,
its glowing edge will still show until the drawing is far enough from the camera border. This way, there is no
pop when panning out blurred objects.
Use the Apply Image Transformation editor to change the name of the node.

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Apply Peg Transformation NodeUse the Apply Peg Transformation node to apply a transformation coming from a Peg, Ortholock, or Quadmap
node on a single node or a group of nodes. When using the drawing layer's No Clipping option, you can use thisnode to apply all Camera and Peg transformations once all of the effects and nodes connected above thedrawing node are calculated.

You can use this effect node to create a simple highlight on a cut-out puppet or use the No Clipping option
available in the drawing layer.
The No Clipping option, found under the drawing Layer Properties' Advanced tab is used when you do notwant to crop your images before all effects are applied to your drawing. No camera motion or peg
transformation will be applied to your drawing until you connect an Apply Peg Transformation.
The advantage of this node is that you can create a second output of your image or puppet and offset it, scale itor apply any kind of transformation on it.
The transformations set in the Peg, Ortholock, or Quadmap node connected to the Apply Peg Transformation
node are applied BEFORE the image is composited.
Here is an example of how to connect the Apply Peg Transformation node:

The transformation set in the Peg node from the example above is applied before the image is composited,which is the equivalent of the following network:694

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In the following images you can see the result of the transformation without the Apply Peg Transformation
node and with it:

Using the Apply Peg Transformation you can apply transformation on drawings that are outside the camera
frame and make them appear inside the frame.
If you are using the Apply Image Transformation node to create a drop-down shadow for a character, it will
work correctly so long as the character is not going outside of the camera frame or that the drawing connected
in it is a VECTOR drawing. The reason is the Apply Image Transformation node applies the transformation
once the drawing is rendered, moved by its own set of Pegs, motion paths and quadmap and cropped to thecamera frame size. This crop operation does not occur if the drawing is a vector drawing (*.TVG). Although, assoon as the drawing is passed through an effect node or a bitmap type Composite node, the drawing is turned
into a bitmap image and gets cropped.
So, if you offset a bitmap half inside and half outside the camera frame, the outside part is cropped out and thenmoved by the Apply Image Transformation node. A part of the original drawing is cut. You need to use the695Chapter 3: Nodes / Layers

Apply Peg Transformation node for the transformation to be applied before the image is processed andcropped.

Advanced Apply Peg Transformation
You can use the Apply Peg Transformation's middle port to apply the transformation you connected to thenode after one of the Peg or Quadmap connected above the drawing node.
In the following example, two pegs were added to control the different motions on independent trajectories:l

Peg-Translationl

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When there is no Apply Peg Transformation node, the Peg-Translation is the first trajectory to affect thedrawing node. Then, once the translation is applied, the Scale trajectory affects the drawing node.
When using an Apply Peg Transformation node without using the middle port, the Peg-Rotation connected in
the APT node is applied at the top of everything. The order in which the trajectories are applied to the drawing
node is:1. Peg-Rotation
2. Peg-Translation
3. Peg-Scale
When the Peg-Translation is connected in the Apply Peg Transformation's middle port, the Peg-Rotation isapplied after the Peg-Translation and before the Peg-Scale. This means that the translation is done before therotation instead of the rotation before the translation.
The order in which the trajectories are applied to the drawing node is:
1. Peg-Translation
2. Peg-Rotation
3. Peg-Scale
Use the Apply Peg Transformation editor to rename the node.

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Camera NodeYou can setup the camera position by entering coordinates and values in the Layer Properties view.

Parameter

Description

Enable/Disable

Turns the camera layer on or off.

Change Track Colour

The Change Track Colour button lets you change the colour of the exposed
frames; this helps you to quickly locate a layer in the Timeline view. Click the
Change Track Colour button to open the Select Colour window and choose a newcolour. You can modify the colour for any type of layer, such as group, peg,
drawing, and effects.

Name

Displays the current layer name. You can rename the layer by typing in a new layer
name.

Position

Displays the current position of the camera layer using X-axis (East/West), Y-axis(North/South) and Z-axis (Forward/Backward) coordinates. To reposition yourcamera frame, type in the new values corresponding to the desired position
coordinates. You can also use the up and down arrows to set the value of eachfield.

Angle

Displays the current rotation value. To set a new rotation position, type in a new
angle value. You can also use the up and down arrows to set the new angle value.

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Pivot

Clipping Planes

Displays the current position of the rotation pivot of the camera layer. The camera
will perform a rotation taking the position of the pivot as its angle centre. Bydefault, the pivot is set at the centre of the camera frame. To reposition the pivot
point, enter new X and Y coordinates values in the appropriate field. To see thepivot's position, the Rotate tool must be selected.
You can change the near and far clipping planes of the camera. The near plane is
the point on the camera cone where the camera is located. The far clipping planeis the far end of the camera cone. Nothing outside that range is visible. This isuseful when dealing with 3D elements and 3D sets. For example, the camera canbe looking inside a 3D box or room and you might want the foreground wall to
not obstruct the view of the interior. By default, the near clipping plane is set to 1
field and the far clipping plane is set to 1000 fields.

Override Scene FOV

Enable the FOV field in which you can type in a new field-of-view value.

FOV

Displays the current field-of-view default value. When enabled, you can type in a
new zoom value for your camera frame. You can also use the up and down arrows
to set the new zoom value.
Click on the Create Function button to animate the camera zoom value.

Set Default FOVResets the custom zoom value to its default value.

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OrthoLock Node
When you create a 3D camera move in your scene, notice that layers are treated as flat objects. That is,
animation layers that are supposed to face the camera at all times will look like a flat sheet of rotating paper.

Use the Ortholock layer when mixing flat animation layers with a set built in 3D. Ortholock forces your drawing
layer to always follow the Camera angle. It does not follow its position or zooming level, only the rotation. This
prevents drawings from being distorted by the camera motion.

Connection
The OrthoLock node can be connected as a parent of the drawing or drawings which you want to face thecamera.

Layer Properties
Parameter

Description

Enable/Disable

Allows you to enable or disable the node. When disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top views.

Colour Swatch

Sets the colour of the layer in the Timeline view and of the node in the Node view.

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Parameter

Description

Name

Allows you to enter a name for the node.
The axes on which to rotate the input image to keep facing the camera.
ll

X and Y Axes: The drawing will be rotated on the x and y axes to keep
facing the camera regardless of its position in the 3D space.
X Axis Only: The drawing will be rotated on the x-axis when the camera isrotated in the x-axis. The drawing will keep facing the camera if it moves
to a low or high angle view, but not if it moves around it while staying on
the ground.

Rotation Axisl

Y Axis Only: The drawing will be rotated on the y-axis when the camera isrotated on the y-axis. The drawing will keep facing the camera if it moves
around it while staying on the ground, but not if it moves to a low or highangle view.

The maximum angle at which the drawings can appear to be relative to the camera
angle, on both the x and y axes, in either direction.
Max Angle

For example, at the default setting, 0, the input image will always be facing thecamera. If however you set this parameter to 30°, you can rotate the camera
around the drawing up to 30° in either direction and the drawing will appear inperspective, but past 30°, the drawing will appear to rotate to keep its angle
relative to the camera.

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Peg Node
Find below a description of all the Peg node parameters.

Transformation Tab
Parameter

Description

Enable 3D

Displays additional parameters for working with 3D objects.
3D Path: Use a 3D path to position the element. A 3D path uses a single function
to define the position on the X, Y and Z axes. This function is made of control
points linked by a curvilinear path, making the movement follow a natural curve.
The pace and ease of the movement is determined by a single velocity function.
Separate: Positions the element using separate functions for the X, Y and Z axes.
This allows to control the direction and pace of the movement across all threeaxes separately. Unless ease is applied to the axes, the trajectory of the element
will follow straight lines going between each keyframe.

Position

Path: If the 3D Path option is selected, this field allows you to create or select the
3D Path function used to position the element.
Path (x) Axis: The position of the element on the East-West axis, in fields.
Path (y) Axis: The position of the element on the South-North axis, in fields.
Path (z) Axis: The position of the element in the Back-Front axis, in fields.
Velocity: If the 3D Path option is selected, this function is used to control thepace at which the element moves towards each control point in the 3D Pathfunction, on all three axes simultaneously.
Locked: Uses a single scale parameter to scale the element, preserving its
proportions.
Separate: Uses a separate parameter to scale the element on the X and Y axis, aswell as on the Y axis if the element is 3D-enabled, allowing to stretch or squash
the element.
(x) Axis: The horizontal scale factor. The default value is 1.

Scale(y) Axis: The vertical scale factor. The default value is 1.
(z) Axis: The depth scale factor for 3D-enabled elements. The default value is 1.
Scale in Fields: With this option enabled, the scale factor is based on the amountof fields in the scene. For example, to shrink one of the dimensions of an element
to half its original size, the scale factor would normally bet set to 0.5. If thisoption is enabled and the amount of fields in the scene is 12, then the scale factor
to shrink the element by half would be 6.

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Ignore Parent Scaling: When this option is enabled, any scaling value applied to aparent layer is ignored in the current layer. This can be handy in cut-out rigs when
you need to scale an arm without affecting the forearm.

RotationAngle z: Lets you type in a degree value for the rotation angle. Note that you canenter values greater than 360 and -360 degrees. If you enter 720, the object will
rotate twice.

Skew

Skew: Lets you type in a degree value between -90 to 90 for the skew angle.

Pivot(x) Axis: The horizontal position of the pivot point of the element relative to thepivot point of the drawing, in fields.
(y) Axis: The vertical position of the pivot point of the element relative to the pivot
point of the drawing, in fields.

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Shake NodeT-H16NEW-004-001
The Shake node allows you to generate a fully animated, fully customizable shake animation, which can be used
to create camera shakes or to make an element in your scene shake.
The Shake node is a more advanced version of the Quake node. Among many enhancements, you can makeeach shaking motion interpolate over several frames by reducing its Frequency parameter, and you can makeeach movement hold for 2 or more frames, if needed, by increasing its Step parameter. Additionally, you canconfigure each big shaking motion to have several smaller shaking motion across it, to make a more erraticlooking shaking movement.

Connection
Just like a peg, you can connect the Shake node as a parent of the element you want it to move. Hence, if you
want to shake an element in your scene, connect the Shake node as a parent of that element.

To create a Camera shake, connect the Shake node as a parent of the scene's Camera node.

Like pegs, Shake nodes can be connected in chain, either with other Shake nodes or with other Move-type
nodes, such as Peg nodes.

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Layer Properties

Parameter

Description

Name

Allows you to change the name given to the node.

Frequency

Octaves

The speed of the big vibrations. This field takes a decimal value between 0 and 1.
At 1, each vibration only takes a single frame. At 0.5, each vibration takes 2
frames, etc.
When set to 0, the Shake node produces no vibration. You can animate thisparameter to control when the Shake node has an effect and when it doesn't, as
well as to increase or decrease the speed of the shake.
With the Octave parameter, you can add smaller vibrations to the big vibrations,making for a more erratic, forceful shake. This parameters takes an integer, which
determines the amount of smaller vibrations to add to each big vibration.

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Parameter

Description

Multiplier

The strength of the smaller vibrations, relative to the big vibrations. This is set to
0.5 by default, which means smaller vibrations will have, at most, half theamplitude of big vibrations.
This parameter determines the pattern of random motions it uses to simulate
shaking. There is no wrong value for this parameter. Entering any value will
simply make it uses a different random pattern.

Random Seed

If you have two or more Shake nodes in your scene and they have the same
Random Seed value, their shaking will be similar, if not exactly the same, as it will
be based on the same pattern of random motions. Hence, you might need toassign different Random Seed values to all of your Shake nodes to make sure theirmotion pattern feel different.
You should also assign a different Random Seed value to each Shake node if they
make a shaking motion that goes on throughout several scenes so that it doesn'tlook like the motion pattern is repeating itself.
You can also change the value of this parameter just to make the Shake node use
a different shake pattern, and see if you can find a pattern that fits yourexpectations better.

Amplitude
Position X

The maximum distance, in fields, to shake left or right.

Position Y

The maximum distance, in fields, to shake up or down.

Position Z

The maximum distance, in fields, to shake closer to or further from the camera.

Rotation X

The maximum angle, in degrees, to shake around the horizontal axis.

Rotation Y

The maximum angle, in degrees, to shake around the vertical axis.

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Parameter

Description

Rotation Z

The maximum angle, in degrees, to shake clockwise or counterclockwise.

Pivot

Pivot X

The horizontal offset of the pivot point, in fields, relative to its default horizontal
position.

Pivot YThe vertical offset of the pivot point, in fields, relative to its default vertical
position.
The offset of the pivot point on the z-axis, in fields, relative to its default positionon the z-axis.

NOTES
l

Pivot Zl

The position of the pivot is used for rotations in the shaking
motions.
The pivot of the Shake node is positioned in the centre by
default. However, if an element connected under it has the Use
Embedded Pivots property set to Apply Embedded Pivot
on Parent Peg, the default pivot position of the Shake node willbe the same as the pivot of that element.

Steps

Steps

The amount of frames to hold each movement. By default, this is set to 1, whichmeans the Shake node will move each frame. You can set this to 2 or 3 if you
animate on twos or threes, so that the motions of the Shake node match the paceof your animation.

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Transform-Loop Node
The Transform-Loop node allows you to automatically loop a transformation applied by a peg onto its element,so that you do not have to copy and paste this animation over and over again throughout your scene. This isespecially useful if you need to repeat the pan animation of a looping background.
The Transform-Loop node will take the animation that is fed to it by its parent node, for a given frame range,
and repeat this animation onto its child node throughout the entire scene. It can automatically detect the rangeof frames to repeat, or you can manually set this range. It can loop the animation in three ways:l

Repeat will simply repeat the animation as is, going from the start all the way to the end, and instantly
playing it again from the start.
When the Transform-Loop node repeats the animation, it skips the first frame of the animation. This isuseful when using looping backgrounds. Typically, with a looping background, the first frame of thelooping animation looks exactly like the last frame of the looping animation. Hence, skipping the first
frame avoids having two frames that look exactly the same when the animation loops, making a smooth
infinite loop.

lPing-Pong plays the animation, then plays it again backward, then forward again, etc.

l

Repeat and Offset repeats the transformation, but also accumulates the effect of the transformation.
Hence, if the animation is, for example, of a ball bouncing once towards the right, then the TransformLoop node will make it bounce further and further towards the right until it exits the camera field.

Connection
The Transform-Loop node repeats the transformations that are sent to it from its top (input) port, and outputs
the looped transformation through its bottom (output) port.

The Transform-Loop node repeats the transformations from all the nodes connected directly or indirectly to its
top (input) port, not just the one connected right above it.

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Layer Properties

Parameter

Description

Name

Allows you to change the name given to the node.
Automatically sets the range of the animation to loop based on the animation inits parent peg. It will start the range at the first keyframe in the parent peg, andend it at the last keyframe in the parent peg.

NOTE
Automatic Range Detection

Range

If there are several peg nodes connected in a chain to the top port of theTransform-Loop node, it will loop the animation of all these Peg nodes
combined. However, it will only use the keyframes in the node right above
it to determine the range of animation to loop. In this case, you have todisable Automatic Range Detection and set the range manually to makesure the Transform-Loop node repeats all of the animation you want it torepeat.

The range of animation frames to loop.

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Parameter

DescriptionllStart: The number of the first frame of the animation that the TransformLoop node should loop.
End: The number of the last frame of the animation that the TransformLoop node should loop.

The way the Transform-Loop node should loop the animation:lRepeat will simply repeat the animation as is, going from the start all theway to the end, and instantly playing it again from the start.
When the Transform-Loop node repeats the animation, it skips the first
frame of the animation. This is useful when using looping
backgrounds. Typically, with a looping background, the first frame of thelooping animation looks exactly like the last frame of the looping
animation. Hence, skipping the first frame avoids having two frames thatlook exactly the same when the animation loops, making a smooth infinite
loop.

Loop Typell

Ping-Pong plays the animation, then plays it again backward, thenforward again, etc.
Repeat and Offset repeats the transformation, but also accumulates theeffect of the transformation. Hence, if the animation is, for example, of aball bouncing once towards the right, then the Transform-Loop node will
make it bounce further and further towards the right until it exits thecamera field.

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Quadmap Node
T-COMP2-010-001
The Quadmap transformation layer lets you deform the shape of an element. For example, you can use it tocreate a drop-shadow effect on an element.

You can edit the Quadmap visually in the Camera view.

How to edit the Quadmap in the Camera view
1. In the Timeline view, click the Add Layerbutton and select Quadmap.

2. Connect the drawing you want to deformto the Quadmap.
‣

In the Node view, add a Quadmap node and connect to the drawing element node that you
want the effect to act on.

3. In the Tools toolbar, disable the Animate mode to change the value for the Quadmap over the entire
duration of the element.
4. In the Timeline view, click on the Quadmap layer to select it.
5. From the top menu, select View > Show > Control or pressShift + F11.

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The quadmap handles appear around the element in the window. There is also a pivot point at thecentre of the quadmap frame that you can reposition.
6. In the Camera view window, use the Transform tool to move the points on the quadmap. Shift +click to select multiple points.

TIP
The position of the points can be animated. To do this, open the Quadmap node layer properties
and create functions for each of the coordinates.

Properties

Parameter

Description

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Name

Allows you to change the name given to the node.

2D PathChanges the X and Y values simultaneously and control the velocity of thechange.

Separate

Changes the X and Y values separately. Each one can be attached to separate
function curves.

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Quake NodeThe Quake node allows you to to create a very common camera move, the camera shake. Using the Quake
node, you can generate an automated quake instead of manually entering random keyframes. This way, you
can simulate the shock of something heavy falling on the ground, like an earthquake or a strong vibration.

How to use the Quake node to create a camera shake
1. From the Node Library view, drag a Quake node to the Node view.
2. If you do not have a Camera node already, drag one from the Node Library view to the Node view.
3. Connect the Quake node to the Camera node.

4. Click on the Quake node's yellow square properties button to open the Quake properties.
5. In the Quake properties window, adjust the properties.

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Layer Properties

Parameter

Description

Name

Allows you to change the name given to the node.

Hold Time

Allows you to enter the number of frames you want one of the quake vibrations(position) to hold for. Most camera shakes are done in a single frame (1) or double
frame (2).

Interpolate

An interpolation is generated between the random values. Instead of jumping to
the next position, it will slowly progress forwards to the next position. It is thesame principle as stop-motion keyframes and motion keyframes.

Move Amplitude

This is the strength of the quake. The higher the value, the stronger the quake. If
the value is set to 0, there will be no motion. To have the motion start and stop at
a specific frame during the scene, you can create a function curve and animate theamplitude over time. Simply click the Function

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function, then click on it again to open the Function editor.
Apply on X, Y, Z

Applies the quake to the X, Y and Z-axis.

Rotation Amplitude

When the value is higher than 0, a rotating quake is applied. The higher the value,
the stronger the quake.
This parameter determines the pattern of random motions it uses to simulate
shaking. There is no wrong value for this parameter. Entering any value will
simply make it uses a different random pattern.

Random Seed

If you have two or more Quake nodes in your scene and they have the same
Random Seed value, their shaking will be similar, if not exactly the same, as it will
be based on the same pattern of random motions. Hence, you might need toassign different Random Seed values to all of your Quake nodes to make suretheir motion pattern feel different.
You should also assign a different Random Seed value to each Quake node if they
make a shaking motion that goes on throughout several scenes so that it doesn'tlook like the motion pattern is repeating itself.
You can also change the value of this parameter just to make the Quake node use
a different shake pattern, and see if you can find a pattern that fits yourexpectations better.

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Output Nodes
The nodes found in the Output category are used to control the image outputted in the various views as well as
during the rendering process.
Crop Node718

Display Node721

Multi-Layer Write Node722

Scale Output Node726

Write Node

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Crop NodeTo output two files with different aspect ratios, such as 16:9 and 4:3, you can use the Crop node. This node isused to crop the final image in order to discard excess information without distorting the render.
If you want to export your scene in a resolution that is smaller than your scene's resolution and which does nothave the same aspect ratio, you should use a Scale-Output node to shrink the output, but preserve the scene's
proportions, then a Crop node to adjust the output to fit the desired aspect ratio.

Find below the Crop node properties.

Cropping Tab

Parameter

Description

X Resolution

This is the X (width) value in pixel of the resolution to crop the final image to.

Y Resolution

This is the Y (height) value in pixel of the resolution to crop the final image to.

X OffsetThis is the X (horizontal) offset value in pixel to move the crop box to in the final
image.

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Y OffsetThis is the Y (vertical) offset value in pixel to move the crop box to in the final
image.

Draw Frame

Enable the Draw Frame option if, instead of cropping the images, you prefer tohave Harmony draw a frame over the rendered scene.

Red, Green, Blue, Alpha

These are the RGBA values used for the frame colour if you enabled the Draw
Frame option.

Colour Swatch

Displays the selected colour for the frame to draw. You can click on the Colour
Swatch to open the Colour Picker dialog and select a colour for the frame.

Enabling Tab
Using the options in the Enabling tab, you can set up some Crop nodes to only be enabled if the scene isrendered at a specific resolution. This is mostly useful on Harmony Server, as Harmony Server allows you selectthe resolution at which to render a scene when sending a scene for rendering by the Harmony database's
render farm.
This can be useful if you want your scene to render differently depending on the resolution in which you render
it. For example, you could have a storyboard thumbnail in a small corner of your scene, and a crop node thatconnects between your scene's main Composite node and your Write node. Then, by setting up this Crop node
to only be enabled when the scene is rendered at the storyboard thumbnail's resolution, you can decide
whether your scene will render its animation or its storyboard by deciding whether to render at the scene's
resolution or the storyboard thumbnail's resolution.
This option allows you to filter with either resolution presets, or by specifying the width and height of thechosen resolution in pixels. You can hence create custom resolution presets named after the Crop node's
purpose, to make it easier to choose the resolution when rendering a scene.

Parameter

Description

Always Enabled

Makes this Crop node render every time the scene is rendered. This is thedefault option.

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Enabled when Resolution Name is

Filter Name

Makes this Crop node render only when the scene is rendered at the
specified resolution preset.
Select the resolution preset at which to render the scene to activate thisCrop node.

Enabled when Resolution isMake this Crop node render only when the scene is rendered at theresolution with the specified width and height, in pixels.

X Resolution

The width (in pixels) of the resolution at which to render the scene toactivate this Crop node.

Y Resolution

The height (in pixels) of the resolution at which to render the scene toactivate this Crop node.

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Display NodeThe Display node is an important node; it is used by the export and views to display your scene, primarily the
Camera and Timeline views. By default, a scene's node system always has a Display node which can be used toshow your entire scene, a single node or a group of nodes through a Composite or Group node. You might use it
to see one single character as you animate it, debug your node system as you create complex effects or export
your complete scene or a portion of it.

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Multi-Layer Write Node
The Multi-Layer Write node allows you to export Photoshop Document (.psd) or OpenEXR (.exr) files withmultiple layers inside them. It works just like a Write node, except that it takes several input images instead ofjust one, and each input image is used to generate one of the layers of the image files it outputs whenrendering.
NOTE
To learn more about the Write node, see Write Node on page 728.

Connection
Like the Write node, the Multi-Layer Write node only takes input images. Its output is stored in image files
when your scene is rendered. However, contrary to the Write node, the Multi-Layer Write node takes several
input images.

Each image connected to the Multi-Layer Write node will be used to make one of the layers of the image files
the node creates. The image connected to the rightmost port will be the bottom layer, and the image
connected to the leftmost port will be the top layer.

Layer Properties
Inputs Tab
The Inputs tab displays a list of the elements connected to the node's input ports. The input ports are listedfrom right to left. The layers listed in this list are ordered from the bottommost layer to the topmost
layer. Hence, the layer appearing at the top of the list will be the bottom layer.

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The layers will be named in the output file as they appear in the Name column. By default, each layer is named
after their respective input node. If you prefer, you can customize the name of each layer. Simply double-click ona layer's name to be prompted to type a new name.
A coloured square appears to the left of each name to indicate whether the name is based on the node or is acustom name. If the square is yellow, the name is based on the node. If it is green, it is a custom name. Once alayer name has been customized, it will no longer automatically update based on the connected node's name.

Output Tab
The output tab can be used to configure the path, file naming pattern and file type of images exported by theMulti-Layer Write node.

Parameter

Description

Drawing Folder

The path to the folder in which to save the rendered frames. This path can beabsolute or relative to the scene's folder. For example, the default path for
rendered frames is frames, which means the images are saved in the frames

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Parameter

Description

subfolder of the scene folder. If you want to select an absolute path, you can clickon the Choose button at the right of the text field and select the folder in whichyour scenes should export their frames. You can also click on the Default button
to set the export path to the default value.

Drawing Filename

The prefix for the file name of each exported frame. Frames will be named withthis value, followed by the frame number and their image type extension. It is
recommended to leave the hyphen (-) at the end of the prefix to separate theprefix from the frame number.

Drawing
Start

Select the starting number for the image sequence.

Leading Zeros

Select the number of digits you want to see after the sequence prefix.
Allows you to select the image type in which to export the frames. You canchoose between the following file types:lDrawing Typell

PSD: A multi-layer Photoshop Document (.psd) file.
EXR: A multi-layer OpenEXR (.exr) file, compressed in ZIPS format, which
compresses the image in blocks of 16 scanlines.
EXR_ZIP_1LINE: A multi-layer OpenEXR (.exr) file, compressed in ZIP1
format, which compresses the image in blocks of 1 scanline.

Enabling Tab
You can create several Write nodes for a single scene and, by default, when a scene is rendered, all of its Writenodes will perform their render. However, using the options in the Enabling tab, you can set up some Writenodes to only perform their render if the scene is rendered at a specific resolution. This is mostly usefulon Harmony Server, as Harmony Server allows you select the resolution at which to render a scene whensending a scene for rendering by the Harmony database's render farm.
A good example of how this can be useful is if your scene has storyboard thumbnails in the corner, and a Write
node connected to a composite that crops the picture to only include the storyboard thumbnail, so that yourscene can export both the final animation and the animated storyboard when rendered. You can set up yourscene's main Write node to only work when exporting the scene at the scene's original resolution, and thestoryboard thumbnails Write node to only work when exporting at the desired resolution for an animatedstoryboard.

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This option allows you to filter with either resolution presets, or by specifying the width and height of thechosen resolution in pixels. You can hence create custom resolution presets named after their Write node's
purpose, to make it easier to choose the resolution when rendering a scene.

Parameter

Description

Always Enabled

Makes this Write node render every time the scene is rendered. This is the default
option.

Enabled when
Resolution Name isMakes this Write node render only when the scene is rendered at the specified
resolution preset.

Filter Name
Enabled when
Resolution is

Select the resolution preset at which to render the scene to activate this Write node.
Make this Write node render only when the scene is rendered at the resolution with thespecified width and height, in pixels.

X Resolution

The width (in pixels) of the resolution at which to render the scene to activate this Writenode.

Y Resolution

The height (in pixels) of the resolution at which to render the scene to activate
this Write node.

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Scale Output NodeOnce your Write nodes are connected, you need some Scale-Output nodes to change the resolution output of
the Write node without changing the scene settings. For example, if you export in a high resolution and a low
resolution, you need one Scale-Output node.
NOTE
If you use a Scale-Output node to scale up the image, it will look pixelated. If you want to export ascene in multiple resolutions, you should set your scene's resolution to be the highest resolution inwhich you want to render, and use Scale-Output nodes to scale down the output.

Find below the Scale-Output node properties.

Parameter

Description

Resolution Name

Select one of the existing resolution preset from the list to indicate the resolution
you want the finale images to be scaled at. Always make sure the selected
resolution is smaller than the scene setting one.

Custom Resolution

Enable this option to set a resolution that is not available in the Resolution preset
list.

Width

X (horizontal) value in pixels of the resolution to scale the images down to.

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HeightY (vertical) value in pixels of the resolution to scale the images down to.

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Write Node
The Write node is the node that is used by Harmony to render a scene. When rendering a scene, Harmony
renders the image information sent to the Write node, and outputs it using the parameters in the Write node's
layer properties.

The Node view allows you to branch out and merge elements of your scene in specific ways. By default, a scene
has a Write node connected to its main composite, meaning all of the scene's elements are rendered. However,a Write node can be connected to any node in your scene that outputs image information, even a drawing oran effect. A scene's renders are based on the image information that is sent to its Write node, and nothing else.
Hence, you can control exactly what gets rendered, which is especially useful if you want to have elements inyour scene that are only visible in the Camera view, such as a storyboard overlay or a camera guide, without
having them appear in the renders.
You can also set up a scene to create multiple renders by connecting several Write nodes to it. Your Writenodes can be connected to different elements of your scene, which allows you to create separate renders fordifferent parts of your Node view every time your scene is rendered. For example, a scene can have a Write
node for rendering the scene without any annotations, so that render can be used in post production, andanother one for rendering the scene with its storyboard and annotations for reviewing. A scene can also havemultiple Write Nodes connected to the same composite, which can allow you to render the same image in
multiple file formats or locations at the same time.
Each Write node can be configured to export individual frames as image files, a video file, or both
simultaneously.
NOTE
For a list of the available image formats for the Drawing Type parameter, see Image Formats for
Rendering Write Nodes on page 733.

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Layer Properties
Output Tab
The output tab can be used to configure whether the Write node creates individual frame images, a movie file,or both. Further more, you can configure the path, file naming pattern and file type of frames exported by the
Write node, as well as the path, file name and encoding options of the movie file created by the Write node.

Parameter

Description
The path to the folder in which to save the rendered frames. This path can beabsolute or relative to the scene's folder. For example, the default path for

Drawing Folder

rendered frames is frames, which means the images are saved in the frames
subfolder of the scene folder. If you want to select an absolute path, you can clickon the Choose button at the right of the text field and select the folder in whichyour scenes should export their frames. You can also click on the Default button
to set the export path to the default value.

Movie Folder

Only available when the Movie option is enabled. The folder in which to export
the movie file. You can click Choose to the right of the text field to browse for the
directory where you want the movie to be exported, or click Default to set theexport path to the default value. You can also type a path relative to the scene's
directory. For example, the default value is frames, which exports the movie tothe scene's frames subdirectory.

Drawing Filename

The prefix for the file name of each exported frame. Frames will be named withthis value, followed by the frame number and their image type extension. It is
recommended to leave the hyphen (-) at the end of the prefix to separate theprefix from the frame number.

Movie Filename

Only available when the Movie option is enabled. The name of the movie file toexport. Do not enter the file's extension.

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Drawing

Select this option to create an image sequence.

Start

Select the starting number for the image sequence.

Leading Zeros

Select the number of digits you want to see after the sequence prefix.

Drawing TypeThe image format in which the rendered frames will be saved.
Select this option to create a QuickTime move. When enabled, the Movie Folder
and the Movie Filename fields appear among the Drawing Folder and Drawing
Filename fields.

Movie

The drop down list to the right of the Movie option. Allows you to select one of
the following formats:llQuick Time Movie (*.mov): Available on Windows, macOS and
GNU/Linux.
Windows Media Video (*.wmv): Available on Windows only.

Video Format

NOTE
On Windows and macOS, Apple QuickTime must be installed in order toexport QuickTime movies. On GNU/Linux, Harmony uses a more limited,
open source QuickTime-compatible library which does not require
additional software.

Click the Customize button to open the movie settings dialog box and change thevideo and audio compression settings for the movie to export.
lMovie Optionsl

If the selected export format is QuickTime Movie (*.mov), this will open the
QuickTime movie settings dialog box—see QuickTime Movie Settings
Dialog Box.
If the selected export format is Windows Media Video (*.mov), this will
open the Windows Media Video settings dialog box—see Windows
Media Video Settings Dialog Box.

This option appears on Windows and macOS only.

Video Options

Click the Customize button to open the QuickTime video settings dialog box and730

Harmony 16.0 Premium Reference Guidechange the video compression settings for the movie to export—see
OpenQuickTime Video Options Dialog Box.
This option appears on GNU/Linux only.

Sound Option

Click the Customize button to open the QuickTime video settings dialog box andchange the audio compression settings for the movie to export—see
OpenQuickTime Sound Options Dialog Box.
This option appears on GNU/Linux only.

Enabling Tab
You can create several Write nodes for a single scene and, by default, when a scene is rendered, all of its Writenodes will perform their render. However, using the options in the Enabling tab, you can set up some Writenodes to only perform their render if the scene is rendered at a specific resolution. This is mostly usefulon Harmony Server, as Harmony Server allows you select the resolution at which to render a scene whensending a scene for rendering by the Harmony database's render farm.
A good example of how this can be useful is if your scene has storyboard thumbnails in the corner, and a Write
node connected to a composite that crops the picture to only include the storyboard thumbnail, so that yourscene can export both the final animation and the animated storyboard when rendered. You can set up yourscene's main Write node to only work when exporting the scene at the scene's original resolution, and thestoryboard thumbnails Write node to only work when exporting at the desired resolution for an animatedstoryboard.
This option allows you to filter with either resolution presets, or by specifying the width and height of thechosen resolution in pixels. You can hence create custom resolution presets named after their Write node's
purpose, to make it easier to choose the resolution when rendering a scene.

Parameter

Description

Always Enabled

Makes this Write node render every time the scene is rendered. This is the default
option.

Enabled when
Resolution Name isMakes this Write node render only when the scene is rendered at the specified
resolution preset.

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Filter Name
Enabled when
Resolution is

X Resolution

Y Resolution

Select the resolution preset at which to render the scene to activate this Write node.
Make this Write node render only when the scene is rendered at the resolution with thespecified width and height, in pixels.
The width (in pixels) of the resolution at which to render the scene to activate this Write
node.
The height (in pixels) of the resolution at which to render the scene to activate
this Write node.

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Image Formats for Rendering Write Nodes
To export an image sequence, you must to adjust a few settings in the Write node’s properties. The mostimportant one is the Drawing Type parameter, which determines the image format in which individual frames
are exported.

Most available formats are named after their file extension, but some also contain suffixes indicating how
they're encoded. For example, while PNG is exported with three colour channels—red, green and blue—andencoded at 8 bits per channel by default, PNG4DP is a variant of PNG with four channels—red, green, blue
and alpha (transparency)—as well as double precision, which means each colour channel is encoded in 16 bits
instead of 8 bits.
Here is a list of all the image formats supported for rendering with Write nodes in Harmony
FormatSpecification

Description
Toon Boom Vector Graphic (*.tvg)
Toon Boom's proprietary format for storing vector drawings.

TVG

NOTE
To export TVG files, your Write node must be connected to avector drawing layer or to a vector composite node. The
exported TVG files will contain the vector and bitmap
drawing information, but will ignore effects anddeformations.

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TGA

Full colour

TGA1

Greyscale

TGA3

Full colour

TGA4

Full colour withtransparency

SGI

Full colour / 8 bits perchannel

SGI1

Greyscale / 8 bits perchannel

SGI3

Full colour / 8 bits perchannel

SGI4

Full colour withtransparency / 8 bits
per channel

SGIDP

Full colour / 16 bits perchannelSGIDP3Full colour / 16 bits perchannelSGIDP4

Full colour withtransparency / 16 bits
per channel

PSD

Full colour / 8 bits perchannelTruevision TGA/TARGA (*.tga)
A standard image format with lossless compression and support fortransparency.
TGA files use more disk space than PNG files, but rendering in TGA isfaster.

Silicon Graphics Image (*.sgi)
A highly capable format with lossless compression as well as support
for double precision and transparency.

Photoshop Document (*.psd)
PSD1

PSD3

Greyscale / 8 bits perchannel

An Adobe Photoshop proprietary format used for image editing.
PSD files exported by Harmony contain a single background layer
with the rasterized image.

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PSD4

Full colour withtransparency / 8 bits
per channel

PSDDP

Full colour / 16 bits perchannel

PSDDP1Greyscale / 16 bits perchannel

PSDDP3Full colour / 16 bits perchannel

PSDDP4

Full colour withtransparency / 16 bits
per channel
Y'UV frame (*.yuv)
A legacy format optimized for NTSC television. The image informationis encoded in the Y'UV color space, which means Luma (Y') and
Chrominance (UV).

YUV

NOTE
YUV images must be exported in NTSC resolution (720 x 540),
or they will not be legible.

PAL frame (*.pal)
A legacy format optimized for PAL television.
PAL

NOTE
PAL images must be exported in PAL resolution (768 x 576),
or they will not be legible.

Toon Boom Scan Files (*.scan)
A Toon Boom proprietary format used by Scan to store scanned
image information along with its registration (peg) information. SCAN
files are in gresycale.

SCAN

PNG

Full colour / 8 bits per

Portable Network Graphics (*.png)

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channel

PNG4

Full colour withtransparency / 8 bits
per channel

PNGDP

Full colour / 16 bits perchannelPNGDP3Full colour / 16 bits perchannelPNGDP4

Full colour withtransparency / 16 bits
per channel

A highly portable image format with high lossless compression as
well as support for transparency and double-precision. PNG is
typically used for Web applications, graphical user interfaces andimage sharing.
Rendering in PNG takes more time than rendering in TGA or in
uncompressed image formats, but saves a lot of disk space.

Jpeg (*.jpg)
A very compact image format with lossy compression. It is typicallyused for Web pages and photo sharing. Because it does not preserve
image quality, it is recommended to never render in Jpeg format
unless you are exporting stills for a Web page or are making quick

JPG

render tests.
BMP

Full colour

BMP4

Full colour withtransparency

OPT

Full colour

OPT1

Greyscale

OPT3

Full colour

OPT4

Full colour withtransparency

Bitmap (*.bmp)
A standard uncompressed image format commonly used on Microsoft
operating systems.

Toon Boom OPT image (*.opt)
A legacy Toon Boom proprietary format that stores raw image datawith lossless compression.

Toon Boom VAR image (*.var)
VAR

A legacy Toon Boom proprietary format that stores raw image datawith lossless compression in greyscale.

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Tagged Image File Format (*.tiff)
An image format with many compression and encoding settings. It is
often used for image exchange in visual arts and publishing.

TIF

TIFF images exported by Harmony are uncompressed, encoded on a
per-pixel (interleaved) basis in PC byte order.

DPX

8 bits per channel / Fullcolor / RGB channel
order

DPX3_88 bits per channel / Fullcolor / RGB channel
order

DPX3_1010 bits per channel /Full color / RGB
channel order

DPX3_12

12 bits per channel /Full color / RGB
channel order

DPX3_16

16 bits per channel/ Full color / RGB
channel order

DPX3_10_
INVERTED_CHANNELS

10 bits per channel /Full color / BGR
channel order

DPX3_12_
INVERTED_CHANNELS

12 bits per channel /Full color / BGR
channel order

DPX3_16_
INVERTED_CHANNELS

16 bits per channel /Full color / BGR
channel order

Digital Picture Exchange (*.dpx)
A professional photo format that supports various different
approaches to storing colour information, which can be used forstoring, exchanging and editing raw information recorded by cameras.
It is commonly used in film production.

OpenEXR (*.exr)
EXR

A highly capable deep image format. Each pixel in an EXR file isexported with its Z-depth information. Additionally, if a pixel is semi-

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transparent, the color and depth information of pixels further back isstored along with it. If your scene has multiplane or 3D elements, thisformat can be used for compositing your animation with othergraphical elements in 3D animation software.
Portable Document File (*.pdf)

PDF

Typically, PDF files are used to store, archive, share and print
documents. However, Harmony uses the PDF format for its capability
to store bitmap images and vector graphics.
If the write node is connected to a vector drawing layer or to a vector
composite, the exported PDF files will contain the image as a vector
graphic. It will ignore bitmap layers, effects and deformations.
Otherwise, the PDF files will contain the rendered image as a bitmap.
Deep Texture (*.dtex)

DTEX

A commonly used deep image format. Each pixel in an DTEX file isexported with its Z-depth information. Additionally, if a pixel is semitransparent, the color and depth information of pixels further back isstored along with it. If your scene has multiplane or 3D elements, thisformat can be used for compositing your animation with othergraphical elements in 3D animation software.

NOTE
Exporting in Deep Texture requires RenderMan to beinstalled on the machine and the path to RenderMan properly
configured in Harmony. For more information, see the Setting

3D Renderer Paths topic of the User Guide.

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Particle Nodes
You can access the Particle effects through the Node Library view. The Particle category contains all the nodes
needed to build various Particle effect systems.

This section explains each node's purpose, its layer properties and how to adjust these properties.
3D Region

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Baker

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Baker Composite

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Bounce747

Explosion

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Gravity

751

Image Fracture

753

Kill

759

Move Particles

761

Orbit

763

Planar Region

766

Random769

Region Composite

770

Repulse771

Rotation Velocity

772

Sink

775

Size

776

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Sprite Emitter

778

System Composite

788

Velocity

789

Visualizer

792

Vortex794

Wind-Friction

796

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3D Region

The 3D Region effect lets you define the 3D region, which can take many forms, such as a sphere, cone,
cylinder or box. The 3D Region node acts in contrast to the Planer Region node, which generates and emits
particles from a 2D plane.
You can connect a 3D Region to a Sprite-Emitter to define the region from which particles are generated. It
could also be connected to a Bounce node to define a region against which particles bounce. If connected to a
Sink node, it will define a region where the particles will disappear.

How to preview the 3D Region
1. From the top menu, select View > Show > Control or press Shift + F11 (Windows/Linux) or ⌘ +F11 (macOS).

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3D Region Properties
Parameter

Description

Name

Allows you to change the name given to the node.
Choose a shape for the 3D Region by clicking on the Type drop-down menu andselecting either Box, Cylinder, Cones, Sphere or Image.

Shape

Size

If you select Image, you must connect the node of a vector drawing or avectorized bitmap image to the left port (blue node) of the 3D Region node. The
particles will then be emitted from that image' shape. Don't forget that you canrotate your vector drawing in 3D space by enabling the 3D option in its Layer
Properties.
Enter different values into the Width, Height and Depth fields to change thedimensions of the 3D Region's selected shape. Depending on the shape selected,
some fields may be greyed-out if they are not applicable. You can also modify theshape with the Transform Tool by grabbing the control handles (turquoise
squares) in the Camera or Perspective views. You can also change the dimensionsof the region over time by click on the function button at the end of each field.
Enter different values in the Max or Min fields to change the inner or outer radius

Radiusof applicable shapes, such as a cylinder, cone or sphere. You can also change theradii by grabbing the control handles (turquoise squares) in the Camera or
Perspective views. The radii of the region can be changed over time by clicking
the function button at the end of each field.

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Baker

The Baker effect, also known as Particle-Baker, lets you make decisions about the particle system's position,
angle, number, etc. in the same way that a baker would make decisions about the ingredients that go into
baking a cake. The Baker performs the particle simulation, combining all the ingredients specified to get the
final result. The Baker must always be connected to the Particle-Visualizer.

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Particle Baker Properties
Parameter

Description

Name

Allows you to change the name given to the node.

Seed

Allows you to apply a random effect to the particle system. There may be times
when you want to copy the particle system to two different locations on yourscreen. You can take the out-port of the Particle System Composite node, andplug this into two separate Bakers and Visualizers. Then you could move one
system over by attaching a peg into the left side of one Visualizer. This makes thetwo systems look exactly the same. Add a random Seed to make them lookdifferent.

Simulation Quality

Defines how many simulation steps per frame are performed. The lowest quality
creates one step per frame. Raising the quality will divide the simulation time andcreate two or more steps of simulation for each frame. This increases thecomputation time, but also increases the quality of the result.

Number of Pre-roll Frames

Allows you to select a start position in the particle effect sequence, other than thestart (generation) of the sequence. This allows you to start the particle effect partway through its cycle, even if it starts on frame 1 of your project. An example ofwhen this parameter might come in handy is when you want it to be alreadyraining at the start of your scene. If you don't change the number of Pre-roll
Frames, it will always start to rain at the beginning of the scene.

Maximum Number ofParticles

Lets you put a limit on the number of particles that will be created; particles willstop being generated once this number is reached.

Age Particles

Tracks how long a particle has existed in its cycle from the time of its inception.
Knowing a particles "age" means you can tack other parameters onto its life span,such as having the particle start to disappear or change colour at a certain

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time.age.

Move Position

Allows the particles to move position, otherwise the particles cannot flow in a
specified direction. This option also exists in the Move Particles node. You do notalways need a Move Particles node; this is why this option exists in the Baker.
This option is also useful when your Move Particles node is cut off by a sink—see
Sink on page 775.
Allow particles to flow from different angles. This option also exists in the Move

Move Angle

Particles node. You do not always need a Move Particles node; this is why thisoption exists in the Baker. This option is also useful for when your Move Particles
node is cut off by a sink—see Sink on page 775.

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Baker Composite

The Baker Composite effect is used to composite more than one Particle-Baker, as well as any other elementsthat need to be combined before they pass through the Particle Visualizer.

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BounceThe Bounce effect lets you to make particles bounce off a surface with realistic physical modelling. This node
should have a region connected to it, and that region will act as a bounce plane so when any particle hits it, it
will bounce off at the correct angle.

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Bounce Properties
Parameter

Description

Name

Allows you to change the name given to the node.

Trigger

An on/off switch using binary code. 1 = on, 0 = off.
Enter a value in this field to increase the amount of friction each particle

Frictionexperiences as it makes contact with the planar surface. A positive value creates
more friction and slows the particle down. A negative value lessens the friction
and makes the surface appear more slippery.

Resilience

Increases or decreases the bounciness of the particle. A value of zero causes theparticle to hit the planar surface once and slide off any downward facing angle. A
positive value, even by decimal increments, causes the particle to become bouncy.
A negative value deadens the effect, the same way a lack of Region would.

Cutoff Speed

Increasing this value widens the bounce arc. If the connected Planar Region iscompletely flat, a value of zero will cause the particle to bounce up and down inplace. A tilted plane in the direction of the bounce will also widen the arc.

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Explosion

The Explosion effect lets you create an explosion. As it is an Action node, it should be connected to the Particle
System Composite after the Sprite Emitter. As the explosion occurs, the particles will burst rapidly away fromthe centre of the explosion (the centre of the defined Region), then gradually slow down.

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Explosion Properties
Parameter

Description

Name

Allows you to change the name given to the node.

Trigger

An on/off switch using binary code. 1 = on, 0 = off.
Use the X, Y and Z fields to enter different position values to move the particle

Coordinates

system around in 3D space. You can also connect a Peg node to the Explosion to
manipulate its position with the Transform or Move tool.

RadiusDefines the surface of an invisible sphere. As the explosion occurs, the exploded
particles inside the boundaries of this sphere will be effected by the force of the
explosion, while the particles that eventually pass through will remain unaffected.

Sigma

The higher the Sigma value, the longer it takes for the particles to completely
disappear, even if the initial explosion seems to occur just as rapidly.

Magnitude

Defines the magnitude of the explosion. The greater the magnitude, the faster theparticles break up.

EpsilonThis value works in opposition to the Sigma value. The higher the value, theslower the initial explosion occurs. If the value is high (an integer value) thenlarger particles remain suspended for a longer period of time from the initial
explosion and takes a while to gradually break down. A smaller (decimal) value
breaks the particles down to smaller forms more rapidly from the time of the initial
explosion.

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Gravity

The Gravity effect lets you define the gravity of the particle system.

Gravity Properties
Parameter

Description

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Name

Allows you to change the name given to the node.

Trigger

An on/off switch using binary code. 1 = on, 0 = off.

Apply Gravity

Forces the particle system to adhere to the force of gravity. Values must beentered into the Direction fields, along with enabling this option, in order for it towork. If this option is not selected, the particle system will explode outwards fromits origin point.

X Direction

Directs the particle stream to the left or right (along the X-axis). A value of 1
forces the particle stream to the right, while a value of -1 forces the particle
stream to the left.

Y Direction

Directs the particle stream up or down (along the Y-axis). A value of 1 forces theparticle stream to flow upwards, while a value of -1 forces the particle stream toflow downwards.

Z Direction

Directs the particle stream forwards or backwards (along the Z-axis). A value of 1
forces the particle stream to flow forwards, while a value of -1 forces the particle
stream to flow backwards.

Apply Gravity between
Particles (Relative Gravity)

Applies gravity between each particle, taking their masses into account. The massof the particle can be specified at emission time via the Sprite or Image Emitter.

Relative Gravity Magnitude

Adjust the amount of gravity applied between particles.

Relative Gravity Epsilon

The acceleration falls off the further the particles get from each other. When theparticles are very close to each other, the acceleration becomes very high, so you
should define a small region around the particles so they never actually touch.

Relative Gravity Maximum
Distance

Adjusts the radius beyond which particles do not affect each other.

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Image Fracture

The Image Fracture effect breaks an image into pieces. This effect requires two image objects: the image to be
cut and the shape of the cut pieces (matte). The image to be cut can be anything from a vector drawing to abitmap image to an entire scene's composite—effects and all. The image to be cut should be hooked to the
Image Fracture's right port.
The matte should be flattened if you want it to work like a cookie cutter (hollow shape with a frame) and can becomposed of brush or pencil lines. It can also be a solid shape, many solid filled shapes, and even many solid
filled overlapping shapes. When the matte is made of overlapping pieces, the cut image will be multiplied atthose zones to break apart in multiple layers. The matte drawing should be hooked to the Image Fracture's left
port.
The two image objects overlap perfectly when combined in the Image Fracture. This means that you must takethe 12 by 12 field into account when judging the scale and proportion of these objects. If the matte does notoverlap a part of the image, that part of the image will not be cut. The matte does not have to be a continuous
shape. It could be three separate circles, which would then be cut and pulled away from the image.

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NOTE
You can display the grid and use the Light Table feature in the Drawing view while drawing or
scaling the image and matte to ensure that they're the correct size relative to one another.

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Image Fracture Properties

Generation Tab
Parameter

Description

Emission
Trigger

An on/off switch using binary code. 1 = on, 0 = off.

Type

You may want to design a variety of different drawings that will vary theappearance of the particle system. In this case, you should put each drawing on
its own cell in the drawing layer. Each drawing will then be a new type of particle.

Type Generation Strategy

Lets you sequentially or randomly assign a type (moving from one drawing to thenext).

Particle Type 0This is the frame number of the first drawing. If you have a 5-frame cycle thatstarts on frame 1, you would put a 1 here.

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Particle Type 1

This is the frame number of the last drawing. If you have a 5-frame cycle thatstarts on frame 1, you would put 5 here.

Age

Age at BirthA different start frame number can be entered in this field. This means that a
particle can start with a different drawing than the drawing on frame 1.
Allows a random deviation for the birth of the particles. If you have a five-frame

Age at Birth Standard
Deviation

cycle that starts on frame 1, but you want the particles to be a random type, thenyou may want to set the Age and Birth to 3 with a standard deviation of 2. Thatmeans the particles will randomly be born at any frame from 1 to 5.

Advanced

Particles Mass

Defines a mass for the particles which will affect how the particles interact withgravity.

Align Initial Velocity

Aligns the initial velocity with the region from which the particles are being
emitted. If you are emitting from a sphere, the particles will all start out moving
away from the centre of the sphere.

Rendering Tab
Parameter

Description

Transformation

Size over AgeLets you determine the size of the particle as it ages. Attach a function to this
attribute if you would like to, for example, have the particles get smaller as timegoes on.

Directional Scale

Scales the particle in the direction of its movement.

Directional Scale Exponent
FactorSets an exponent here for how much you would like that particle to scale.

Align with Direction

Aligns the particle in the direction of its movement.

Axis to Align

Select the axis that you want to align. This axis refers to the axis of the Drawing

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grid from the Drawing node plugged into the emitter.
Flip X Axis to Match
Direction

You may want to have the particle align to the X direction of movement. You can
see this property being used in the Lemmings example.

Flip Y Axis to Match
Direction

Similar to flipping the X axis, you may want to flip the Y axis of a drawing tomatch the direction of the particle movement.

Use Rotation of Particle

Enables rotation on the particle.

Keep Volume

When you choose to do a Directional Scale, this will automatically maintain thevolume of the particle by squashing it proportionally to how much it stretches asa result of the directional scale.

Colouring
Colouring Strategy

Lets you choose how to define the colour of the particle.

Use Drawing Colour

The particle remains the same colour as it was drawn with.

Map RGB Based on Age

Attach a function to this to vary the Red, Green, and Blue values of the particle as
it ages.

Map RGBA Based on Age

Attach a function to this to vary the Red, Green, Blue, and Alpha values of theparticle as it ages.

Apply Opacity Based on Age

Keeps the original RGB values from the drawing, but vary the Alpha (Opacity)
according to a function that you define here.

Map RGB Based on Frame

Changes the Red, Green, and Blue values of the particles based on the frame.
Changing based on the frame means that ALL particles will change colour on thatframe, regardless of their age.

Map RGBA Based on Frame

Changes the Red, Green, Blue, and Alpha values of all particles on a given frame
by attaching a function.

Apply Opacity Based on
Frame

Uses the original RGB values from your drawing, but varies the Alpha (Opacity) of
the particles on a certain frame by attaching a function to this.

Red, Blue, Green, AlphaThis is where you can attach functions to the Red, Blue, Green and Alpha values.

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You can also click on the colour swatch to adjust the colour.
Compositing

Blur

Lets you attach a function to define how you want the particles to blur based on
the age, frame or camera distance of each particle. There are low and high quality
blurs. Also, you can attach a function to define how all particles should beblurred.

Blur Intensity

Lets you set a value or attach a function to animate the blur according to the typeof blur that was defined from the drop-down list.
The distance where the blur fades from the edge of the image. Select a value
between 0 and 1.

Falloff Rate

A falloff rate of 0 causes the blur to fade out slowly, distributing the blur evenly
from the edge of the drawing to the farthest edge of the blur.
A falloff rate of 1 causes the blur to fade out quickly so that the blur is heaviest at
the edge of the drawing.

Blend Mode

Defines a blend mode for the particles to get cool effects.

Blend Intensity

This is a percentage of how opaque you want the particles to be blended. 50 =50% transparent. 100 = opaque.

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Kill
The Kill effect lets you determine when particles disappear.

Kill Properties
Parameter

Description

Name

Allows you to change the name given to the node.

Trigger

An on/off switch using binary code. 1 = on, 0 = off.

Use Maximum LifespanMakes particles disappear when they reach their maximum lifespan.
To use this parameter, you must attach a function to this property because if you
select this option at time 0, you will never see any particles. If you set Kill Younger
to 10, at time 0, there will be no particles older than 10, so you will never see any
particles.

Kill Younger

It may be useful to have the particles animating over time, and at some point in
time, you may want to kill all the younger particles. An example would be an
animation where the particles change from blue to yellow. At every frame, newparticles are generated, and the particles that already exist age. Then you would
add an explosion that kills all particles younger than 10 frames. It would kill all theblue particles, leaving only the yellow particles.

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Kill Younger ThanThis is where you can animate the effect for Kill Younger.

Kill Older

Makes particles disappear when they reach a certain level of maturity.

Kill Older Than

Lets you set the age at which particles disappear.

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Move Particles

The Move Particles effect lets you determine whether the particles are stationary (like grass) or moving (likerain), and you can animate this function on and off.

Move Particles Properties
Parameter

Description

Trigger

An on/off switch using binary code. 1 = on, 0 = off.
Ages the particles. Note that if you select the Move Position and Move Angle,
then the particles will age implicitly. If you do not want the particles to move, but
still want them to age, deselect Move Position and Move Angle, and select Age
Particles.

Age Particles

The Age Particles parameter also exists in the Baker, however whatever happensin the Baker happens after everything else in the particle system. So, if for example
you have a Kill node, it will kill the particles before they age. You probably want to
age the particles before you determine whether to kill them. Therefore, if you havea Kill node, make sure to age the particles in your Move node before you kill them.

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If you age the particles both in the Move and Baker node, then the particles will
age twice on that frame instead of once.

Move Position

Lets you enable movement on the particles. There is also a Move Particles option
in the Baker. If it's deselected in the Baker and in the Move node, the particles will
not move; they will simply generate in place and stay there. If the option is
selected on the Baker, the particles will move. But if you need the particles tointeract with another Action, say a Sink, then you want the particles to move
before they reach the sink. This is why you have a separate Move node, so you
can place this Move before (to the right of) the Sink in your particle systemcomposite.

Move Angle

Like the Move Position, this enables the rotation of particles in the particle
system.

Move Particles Follow Each
Other

Allows one particle to follow another particle, through an attraction between theparticles. This is particularly useful when you want to create a snake-like effect,
where the particles are animating across the screen and following each other.

Follow Intensity

Lets you adjust the strength of the attraction between particles following eachother.

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Orbit

The Orbit effect lets you define an axis the particles will be attracted to and orbit around. You can place a Peg
layer into the orbit to move the position of the orbit without adjusting the parameters in the Layer Properties.
Fine-tuning the Orbit effect can take a bit of finesse because the orbit takes into account the velocity of theparticles, and uses this to determine whether:• The particle will orbit around the axis
• The particle will be influenced but eventually escape• The particle will hardly be influenced at all.
This is just like how gravity between astral bodies works in space. Here are some examples of how having theorbit in the wrong place can give some cool (but perhaps not useful) effects:

You will also want to make sure that your initial velocity is varied, so use an interpolated speed and set two
different values. That way, there will be a spread between them. If not, then you will get the effects as shown
above.
Also, you should use the Peg layer to move the position of the Orbit node around until you find the right spot to
get the look you're trying to achieve. It also helps to set some pre-roll frames on your Baker to get things
ramped-up before you start to manipulate the position of the Orbit node.
Here's an example of what a typical node structure with an Orbit node looks like:

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Orbit Properties
Parameter

Description

Name

Allows you to change the name given to the node.

Trigger

An on/off switch using binary code. 1 = on, 0 = off.

Orbit Type

Lets you select the type of Orbit you want to use. For most scenarios, likeasteroids orbiting a planet, a point will suffice. If you want to rotate around an
axis instead, choose between the X, Y, Z axes or set up your own custom axis.

Magnitude

Adjust the amount that the acceleration of each particle will be adjusted. The

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higher the value, the more the particle will accelerate towards the orbit. A
magnitude of 0.001 is a good number to use for this. When the magnitude is set
too high, the particles will simply fly out into space.

Point X

Defines the X position of the centre of the Orbit. You may also leave this at 0 anduse a peg to move the position of the Orbit node.

Point Y and Z

Defines the Y and Z position of the centre of the Orbit.

Direction X

Defines the X component of the axis of rotation for the orbit. This is only taken
into account if you choose to set up a custom axis. If this is set to 1, and Y and Z
are set to 0, then the axis will be going in the same direction as the X axis. If the X
component is set to 1, and the Y component is also set to 1, then the axis will be
at a 45 degree angle between the two.

Direction Y and Z

Defines the Y and Z components of the axis of rotation for the orbit.

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Planar Region

Like the 3D region, this determines a region that you can use as a source or as a bounce plane, but instead of a
3D region, it's a 2D plane. Connect a peg to the right in-port to adjust the position of the plane.

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Planar Region Properties
Parameter

Description

Name

Allows you to change the name given to the node.
Lets you define the shape of the plane. The parameters that you can adjust below
will be greyed out depending on the shape type you choose. Each shape can be
adjusted from the Camera view using the Transform tool by selecting the Planar
Region and then selecting View > Show > Control.
Rectangle: The width and height on a rectangle.

Shape Type

Disc: The point (the centre) of the disk. You can also adjust values for theminimum and maximum radius. A minimum radius of 0 will simply be a circle.
Triangle: The three points of the triangle independently.
Line: The two points on a line.
Point: The position of one single point.
Image: If you choose to use the Image option, then you should use the left in-portof the Planar-Region to connect a drawing layer that can be used as a mask.

Mirror Negative Frames

Mirrors the input peg transformation to generate positions for frames before thescene begins.

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Size

RadiusP1

Width: The width of a rectangular region.
Height: Adjust the height of a rectangular region.
Minimum: The minimum radius on a disc region.
Maximum: Adjust the maximum radius on a disc region.
X: The X position of Point 1. Point 1 could refer to the point on a triangle, line, orpoint.
Y: The Y position of Point 1.

P2

P3

X: The X position of Point 2. Point 2 could refer to the point on a triangle or line.
Y: The Y position of Point 2.
X: The X position of Point 3. Point 3 refers to a point on a triangle.
Y: The Y position of Point 3.

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RandomThe Random effects lets you put a random seed on some qualities like acceleration, speed, rotation speed, andposition. There's also a Seed value in the Baker, but you may only want to make one particular aspect of thesystem random. This effect gives you control over the randomness of a particular property.

Random Properties

Parameter

Description

Name

Allows you to change the name given to the node.

Trigger

An on/off switch using binary code. 1 = on, 0 = off.

Parameter

Lets you choose a parameter to make random: None, Acceleration, Speed,
Rotation Speed, and Position.

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Region Composite

The Region Composite effect lets you composite multiple regions, 3D regions or planar regions. You may wantto emit particles from multiple regions in the same particle system.

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RepulseThe Repulse effect repulses a particle around a region, but is different than the Bounce node as it is repelled
before it physically hits the region.

Repulse Properties
Parameter

Description

Name

Allows you to change the name given to the node.

Trigger

An on/off switch using binary code. 1 = on, 0 = off.

Magnitude

This value should be between 0 and 2. The higher the value, the more drasticallythe particles will be repulsed.

Look Ahead

Determines how far ahead of the particle's current position to see whether there's
an obstacle coming. This value should be between 0 and 100.

EpsilonAffects how quickly the effect of the repulse wears off. The smaller the number,the longer the effect lasts. This value should be between 0.1 and 0.0001.

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Rotation Velocity

The Rotation Velocity effect lets you define the initial rotational velocity of the particles. The values that you set
up for this node refer to each individual particle's drawing axes. This means that if you choose to rotate aroundthe X-axis, it will rotate around each particle's local X-axis as defined by its drawing plane.
The rotational velocity should be set before you emit the particles, such as to the right, so the velocity is taken
into account when the particles are created.

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Rotation Velocity Properties
Parameter

Description

Name

Allows you to change the name given to the node.
Trigger: An on/off switch using binary code. 1 = on, 0 = off.
Axis Type: Lets you select the type of axis to use.
•

GeneralAxis

Use Input Shape: Uses a region to define the rotational axis of theparticles. The axis of each particle's rotation will be perpendicular to theplane that particle is created on.
•

Constant Axis: If you choose to rotate the particles around a constantaxis, then each particle will rotate around the same axis. This axis willthen be defined as Axis0.

•Interpolated Axis: If you choose to rotate the particles around aninterpolated axis, that means each particle will have its own rotational
velocity which lies somewhere between Axis0 and Axis1.

Axis0 X: Defines the X component of Axis0. If you set the X to 1, and the Y and Z
to 0, then the particle will rotate around its X-axis as defined by its drawing plane.
If you set X to 1 and also Y to 1, then it will rotate around an axis that is 45
degrees between X and Y.
Axis0 Y: Defines the Y component of Axis0.

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Axis0 Z: Defines the Z component of Axis0.
Axis1 X: Defines the X component of Axis1. This applies only when you haveselected an Interpolated axis.
Axis1 Y: Defines the Y component of Axis1.
Axis1 Z: Defines the Z component of Axis1.

Speed (Degrees/Frame)

Minimum: The minimum initial rotation that a particle can have, in degrees perframe.
Maximum: The maximum initial rotation that a particle can have, in degrees perframe.

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Sink
The Sink effect causes particles to disappear when outside the region that is plugged into the sink. It can also
be inverted, so the particles disappear when they enter the region instead.

Sink Properties
Parameter

Description

Name

Allows you to change the name given to the node.

Invert

The default behaviour of the sink is for particles to disappear when they departthe region. When inverted, the particles disappear when they enter the region
instead.

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Size
The Size effect lets you animate the size of the particles.

Size Properties
Parameter

Description

Name

Allows you to change the name given to the node.

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Trigger

An on/off switch using binary code. 1 = on, 0 = off.

Size Type

Lets you select a type for the size. If you choose Constant Size, then all particles
will be animated to have the same size. If you choose Input Shape instead, thenyou must input a Region into the in-port of the Size node. It will use this region todetermine the size of the particles.

Size

Lets you adjust the size of the particles.

:
:

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Sprite Emitter

The Sprite Emitter effect is an all-purpose emitter. You can plug it into a drawing layer to generate particles
that look like your drawing layer. You could also just output dot particles if you have no image layer connected.
There are many parameters to control how particles are emitted.

Sprite Emitter Properties
Generation Tab

Parameter

Description

Emission

Trigger: An on/off switch using binary code. 1 = on, 0 = off.

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Number of Particles: This is where you can define how many particles will beemitted on each frame.
Probability of Generating Any Particles: This is a probability percentage between 0
and 100. If the probability is set to 100%, it will generate the Number of Particles
specified. If you set the percentage to 50%, then there's only a 50% chance that it
will generate the number of particles set in the Number of Particles. You can playwith this value to add random spacing to the generation of particles.
Streak Seed: The number of streaks to generate.
Source Sampling Time Offset: Sets the streak start at a different time to offset its
position.
Source Sampling Duration: This parameter is the key to generating streaks. If set to0, the behaviour is the same as before. If set to -10 for example, it will sample theinput region (in this example the Planar-Region) 10 frames in the past. If in thismode, the Number of Particles parameter is the number of streaks to generate. If you
want to generate five streaks for example, you need to set the Streak Size to a value
different than 0, otherwise all the streaks will be at the same spot.

Generator

Source Samples Per Frame: The number of subdivisions for each frame. A value of 1
generates a particle for each frame. A value of 16 generates a particle on each 1/16thof a frame.
Streak Size: The radius of the sphere used for sampling the offset of the streak.
Region Size for Baked Particle Input: The Baked Particle Input property refers towhen you use a Baker as an input to a Sprite Emitter. You can do this when you wantto generate particles from other particles. When you do this, you have the option ofsetting a sphere around the source particle from which the new particle system will
generate particles. That is the region which is referred to in this value. If you look at
the following example, you'll see that the purple smiley faces are generating smaller
green, blue, and yellow smiley faces. This is done by plugging the Baker from thepurple smiley faces into the Sprite Emitter of the other smiley faces. See thefollowing images:

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You may want to design a variety of different drawings that will vary the appearanceof your particle system. To do this, you should put each drawing on its own cell inthe drawing layer. Each drawing will then be a new Type of particle.
Type Generation Strategy:
Lets you sequentially or randomly assign a type (moving from one drawing to thenext).
Type

Particle Type 0:
This is the frame number of the first drawing. If you have a 5-frame cycle that starts
on frame 1, you would put a 1 here.
Particle Type 1:
This is the frame number of the last drawing. If you have a 5-frame cycle that starts
on frame 1, you would put 5 here.

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Initial Parameters Tab

Parameter

Description
Age at Birth: A different start frame number can be entered in this field. This meansthat a particle can start with a different drawing than the drawing that you have onframe 1.

Age

Age at Birth Standard Deviation: Allows a random deviation for the birth of theparticles. If you have a 5-frame cycle that starts on frame 1, but you want theparticles to be of a random type, then you may want to set the Age and Birth to 3
with a standard deviation of 2. That means that particles will randomly be born at
any frame from 1 to 5.
Set Maximum Lifespan: Makes particles die automatically.
Maximum Lifespan: This is how long the particle will exist before dying.
Maximum Lifespan Sigma: The lifespan variation of particles. If set to 0, all particles
will have the same lifespan. A larger value means that particle lifespans will be
distributed over a larger range.
Particles Mass: Define a mass for the particles. This mass will affect how theparticles interact with gravity.

Advanced

Copy Particle Velocity for Baked Particle Input: If you select this option, the velocityof the parent system will be applied to the child system when a Baker is used as theregion for a Sprite Emitter.
Add Particle Age for Baked Particle Input: If you select this option, the age of the781

Chapter 3: Nodes / Layers

parent system will be inherited by the child system when a Baker is used as theregion for a Sprite Emitter.
Align Initial Velocity: This aligns the initial velocity with the region from which theparticles are being emitted. If you are emitting from a sphere, then the particles will
all start out moving away from the centre of the sphere.
Minimum Initial Rotation: Define a minimum rotation in degrees that the particle canhave when it is generated. There is also a separate Rotation-Velocity node in which
you can define this parameter.
Maximum Initial Rotation: Define a maximum rotation in degrees that the particle canhave when it is generated.

Rendering Tab

Parameter

Description

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Rendering Strategy: Select a method to determine the particle type definedfor each particle that is created.
•

Render as Dot: Renders each particle as a dot. This is usefulmainly for previewing the effects of your particle system without
using the drawing layer (sprite).

•

Use Frame Number: As the frame number increases, the type ofparticle will change to match the frame number. This means that
ALL particles in the system will change together as the frame
number changes. If you only have a few drawings, then you may
want to enable Cycling to cycle those drawings.

Sprite Selection•

Use Frame Number as Index in Selector: When you select thisoption, you can use the Selector to animate the Frame Number it
uses over time. So, instead of taking the current frame as the
Frame Number, you can write your own function instead. For
example, if you animate the selector so that at frame 1, it starts
out at 2, then 8 frames later you add another keyframe to set thevalue to 4. Between frame 1 and frame 8, the particles will allchange type together from what they look like on frame 2 to what
they look like on frame 4.

•

Use Particle Type: Each particle that is generated will look like theParticle Type that was assigned on the Generation tab. For
example, if you use a value of 1 for Particle Type 0, and 6 forParticle Type 1, then each particle will be assigned a type from 1
to 6. This type corresponds to the drawing that appears on the
sprite on that frame number. So if you have a drawing layer called
Sprite that is plugged into the left in-port of the Emitter, it will
look for the drawings in cells 1 to 6 of Sprite to assign thosedrawings to each particle.

•

Use Particle Type as Index in Selector: This option allows you to
use the Selector to manually create a function that assigns how
many of which particle will be created.
For example, you can set the Particle Type to go from 1 to 100 in
the Generation tab. Then use the Selector to remap the particle
types to a certain drawing. So for example you could create fivedrawings, labelled 1 to 5, and use the selector to create mainly
1s, no 2s, a few 3s, 4s, and a very few 5s. What it's doing islooking at the X-axis to find what the particle "type" is, thenlooking at the Y-axis to find out which drawing to assign to that"type." When you use 1 to 100 as a type, then when you're
setting the values, they act as a percentage.

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Use Age: As the particle ages, it will change appearance fromwhat appears on the Sprite's first drawing to the subsequentdrawings. This means that each particle can have its appearance
animated as it gets older.

•

Use Age as Index in Selector: You can animate the Selector tochange how a particle ages over time. For example, if you have a
Sprite with six drawings on it, you might want to animate it so itchanges from drawing 1, on frame 1, to drawing 2, on frame 10,
then drawing 3 on frame 14, drawing 4 on frame 16, drawing 5
on frame 17, etc. so the particle rapidly ages. This allows you tochange the timing of the aging dynamically through the selector,
instead of having to modify the exposure of the cells on the
Sprite.

Selector: Animates the Selector in conjunction with the Rendering Strategy
to adjust the parameters that control the particle’s appearance at birth andover time.
Cycling: If you're using rendering strategies like Frame Number or Age, you
may want to cycle the drawings. For example, if you are using Frame
Number, but you've only got 5 frames worth of drawings in your Sprite, thenif you use "No Cycle," your Particles will disappear after frame 5. You canchoose to cycle Normally (1-2-3-4-5-1-2-3-4-5) or Back and Forth (1-2-34-5-4-3-2-1).
Number of Drawings in Cycle: Lets you indicate how many frames from your
Sprite you'd like to cycle.

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Size over Age: Lets you determine the size of the particle as it ages. Attach afunction to this attribute if you want to, for example, have the particles get
smaller as time goes on.
Directional Scale: Scales the particle in the direction of its movement.
Directional Scale Exponent Factor: Sets an exponent here for how much you
want that particle to scale.
Align with Direction: Aligns the particle in the direction of its movement.
Axis to Align: Select the axis that you want to align. This axis refers to theTransformation

axis of the Drawing grid from the Drawing node plugged into the emitter.
Flip X Axis to Match Direction: You may want to have the particle align to the
X direction of movement. You can see this property being used in theLemmings example.
Flip Y Axis to Match Direction: Similar to flipping the X axis, you may want toflip the Y axis of a drawing to match the direction of the particle movement..
Use Rotation of Particle: Enables rotation on the particle.
Keep Volume: When you choose to do a Directional Scale, this willautomatically maintain the volume of the particle by squashing it
proportionally to how much it stretches as a result of the directional scale.
Colouring Strategy: Lets you choose how to define the colour of the particle.
•

Use Drawing Colour: The particle remains the same colour as it
was drawn with.

•

Map RGB Based on Age: Attach a function to this to vary theRed, Green, and Blue values of the particle as it ages.

•

Map RGBA Based on Age: Attach a function to this to vary theRed, Green, Blue, and Alpha values of the particle as it ages.

•

Apply Opacity Based on Age: Keeps the original RGB values fromthe drawing, but vary the Alpha (Opacity) according to a functionthat you define here.

•

Map RGB Based on Frame: Changes the Red, Green, and Bluevalues of the particles based on the frame. Changing based on
the frame means that ALL particles will change colour on thatframe, regardless of their age.

•

Map RGBA Based on Frame: Changes the Red, Green, Blue, andAlpha values of all particles on a given frame by attaching afunction.

•

Apply Opacity Based on Frame: Uses the original RGB values
from your drawing, but varies the Alpha (Opacity) of the particles
on a certain frame by attaching a function to this.

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Red, Blue, Green, Alpha: This is where you can attach functions to the Red,
Blue, Green and Alpha values. You can also click on the colour swatch toadjust the colour.
Blur: Lets you determine the Blur to apply to the particles.
•

No Blur: No blur will be applied to the particles.

•

Directional Blur Based on Age: Attaches a function to define
how you want the particles to blur based on the age of eachparticle. The particle will blur in the direction of movement.

Compositing•

Directional Blur Based on Frame: Attaches a function to define
how all particles should be blurred at a particular frame. The
particle will blur in the direction of movement.

•

Low Quality Radial Blur Based on Age: Attaches a function todefine how you want the particles to blur based on the age ofeach particle. This will be a low quality blur.

•

Low Quality Radial Blur Based on Frame: Attaches a function todefine how all particles should be blurred at a particular frame.
This will be a low quality blur.

•

Low Quality Radial Blur Based on Camera Distance: Defines how
you want the particles to blur based on their distance from thecamera. This is a low quality blur.

•High Quality Radial Blur Based on Age: Attaches a function todefine how you want the particles to blur based on the age ofeach particle. This is a high quality blur.

•High Quality Radial Blur Based on Frame: Attaches a function todefine how all particles should be blurred at a particular frame.
This is a high quality blur.

•High Quality Radial Blur Based on Camera Distance: Defines how
you want the particles to blur based on their distance from thecamera. This is a high quality blur.

Blur Intensity: Lets you set a value or attach a function to animate the bluraccording to the type of blur that was defined from the drop-down list.
Falloff Rate: The distance where the blur fades from the edge of the image.
Select a value between 0 and 1. A falloff rate of 0 causes the blur to fade out
slowly, distributing the blur evenly from the edge of the drawing to thefarthest edge of the blur. A falloff rate of 1 causes the blur to fade out quickly
so that the blur is heaviest at the edge of the drawing.
Blend Mode: Defines a blend mode for the particles to get cool effects.
Blend Intensity: This is a percentage of how opaque you want the particles
to be blended. 50 = 50% transparent. 100 = opaque.

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System Composite
The System Composite node is where you connect all the "Actions" of your particle system. An action includes
any of the light-purple nodes, like Gravity, Emitters, and velocity parameters. All of the "Actions" help to define
the behaviour of the particle system.

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Velocity
The Velocity effect defines the initial velocity of the particles that are emitted in the particle system. You canselect this node and select View > Show > Control to display the manipulation handles to help you set theparameters of this node. Use your Transform tool to modify the manipulation handles in the Camera or
Perspective view.

Velocity Properties
Parameter

Description
Trigger: Is an on/off switch using binary code, where 1 = on, while 0 = off.

General
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Use Input Shape: If you plug a Region into the in-port of the Velocity
node, it will take the shape of this region to determine the initial
velocity of the particles. They will take a velocity that is perpendicular
to the surface of the shape.

•

Constant Speed: Sets a constant speed for the initial velocity of theparticles.

•

Interpolated Speed: Each particle is assigned an initial speed that issomewhere between the two values set for Interpolated Speed.

•

Random in All Directions 2D: All particles will be assigned a random
velocity in any direction on a 2D plane.

•

Random in All Directions 3D: All particles will be assigned a random
velocity in any direction.

•

Random in Cone: Particles will be assigned an initial velocity
anywhere in the shape of a cone.

•

Random in 2D-Pie: Particles will be assigned an initial velocity
anywhere in the shape of a pie slice on a 2D plane.

Bilateral: Generates positive and negative velocities in a given direction. For
example, you can generate particles with cone-shaped velocity, (e.g. a bazooka
firing) going only in the forward direction, but you can also generate velocities in
the opposite direction.
Lets you input values for the perpendicular direction for the Random property in
All Directions 2D.

Direction of Normal (forRandom in all Directions 2D)

X: Sets a value between 0 and 1 to determine how much influence the X-axis hasover the direction of the normal. For example, if the X value is set to 1, and Y and
Z are set to 0, then the perpendicular (normal) will be going in the X direction. If X
is set to 1, and Y is also set to 1, then the axis will be 45 degrees, halfway
between X and Y. Feel free to use the Manipulation Handles for the velocity node
by selecting the Velocity node and then selecting View > Show > Control. This
will allow you to use the Transform tool in the Camera View or the Perspective
View to set the appropriate values.
Y: Set a value between 0 and 1 to determine how much influence the Y-axis hasover the direction of the normal.
Z: Set a value between 0 and 1 to determine how much influence the Z-axis hasover the direction of the normal.

Speed

Minimum: There are some speeds that are constant, and some that are a range ofvalues between a minimum and maximum. Set the minimum speed here.
Maximum: Set the maximum speed for interpolated speeds.

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Deviation from Direction

Minimum Angle: This is used for Cone and Pie shapes. Put a non-zero value here
if you want there to be a hole in the middle of your cone or pie.
Maximum Angle: Set the maximum angle for your cone or pie here.

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Visualizer
The Particle-Visualizer effect renders and flattens the particle system down to a single plane. You can plug a
peg module into the left port to animate the position of the whole particle system. Plugging a peg into the rightport will move the depth where the flat plane is generated, so you can move it behind or in front of various
other drawing layers in your scene. You can even have two Visualizers with pegs in the right in-ports that areat different depths to display some particles in front of and some particles behind a character or drawing in thescene.

Visualizer Properties

Parameter

Description

Force Render as Dots

Temporarily renders your system as Dots when previewing a simulation. All
drawings are ignored and the system is forced to render as dots.
Note: You can also use the option View > Particle > Show Particles as Dots in
OpenGL. When enabled, the particles will always be displayed as dots in the
OpenGL preview mode to make playback speed faster for heavy scenes.
Lets you set the order in which you want the particles to appear in the render.
Back to Front: Added particles will appear behind existing particles.
Front to Back: Added particles will appear in front of existing particles.

Rendering Order

Oldest to Youngest: Older particles will appear behind younger particles.
Youngest to Oldest: Older particles will appear in front of younger particles.
Ascending Types: Lower types will appear behind higher types.
Descending Types: Lower types will appear in front of higher types.

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Fix Output AlphaThis is an important option when using some filters like Screen or Multiply in the
Blend Mode that can be specified in the Rendering tab of the Emitter. When
working with premultiplied images, if the alpha is not fixed in the visualizer, you
may see some unusual artifacts.

Scale Particle System Using
Parent Peg

Respects the scaling of a particle system so you can position and resize it as you
like. Old scenes with particle system will still work as this option is disabled.

Global Scaling Factor

Lets you set the scaling factor for particle system.

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VortexThe Vortext effect allows you to define an axis as a vortex, so the particles will spin around this axis.

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Vortex Properties
Parameter

Description

Trigger

An on/off switch using binary code, where 1 = on and 0 = off.

X Direction

Defines the X portion of the axis of rotation for the Vortex.

Y Direction

Defines the Y portion of the axis of rotation for the Vortex.

Z Direction

Defines the Z portion of the axis of rotation of the Vortex.

RadiusDefines the radius at the top of the vortex.

Exponent (1=cone)

Defines a curve that gives the Vortex a certain silhouette. 1 forms a cone, greaterthan 1 curves inward.

Up Acceleration

Defines the vertical acceleration of the particles that are inside the Vortex.

In Acceleration

Defines the inward acceleration of particles that are outside the Vortex.

Around Acceleration

Defines the acceleration around the vortex of particles that are inside the Vortex.

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Wind-Friction
The Wind-Friction effect lets you define the amount of wind in the scene, and animate the wind over time.

Wind-Friction Properties
Parameter

Description

Trigger

An on/off switch using binary code, where 1 = on and 0 = off.

Friction/Wind X, Y, Z

Defines the amount that the wind will dampen or increase the speed of theparticles in the X, Y or Z direction.

Min Speed

The minimum speed of particles that will be affected by the wind. Particles
moving slower than this will not be affected

Max Speed

The maximum speed of particles that will be affected by the wind. Particles
moving faster than this will not be affected.

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Shading Nodes
Harmony provides you with a wide series of parameters to customize your light shading effects.
Light Position Node798

Light Shader Node800

Normal Map Node803

Normal Map Converter Node807

Tone Shader Node809

Volume Object Node

813

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Light Position Node
The Light Position node is the actual light source interacting with all the defined volume objects. You can set its
position in relation to the objects and animate it over time. All volumes will react according to the light's motion.

This is not where you set the light type or colour. You'll be adjusting these in the Light Shader and Tone Shader
nodes.

Light Position Properties

Parameter

Description

SourceLets you control the value of the light source.

Target

The point or direction at which the light is pointing
3D Path: Lets you use a 3D path when animating the light.

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Separate: Lets you enter separate values for the X, Y and Z axes.
(x) Axis: Lets you type in a new East/West coordinate corresponding to thedesired position.
(y) Axis: Lets you type in a new North/South coordinate corresponding to thedesired position.
(z) Axis: Lets you type in a new Forward/Backward coordinate corresponding to
the desired position.

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Light Shader Node
The Light Shader node lets you adjust the highlight parameters, such as the colour, to create the desired
ambiance. You can animate most parameters over time to create a mood change, sunset or any other type oflight transition. The beveling height and smoothing is set in the Normal Map node.

Light Shader Properties

Parameter

Description

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Name

Allows you to change the name given to the node.

Light

Light Type

Directional: A light that is parallel in the scene. Each “beam” of light follows the
direction defined by the light source and target, and point in the same direction.
This type of light is used when the light source is far away or very big, like thesun.
Point: A light that illuminates everything around it. Its “beam” of light will go in all
directions like a fire.
Spot: A light that forms a conical shape like a flashlight.

Cone Angle

The value that defines the light’s cone angle. This option is only accessible with
the Light Type set to Spot.

DiffusionLets you play with the diffusion of the light on the surface of the drawing. In otherwords, it is the edge softness. This option is only accessible with the Light Typeset to Spot.

Light Source Elevation

Defines the height of the spotlight. This option is only accessible when the Light
Type set to Spot or Point.

Shading Type

Smooth: The light and tone fx will have smooth edges.
Sharp: The light and tone fx will have sharp edges.
Define the polarization of the light.
When the Shade type is set to Smooth, it defines the width of the light’s smooth
zone.

Bias

When the Shade type is set to Sharp, the Bias defines the antialiasing on the edgeof the hightlight or tone zone. But,if the Shade type is set to Sharp, the Bias
option need a small value such as 0.1 or 0.2. The exponent will be able tocompensate the limitation of this small value.

Abruptness

This is a multiplier value of the Bias option. It will define how quick thepolarization of the light will change from a value to another.

Adjust Light Intensity

Lets you adjust the light intensity.

Intensity

Lets you set the strength of the light.

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MultiplierMultiplies the value of the Intensity option.

Surface Reflectivity

This option is useful for exaggerating the light on the edge of the 3D geometry.
The closer an edge is to the light source, the more intense the light will be.

Colour

Red/Green/Blue/Alpha

The colour and transparency of the Colour Card. You can also attach theseparameters to function columns to change their values over time.
Click the colour swatch to open the Colour Picker window and select a colour.

Colour Swatch

Opens the Colour Picker window in which you can specify the colour.

Use Image Colour

Lets you use the colour of the drawing in a lighter or darker colour for thehighlight and tone fx.

Image Colour Intensity

Lets you blend the colour of the light with the image colour.

Flatten Fx

This is useful when there are several highlight and tone fx, one over the other, but
are supposed to be merged together. Sometimes, shadows and lights look better
when they do not overlap.

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Normal Map Node
The Normal Map node lets you centralize all Volume Object nodes and chisel out the shading 3D geometry(bevel height, smoothing, carving, etc.). It could be described as carving a bas relief. You only need one Normal
Map node per light shading effect and, in general, only one per scene.

A normal map can be used to create other effects. If you're are working with an OpenFX plugin or other plugin
requiring a normal map, you can use the Normal Map Converter node to translate the Harmony normal map to
a format supported by your plugin. The Normal Map Converter node has been optimized to work with
GenArts® plugins, but you also have the ability to use it on custom plugins..

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Normal Map Properties

Parameter

Description

Volume Creation

Lists all the different volume object IDs are listed. This is where you can define thebasic volumetric shape of each Volume Object node connect to the Normal Map.
Let you add or remove Volume Object nodes that are connected to the Normal
Map node.

ObjectAdd All Defined Objects: Adds all Volume Object nodes connected to the Normal
Map node.
Remove Selected Objects: Removes all Volume Object nodes from the Volume
Creation list.

Name

The name that was previously set ineach Volume Object node. This information
can be really helpful when there are many volume objects listed. With a good
name, it is easy to discover what the ID number is related to. When you hoverover this column, a tooltip appears listing all volume objects with the same ID.

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In the following image, the tooltip indicates that three copies were made from
FootR-Object. By keeping the same name, you can easily see that each time you
see a Volume Object named “FootR-Object”, the ID will be the same.

In the second example, a specific name was created for each volume object, even
if they have the same ID. That way, it is easy to find a specific nodenode whensearching for an element with the Search tool in the NetworkNode view.

The identity number that was previously set in the volume object nodenodeappears here. The tooltip in the ID column lists all drawing elements that areconnected to the volume object with this identity number.

ID

Bevel Size

Defines the size of the bevel on the contour of all the drawings related to a
specific ID number

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Elevation

Defines the elevation of a specific volume object. The higher the value, the more
the volumetry of this Volume Object resembles a conical or pyramidal shape.

Elevation Smoothness

Complementary to the Elevation column. Instead of keeping a conical or pyramidal
shape, the shape will be smoothed to create a sphere or a bump shape. The edge
will be round instead of sharp.

Bevel Multiplier

A multiplier of the Bevel Size value in the board. This affects every object listed.

Elevation Multiplier

A multiplier of the Elevation value in the board. This affects every object listed.

Elevation Smoothness
Multiplier

A multiplier of the Elevation Smoothness value in the list. This affects every object
listed.

Consider Truck Factor

Keeps the same ratio for the Light Shading system when the camera zooms in orout. This parameter cannot work properly if the size of the drawing, with a volume
object nodenode, is changed on the drawing itself. In other words, if theanimation is directly created on the drawing layer.

Override Modelling by Colour

Add Colour

Lets you add or remove any colour that will affect the Adding/ Carving options in
the list beneath. When you select this button, each colour palette in the scene islisted and all their swatches are displayed.

Swatches

The first column of the Override Modelling by Colour board is the Swatches. This
column does not have a name. When you select a colour swatch from the Add
Colour list, the colour swatch appears at the beginning of the list.

Generate Normals

Activates or deactivates the generation of the Normal Map.

Normal Map Quality

Lets you change the Quality of the Normal Map from low to high.
When selected, the Elevation is calculated and appears in the soft render mode.

Output Elevation in Blue
ChannelWhen deselected, the object ID appears in the soft render mode.
Because it is connected to the blue channel of a drawing, the result will only
affect the blue channel.

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Normal Map Converter Node
The normal map will carve and emboss a flat plane using vectors. The X, Y and Z coordinates of the normal map
vectors are stored in RGB values to convert the 3D aspect into a visual result and use it to create various effects,
such as light reflections (light shading). The X value is stored in the Red channel. The Y value is stored in theGreen channel. The Z value is stored in the Blue channel.
NOTE
Note that not all normal map formats are supported.
The Normal Map Converter uses the following formula per channel:lvalue * (+/- length) + offsetl* +/- depending if inverse is set to true ("-" if true)

Parameter

Description

Conversion TypeBy default, the conversion type is set to Genarts. If you work with a different
manufacturer and want to adjust the parameters, set the conversion type toCustom.

OffsetOffsets the original position of the vector. You need to read the plugin
documentation to know the offset you need to use. You must use the same offset
value as the manufacturer is using. By default the offset is set to 0.

LengthThe Normal Map Converter normalizes Harmony vectors to 1. By default thelength value is set to 1. If your plugin requires shorter or longer vectors, enter avalue smaller or greater than 1. It will multiply the vector length.

Invert Red

Inverts the red value (x). If your value is 125, the invert setting will transform it to 125.

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Invert Green

Inverts the green value (y). If your value is 125, the invert setting will transform it
to -125.

Invert Blue

Inverts the blue value (z). If your value is 125, the invert setting will transform it to
-125.

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Tone Shader Node
The Tone Shader node lets you adjust the tone parameters, such as the colour, to create the desired ambiance.
You can animate most parameters over time to create shade transitions. The beveling height and smoothing is
set in the Normal Map node.

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Tone Shader Properties

Parameter

Description

Name

Allows you to change the name given to the node.

Light

Light Type

Directional: A light that is parallel in the scene. Each “beam” of light follows the
direction defined by the light source and target, and point in the same direction.
This type of light is used when the light source is far away or very big, like thesun.
Point: A light that illuminates everything around it. Its “beam” of light will go in all
directions like a fire.
Spot: A light that forms a conical shape like a flashlight.

Cone Angle

The value that defines the light’s cone angle. This option is only accessible with

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the Light Type set to Spot.

DiffusionLets you play with the diffusion of the light on the surface of the drawing. In otherwords, it is the edge softness. This option is only accessible with the Light Typeset to Spot.

Light Source Elevation

Defines the height of the spotlight. This option is only accessible when the Light
Type set to Spot or Point.

Shading Type

Smooth: The light and tone fx will have smooth edges.
Sharp: The light and tone fx will have sharp edges.
Define the polarization of the light.
When the Shade type is set to Smooth, it defines the width of the light’s smooth
zone.

Bias

When the Shade type is set to Sharp, the Bias defines the antialiasing on the edgeof the hightlight or tone zone. But,if the Shade type is set to Sharp, the Bias
option need a small value such as 0.1 or 0.2. The exponent will be able tocompensate the limitation of this small value.

Abruptness

This is a multiplier value of the Bias option. It will define how quick thepolarization of the light will change from a value to another.

Adjust Light Intensity

Lets you adjust the light intensity.

Intensity

Lets you set the strength of the light.

MultiplierMultiplies the value of the Intensity option.

Surface Reflectivity

This option is useful for exaggerating the light on the edge of the 3D geometry.
The closer an edge is to the light source, the more intense the light will be.

Colour

Red/Green/Blue/Alpha

The colour and transparency of the Colour Card. You can also attach theseparameters to function columns to change their values over time.
Click the colour swatch to open the Colour Picker window and select a colour.

Colour Swatch

Opens the Colour Picker window in which you can specify the colour.

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Use Image Colour

Lets you use the colour of the drawing in a lighter or darker colour for thehighlight and tone fx.

Image Colour Intensity

Lets you blend the colour of the light with the image colour.

Flatten Fx

This is useful when there are several highlight and tone fx, one over the other, but
are supposed to be merged together. Sometimes, shadows and lights look better
when they do not overlap.

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Volume Object Node
The Volume Object node lets you define a volume zone the light will interact with.

If there is a single drawing on which you want to apply shading, you only need one Volume Object node. For
cut-out characters, you will require more as you will define which should be different volumes. For example, you
could decide that the arm, forearm, and hand will form one shape for the light to hit and create a highlight. You
could then define the body as a separate volume. If you use different Volume Object nodes on the arm pieces,
you will get odd carvings and bumps where the joints overlap. Before adding light shading to your rig, you
should analyze how the parts will interact with one another.
All the Volume Object nodes in your structure will be gathered in the Normal Map node where you can define
the parameter for each volume.

Volume Object Properties

Parameter

Description

Name

With the light shading feature, the naming of the nodes becomes important.
Since there isn’t any limitation on the number of Volume Object nodes that can be
added to a node structure, it's quite important to give a good name to each
Volume Object node. These names will later appear in the Normal Map node, inthe Volume Creation section.

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ID

This is the identity number you assign to a drawing or a group of drawings thatwill be represented in the same volume once it is generated by the Normal Map
node. This ID is also in the Normal Map node, where a list of all Volume Objects is
applied.
When this option is not selected, Harmony cuts the 3D geometry (shading bas
relief) of the drawing after it has been generated by the Normal Map node.

Cut Volume Cues with
Geometry

Some nodes, such as filters, can affect the shape or colour of the drawing. Those
nodes will be processed and recognized by the Normal Map node. Therefore, it is

Use Drawing to Create
VolumeDuring the generation created by the Normal Map node, the shape of the drawing
or group of drawings identified with the same ID will be recognized to create thevolume. When this option is selected, the Light Shader and Tone Shader effectappear inside the contour of those drawings.

Elevation Baseline

possible to limit the 3D geometry only on a part of the drawing, but not all of it.
The 3D geometry follows the edge of the entire drawing and will not be affect by
the filters.

The baseline defines how much you can add or carve the Volume Object. The
drawing or group of drawings connected to this Volume Object node share thesame baseline value. Because this setting is closely tied to the adding/curving
option called Intensity (0-100) (accessible in the Volumetric Colour Information of
the Normal Map node), both places need to have some parameters set. Playing
only with the Geometry Intensity won’t change anything if there aren’t any
parameters set in the Normal Map node.

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Plugin Nodes
There are 2 plug-in node effects available in Harmony:lBrightness-Contrast—see Brightness Contrast Node on page 522lSparkle815

Chapter 3: Nodes / Layers

SparkleThe Sparkle effect transforms a vector drawing into sparkles. You have a high degree of control over theappearance of the sparkles.
The sparkle effect can only be used with vector drawings. If the sparkle effect node is attached to a composite,verify that the Composite editor is set to Vector Flatten Output.

Use the Sparkle editor to modify how the Sparkle node creates the sparkle effect. You can also use Bezier andEase function curves to change the values of factors over time.

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Sparkle Properties
Parameter

Description

Start Angle

Enter a value between -360 and 360 to indicate the angle of rotation of eachsparkle.

Scale

Sparkles are determined by the size of the bounding box of the coloured areas in
the drawing. Enter the multiple to use to scale the sparkle size.

FactorEnter a value between 0.1 and 1 to determine how pointy the sparkle is. A value
closer to 0 will result in a more pointed sparkle. A value closer to 1 will result in amore rounded sparkle.

Density

Adjusts the density level.

Number of Points

Enter the number of points you want each sparkle to have.

Probability of Appearing

Enter the percentage of possibility that sparkles will be displayed. Enter 100 toalways show sparkles. Enter 0 to always hide sparkles.

Point NoiseEnter a value between 0.1 and 1 to indicate the amount by which points in a
sparkle will distort.

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Centre NoiseEnter a value between 0.1 and 1 to indicate the amount by which the angles
between each point in a sparkle will distort.

Angle NoiseEnter a value between 0.1 and 1 to indicate the amount by which the Start Angle
in a sparkle will distort.

Random Seed

Enter a positive integer value that will be used to determine the sparkle pattern.
Select this option to use the colour attributes of the drawing for the sparkle

Use Drawing Colours

colour. When this selection is disabled (default setting), the colour values will be
used as they are entered in the editor.

Flatten Sparkles of SameColour

Flatten all drawings of the same colour into a single layer.

Red/Green/Blue/AlphaIn the RGBA fields, enter the values to use for the sparkle colour.

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Selection Preset Note Node
The Selection Preset Note node appears in the Node view after an initial Selection Preset is created.

Selection Preset Note Properties
Parameter

Description

Enable/Disable

Checking this option enables the node. Unchecking this option disables the node.
Click on this swatch to open the Select Colour window. Select a colour and click
OK to mark the node with the selected colour.

Track Colour

Name

Allows you to change the name given to the node.

Text

Displays the code text for the Selection Presets list that can be found in the
Selection Presets window.

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Close

Closers the Properties window.

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Sound Layer
When you select a sound layer in the Timeline view, the options related to that layer appear in the Layer
Properties view.

If you double-click on a sound layer in the Timeline view, or in a sound column in the Xsheet view, the Sound
Element Editor dialog will open. This dialog allows you to fine-tune the sound track's lip sync, start time, stoptime and volume.

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NOTE
Contrary to all other layers, sound layers are not represented by nodes in the Node view.

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Chapter 4: Tools Properties
Harmony has a wide variety of drawing and manipulation tools and each one of them has a series of options
and modes available in the Tool Properties view. This section covers these options.

Brush Tool Properties

826

Centerline Editor Tool Properties

847

Close Gap Tool Properties

849

Contour Editor Tool Properties

850

Cutter Tool Properties

854

Drawing Pivot Tool Properties

858

Dropper Tool Properties

860

Edit Gradient/Texture Tool Properties

861

Ellipse Tool Properties

862

Envelope Tool Properties

871

Eraser Tool Properties

874

Ink Tool Properties

893

Inverse Kinematics Tool Properties

895

Line Tool Properties

898

Morphing Tool Properties

908

Paint Tool Properties

912

Pencil Tool Properties

919

Pencil Editor Tool Properties

929

Perspective Tool Properties

934

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Polyline Tool Properties

937

Rectangle Tool Properties

945

Reposition All Drawings Tool Properties

954

Rigging Tool Properties

956

Select Tool Properties

959

Shift and Trace Tool Properties

971

Smooth Editor Tool Properties

974

Stroke Tool Properties

976

Text Tool Properties

978

Transform Tool Properties

981

Zoom Tool Properties

984

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Chapter 4: Tools Properties

Brush Tool Properties
The Brush tool allows you to draw by creating shapes based on your drawing strokes and filling them withcolour or textures. When used with a tablet, it is pressure sensitive, just like a real life brush.

How to access the Brush tool properties
1. In the Tools toolbar, select the Brushtool.

The tool's properties are displayed in the Tool Properties view.

Brush Properties
The following properties affect the brush's size, smoothing and other properties for the drawing style of yourbrush. Those properties can be saved into brush presets for later use.
Property

Description

The Preview area lets you see a preview of the stroke your drawing tool will make.
Preview Area

Brush Properties Dialog

The arrow button right of the preview area opens the Brush Properties dialog.

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Property

Description

While the Tool Properties view only gives you access to a few of the brushproperties, a list of brush presets and other drawing options, the Brush Properties
dialog gives you access to all the available options for your brush's tip and texture.
For more information on the Brush Properties dialog, see the Brush Properties Dialog
section below.
Defines the maximum width of brush strokes.
Maximum Size

If the tool is used with a pressure sensitive pen tablet, the width of the stroke willvary between its maximum size and minimum size depending on the amount ofpressure used. If used with a mouse, the width of the stroke will always be its
maximum size.
Defines the number of control points added to the centre line. The fewer the control
points the smoother (but less faithful) the line.

Smoothing

NOTE
This option is only available when drawing on a vector layer.

Flow

Lets you set the opacity for each instance of the brush tip that gets printed into yourcanvas. Contrary to the Opacity parameter, the flow parameter has a cumulative
effect. This means that a lower flow will make your brush strokes more transparent
towards its extremities and more opaque in its center. Your stroke's flow will also
accumulate if you draw over it. By default, your brush's flow varies with the amountof pressure you put on your tablet pen.

NOTE
This option is only displayed in the Tool Properties view when drawing on abitmap layer.

Opacity

The Opacity parameter are where Lets you set the opacity of your brush strokes.
Contrary to the Flow parameter, the Opacity parameter is non-cumulative. Your
whole brush stroke's opacity will not exceed the Opacity parameter. By default, theOpacity parameter varies depending on the amount of pressure you put on yourtablet pen.

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Property

Description

NOTE
This option is only displayed in the Tool Properties view when drawing on abitmap layer.

Brush Presets
These options allow you to select, create and manage brush presets.
Icon

Property

Description
By default, Harmony has preloaded brush presets. You can also create
your own brush presets by configuring your brush, then saving its
properties into a new preset. It is also possible to export and import brush
presets.

Presets list

New Brush Preset

Creates a new preset based on the current tool properties.

Delete Brush

Deletes the currently selected preset.

Open a menu that contains the following options:l

Brush Presets Menu

l

l

l

New Brush Preset: Creates a new preset based on the current tool
properties.
Delete Brush: Deletes the currently selected preset.
Rename Brush: Allows you to rename the currently selected
preset.
Import Brushes: Allows you to import brush presets exported
from Harmony.

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l

l

l

l

Export Brushes: Allows you to export your brush presets into an.xml file.
Small Thumbnail: Displays presets in a grid of small thumbnails
with a preview of their tip.
Large Thumbnail: Displays presets in a grid of big thumbnails,
with their name and a preview of their tip.
Stroke View: Displays presets in a list, with their name and apreview of a stroke done with each preset.

Drawing Options
These options affect the way your drawing strokes are added to your artwork.
Icon

Property

Description
When enabled, your brush strokes will appear behind the existingartwork.

Draw Behind

NOTEYour brush stroke will temporarily appear over your artwork as
you draw it, until you release the mouse cursor or tablet pen.

When enabled, your brush strokes will only repaint existing artwork andwill not add colour to empty areas. If you repaint semi-transparent
artwork, your artwork will not become more opaque than it already is.
Repaint Brush

Automatically Create
Colour Art

As you draw in the Line Art layer, the Automatically Create Colour Art
option instantly creates the corresponding strokes in the Colour Art layer.

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Chapter 4: Tools Properties

NOTE
This option is only available when drawing on a vector layer.

By default, when drawing on a vector layer, each new stroke is created asa separate drawing object, which can be edited independently from otherparts of the artwork. When enabled, the Auto-Flatten option
automatically merges strokes into existing artwork.
Auto-Flatten Mode

NOTE
This option is only available when drawing on a vector layer.
When drawing on a bitmap layer, artwork is always flattened.

In the Colour view, it is possible to make some of the colours in yourpalettes protected from change. When enabled, the Respect Protected
Colour option will prevent the brush tool from drawing over areas filledwith a protected colour.
Respect Protected
ColourNOTE
This option is only available when drawing on a vector layer.
When drawing on a bitmap layer, colour is not linked to yourpalettes and cannot be protected.

Use Stored Colour
Gradient

The Use Stored Colour Gradient option can be used when painting with agradient colour to always position the gradient in the same way it wasstored, making it consistent across brush strokes. You can store a
gradient by selecting a zone painted with a gradient with the Select tool,
then clicking on Store Colour Gradientin the Tool Properties view.

NOTE
This option is only available when drawing on a vector layer.

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Brush Properties Dialog
Brushes have an extensive set of options and properties that are not displayed in the Tool Properties view, butrather, in a dialog you can access from it. To open the Brush Properties dialog, click on the arrow button right ofthe stroke display area.

The Brush Properties dialog has five different tabs, minus the Smoothing tab if you are working on a bitmap
layers. Below is detailed information about the options available in each tab:l

Tip Tab on page 831

lSmoothing Tab on page 836

lTransparency Tab on page 837l

Dual Tip Tab on page 840lPaper Texture Tab on page 844

Tip TabThe Tip tab allows you to configure the shape, size, hardness and spacing of your brush tip.

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Chapter 4: Tools Properties

Property

Description
Allows you to select between one of the following brush types:

Brush Typel

Solid Vector Brush: Creates vector shapes filled with a solid colour.
Makes artwork lightweight, scalable and easy to tweak. Since this kind ofbrush can only create solid colour shapes, solid vector brushes have a832

Harmony 16.0 Premium Reference Guide

limited set of options including size, roundness, angle, centerline
smoothing and contour smoothing.
l

Textured Vector Brush: Creates vector shapes filled with a texture. This
gives you access to bitmap brush tips, paper textures, transparency andseveral other options.

NOTE
This option is not available when working on a bitmap layer. With bitmap
layers, brushes are always textured, and textured brush options arealways available.

Brush Tip LibraryThis is where you select the shape of the brush tip. By default it is round. Notethat some tips are designed to have semitransparent areas, even when the
maximum brush opacity is set to 100%.
To create a custom brush tip, you must prepare the file ahead of time, either inHarmony or in a third-party software, such as Adobe Photoshop. Colour is notsupported and transparency is not supported in the traditional sense. Black
appears as 100% opaque, white appears as 100% transparent and all the shadesof grey in between appear as varying degrees of semitransparency. A range of fileformats are supported—.jpeg, .png, .tif, .psd, .tga to name a few. Alpha channels
are disregarded on import. It is recommended that your file be between 100 x
100 pixels and 400 x 400 pixels.
You can also import brush tips that you exported from Harmony, so you canshare them with colleagues.
The minimum and maximum sizes of your drawing tool produce the thick andthin effect on your stroke. This works with the pressure sensitivity of a pen
tablet.

Minimum and Maximum SizellMaximum Size: Defines the maximum width of the stroke.
Minimum Size: Defines the minimum width of the stroke in relation toand as a percentage of the maximum size.

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NOTE
Setting the Minimum Size value to 100% eliminates the possibility ofcreating width variation on your stroke. In other words, you would be
forcing a uniform line width using the Maximum Size value.

Proportional to Camera

If you check this option, the size of the brush will be adjusted to the position of
the camera on the z-axis. This means that if the camera is zoomed in on thescene, the brush will be proportionally smaller so that it appears the same size inthe rendered image. Likewise, if the camera is zoomed out, the brush will be
proportionally bigger.
The Roundness and Angle parameters allow you to change the shape andorientation of the tip.
llRoundness and Angle

Roundness: The vertical scaling to apply to the tip. Reducing this setting
squashes the tip vertically, allowing you to turn round or square tips into
flat tips.
Angle: The angle at which to rotate the brush tip, counterclockwise.

NOTE
The squashing is not relative to the angle—if the tip is rotated, thesquashing will still be done relative to the tip's original orientation.

The hardness value corresponds to the softness of the brush tip's edges. The
lower the value, the softer the tip edge. The higher the value, the sharper the tipedge. Be aware that some brush tips are not 100% opaque, so they will always
appear somewhat soft, even at 100% hardness.
Hardness

Spacing

Defines the amount of space between each stamp of the brush. A value of 100%
sets the stamp marks edge to edge, if there is no white space around the shape.
The larger the value, the greater the space between marks. A really large value
can make the brush stroke appear as a string of individual marks. Conversely, a834

Harmony 16.0 Premium Reference Guidesmall spacing value will give the appearance of a fluid brush stroke.
Spacing is only evident when making a continuous stroke.

Randomness

The Randomness parameters let you create a varied brush stroke. Refining these
options can give your stroke a lovely, non-mechanical look.
You can create variation between the thick and thin of your brush stroke just by
setting the Maximum and Minimum Size values. If you add randomness to themix, pressure sensitivity from your drawing tablet will still be applied. Lightpressure will create random values around the minimum, while heavy pressure
will create random values closer to the maximum. The larger the percentage, thelarger the range of random variation.

Random Size

NOTE
Setting the Minimum Size to 100% eliminates the possibility of creating
width variation on your stroke, whether you are applying randomness ornot. Therefore, you would be forcing a uniform line width using theMaximum Size value.

Random Angle

Sets the range for random rotation around the set Angle value. For example, if
the Angle is set to 45° and the Random Angle set to 10°, the software will
choose values between 40°–50° (plus or minus 5 degrees, equaling a total of 10
degrees).

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Chapter 4: Tools Properties

Sets the range for random spacing around the set Spacing value. For example, if
the Spacing is set to 50% and the Random Spacing is set to 10%, then Harmony
will choose values between 45%–55% (plus or minus 5 percent, equaling a totalof 10 percent).

Random Spacing

Smoothing Tab
The Smoothing tab contains options to configure how Harmony should automatically smooth your brushstrokes as you paint.

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NOTE
The Smoothing tab is only available when working on a vector layer, as bitmap layers do notsupport smoothing.

Property

Description

Centerline Smoothing

Defines the amount of smoothing Harmony should perform on your brush stroke's
direction, curves and corners. A higher setting will prevent your line from being
shaky, but is liable to reduce drawing precision and turn sharp angles into curves.

Contour Smoothing

Defines the amount of smoothing Harmony should perform on outer contour of thebrush stroke. A higher setting will round sharp corners and reduce the amount ofcontrol points for the resulting vector shape.

Transparency Tab
The Transparency tab allows you to decide if your brush has antialiasing as well as to set its flow and opacity
settings.

NOTE
The Transparency tab's options are only available on vector layers if the Brush Type option of the
Tip tab is set to Textured Vector Brush. On bitmap layers, those options are always available.

Property

Description

Antialiasing

Enabled by default. This option causes the contours of the brush strokes to837

Chapter 4: Tools Properties

blend with the surrounding colours, to create an illusion of smoothness
otherwise not possible due to the picture resolution.
If antialiasing is disabled, the brush's texture will only render fully transparent or
fully opaque pixels. Disabling this option can be useful if you need your outlines
to be very crisp, if you want to make pixel art or if you need your brush strokes torender in solid colors with no variation, which makes them easier to repaint orprocess in third party software.

NOTE
When disabled, all other options in the Transparency tab are disabled.

The Maximum and Minimum Flow parameters let you set the range for the rate at
which paint flows from your brush. The analogy works better with a pen. The
greater the flow, the more ink comes out, hence the more consistent the colour
and texture of the line. If the flow is light, then the colour and texture of the line
may look spotty. This feature works with the pressure sensitivity of a pen tablet.
llMaximum and Minimum Flow

Maximum Flow: Sets the maximum rate at which colour and texture areapplied as you create a fluid stroke.
Minimum Flow: Sets the minimum rate at which colour and texture areapplied as you create a fluid stroke. It is defined as a percentage of theMaximum Flow value. If the Minimum Flow value is set to 100%, thentablet pressure sensitivity will no longer be applicable. The flow will be
set to the constant rate of the Maximum Flow value.

The Maximum and Minimum Opacity parameters are where you set the opacity
range for a brush mark. This works with the pressure sensitivity of a pen tablet.
l

Maximum Opacity and
Minimum Opacityl

Maximum Opacity: Sets the transparency limit of the brush mark when
the pressure is heavy.
Minimum Opacity: Sets the transparency limit of the brush mark when thepressure is very light. It is defined as a percentage of the Maximum
Opacity value. If the Minimum Opacity value is set to 100%, then tablet
pressure sensitivity will no longer be applicable. The opacity will be set tothe constant rate of the Maximum Opacity value.

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RandomnessTh Randomness parameter lets you set the range for the randomness of the flow
and opacity. This works with the pressure sensitivity of a pen tablet.
You can create variation in the flow of your brush stroke just by setting theMaximum and Minimum Flow values. If you add randomness to the mix, pressure
sensitivity from your drawing tablet will still be applied. Light pressure will create
random values around the minimum, while heavy pressure will create random
values closer to the maximum. The larger the percentage, the larger the range ofrandom variation.

Randomness Flow

NOTE
Setting the Minimum Flow value to 100% eliminates the possibility ofcreating flow variation on your stroke, whether you are applying
randomness or not. That is, you would be forcing a uniform flow using theMaximum Flow value.

Random Opacity

You can create variation in the opacity of your brush stroke just by setting theMaximum and Minimum Opacity values. If you add randomness to the mix,pressure sensitivity from your drawing tablet will still be applied. Light pressure
will create random values around the minimum, while heavy pressure will create
random values closer to the maximum. The larger the percentage, the larger therange of random variation.

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Chapter 4: Tools Properties

NOTE
Setting the Minimum Opacity value to 100% eliminates the possibility ofcreating opacity variation on your stroke, whether you are applying
randomness or not. That is, you would be forcing a uniform opacity using
the Maximum Opacity value.

Dual Tip Tab
The Dual Tip tab lets you set the parameters for creating a dual tip brush. The primary bitmap brush tip and thedual tip always work together. You can set the parameters for the primary tip in the Tip tab and those for thedual tip in the Dual Tip tab. The Blend mode you select determines how the tips are combined.
By default, the Blend Mode is set to Multiply and the Random Angle to 360°.

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NOTE
To use a Dual Tip, you must enable option by checking the checkbox inside the Dual Tip tab.
Additionally, if you are working on a vector layer, the Brush Type option of the Tip tab must be set
to Textured Vector Brush.

Property

Description

Enable/Disable

The checkbox inside the tab allows you to decide whether or not your brush uses adual tip. If this checkbox is unchecked, the options in the Dual Tip tab will bedisabled.

Blend Mode

The Blend modes let you decide how the primary tip and the dual tip are combined.

Multiply

This is the default blend mode. When the two brush tips are combined in this mode,
they essentially cut each other out in overlapping areas, where one or both tips havean area of 100% transparency. The less opaque the brush tips are, the lighter their
combination.

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Chapter 4: Tools Properties

Property

Colour Dodge

Description

In this mode, the primary tip cuts out the shape of the dual tip. Where the tip shapes
overlap, within the boundaries of the primary shape, the colour and opacity appear
darker.

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Property

CombineDescription

This mode treats the two tips as two different and separate brushes that have thesame colour and follow the same path.

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Chapter 4: Tools Properties

Property

Description

Paper Texture Tab
The Paper Texture tab lets you configure a paper-like texture for your brush. You can also add textures byimporting image files, or import paper textures that were previously exported from Harmony.

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NOTE
To use a Paper Texture, you must enable option by checking the checkbox inside the Paper
Texture tab. Additionally, if you are working on a vector layer, the Brush Type option of the Tip tab
must be set to Textured Vector Brush.

Property

Description

Enable/Disable

The checkbox inside the tab allows you to decide whether or not your brush uses apaper texture. If this checkbox is unchecked, the options in the Paper Texture tab will
be disabled.

Texture Scale

Increase or decreases the size of the paper texture.

Additive

This option layers the texture on top of itself as you scribble overlapping lines in one
continuous stroke. If this option is turned off, areas of overlapping lines from a single,
continuous stroke will appear the same, in terms of darkness and texture, as nonoverlapping areas.

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Chapter 4: Tools Properties

Property

Description

This option defines the way separate, overlapping strokes behave. If this option isenabled, the paper texture's position does not change with each sweep of the brush.
If this option is disabled, each sweep of the brush produces a different texture
position. The texture orientation always stays the same.

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Centerline Editor Tool Properties
The Centerline Editor tool allows you to edit brush strokes by their centreline rather than by their contour. This
makes it easier to tweak the tips, curves and corners of brush strokes. The purpose of this tool is to make it aseasy to edit brush strokes as it is to edit pencil lines with the Contour Editor tool.

How to access the Centerline Editor tool properties
1. In the Tools toolbar, select the Centerline Editor

tool.

2. The tool's properties are displayed in the Tool Properties view.

Tool Options
Icon

Property

Description

Allows you to choose the method to visually select multiple
elements:
Lasso: Allows you to select multiple elements byldrawing a lasso around them with your mouse.
Marquee: Allows you to select multiple elements bylSelection Modedrawing a rectangle around them. This is faster, as you
only need to drag your mouse from one corner of therectangle to its opposite corner, but it may not be as
precise as you want.

TIP
You can press and hold the Alt key to temporarily use
the other selection mode.

Show Centerline Editor Controls

When enabled, selecting several control points will make amanipulator bounding box appear. You can use this manipulator
to scale and rotate the selection of points.

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Chapter 4: Tools Properties

Icon

Property

Description

Allows you to perform drawing operations on both the Line Art
and Colour Art layers of your drawing simultaneously.
Apply to Line and Colour Art

NOTE
If you have Overlay and Underlay Art layers enabled,
they will also be affected when this option is enabled.

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Close Gap Tool Properties
The paint tool requires the area you attempt to fill to be closed in order to know exactly what area of yourartwork must be filled. However, it is common for artists to accidentally leave small gaps in their artwork.
The Close Gap tool allows you to quickly close small gaps in a shape by creating an invisible stroke connecting
two extremities of the gap. You can then fill the area using the Paint tool, as this invisible stroke will be taken inaccount to determine the outline of the shape to fill.
TIP
You do not need to use the Close Gap tool with precision. If you draw a crude stroke near the gap
you want to close, the tool will automatically detect the two closest line extremities and will draw aninvisible straight line connecting them. closing the gap between them.

How to access the Close Gap tool properties
1. In the Tools toolbar, select the Close Gap

tool.

The tool's properties are displayed in the Tool Properties view.

Tool Options
Icon

Property

Description

The Close Gap tool creates an invisible drawing stroke to close the shape. Enabling thisoption will merge the stroke into the artwork instead of adding the stroke on top of it.
Auto
FlattenNOTE
The area you close with the Close Gap tool will be fillable regardless of whether
or not this option is enabled.

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Chapter 4: Tools Properties

Contour Editor Tool Properties
The Contour Editor lets you reshape vector shapes, brush strokes and lines in your drawings.
Artwork in Harmony is made of vector shapes. Vector shapes are defined by points, the lines joining the points
together (contours) and the curve vectors, represented by Bezier handles, which make the curve of said lines.

The Contour Editor tool allows you to select a contour or point, and change the position of points, add andremove points from the shape, rotate, lengthen and shorten curve handles to influence the curve of contours
between those points, or drag contours between points to change their curve directly.

How to access the Contour Editor tool properties
1. In the Tools toolbar, select the Contour Editor

tool.

The tool's properties are displayed in the Tool Properties view.

Tool Modes
Icon

Property

Description

Allows you to choose the method to visually select multiple elements:lLasso: Allows you to select multiple elements by drawing alasso around them with your mouse.

Selection ModelMarquee: Allows you to select multiple elements bydrawing a rectangle around them. This is faster, as you only
need to drag your mouse from one corner of the rectangle to850

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Icon

Property

Description

its opposite corner, but it may not be as precise as you want.

TIP
You can press and hold the Alt key to temporarily use theother selection mode.

Snaps your selection or point to any line you position it on. As soon
as you move it close enough to another line, your point or selection
will snap to it.
Snap to Contour

Snaps the selected anchor point to any existing line while displaying
temporary rulers as a guide that you can also snap your anchor pointto.
Snap and Align

When enabled, selecting several control points will make amanipulator bounding box appear. You can use this manipulator toscale and rotate the selection of points.
Show Contour Editor
Controls

Apply to Line and Colour
Art

Allows you to perform drawing operations on both the Line Art andColour Art layers of your drawing simultaneously.

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Chapter 4: Tools Properties

Icon

Property

Description

NOTE
If you have Overlay and Underlay Art layers enabled, they
will also be affected when this option is enabled.

Operations
Icon

Property

Description

The Smooth operation lets you smooth out selected drawing strokes
and remove extra points.

Smooth Selection

TIP
You can also smooth the selection by selecting Drawing>

Optimize > Smooth from the top menu or by pressing Alt +Shift + S.

Split Pencil Line
Join Pencil Lines

When drawing with the Polyline tool, your drawing has an even line
thickness. You can use the Pencil Editor to adjust the thickness point
by point, but if you want to adjust it quicker, you can use the Split
Pencil Line and Point Pencil Lines options to create segments andapply a pencil stencil to your drawing. Note that if you did not join the
pencil lines on your polyline stroke, the segments between the points
will act as separated segments.

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Icon

Property

Description

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Chapter 4: Tools Properties

Cutter Tool Properties
The Cutter tool lets you cut out part of a drawing so that you can transform it, copy it or delete it.

How to access the Cutter tool properties
1. In the Tools toolbar, select the Cutter

tool.

The tool's properties are displayed in the Tool Properties view.

Tool Options
Icon

Property

Description

Allows you to choose the method to visually select multiple elements:lLasso: Allows you to select multiple elements by drawing a lasso
around them with your mouse.

lSelection Mode

Marquee: Allows you to select multiple elements by drawing a
rectangle around them. This is faster, as you only need to drag yourmouse from one corner of the rectangle to its opposite corner, but it
may not be as precise as you want.

TIP
You can press and hold the Alt key to temporarily use the otherselection mode.

Easy Drag

Use Mouse
GestureWhen enabled, you can drag the selection by clicking anywhere inside its
bounding box. By default, you must click on the artwork in the selection to beable to drag it.

When this option is enabled along with the Lasso

selection type, quickly

drawing a line with the Cutter tool over a line segment in your artwork will
instantly delete it. This can be useful if you want to use the Cutter tool to854Harmony 16.0 Premium Reference Guide

Icon

Property

Description

quickly clean up your artwork.

NOTE
This option will only work when using the Cutter tool on separate brushor pencil strokes. Hence, it is important not to flatten your artwork if you
intend to use this option to clean up your drawings. This option has noeffect on bitmap layers as the artwork in bitmap layers is always
flattened.

When using the Lasso selection type, the Use Mouse Gesture Breaker Mode
option lets you draw an invisible stroke on a pencil line to cut it in two
individual objects. Once a pencil line is cut with this option, you will be able toselect the two portions independently with either the Cutter tool, Pencil Editor
tool or Select tool.
Use Mouse
Gesture Breaker
Mode

NOTE
This option only works with pencil lines.

Tip Style

When cutting through pencil lines, this option decides what kind of pencil line
tips to put at the extremities of the remaining pencil line segments, where they
were cut.

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Chapter 4: Tools Properties

Icon

Property

Description

By default, this is set to Bevel, which will leave the tip of the pencil line cutat the same angle as your cutter stroke. If you prefer, you can make pencil linesthat you split with the Cutter tool have Flat

or Roundtips instead.

When working on bitmap artwork, enabling this will smooth the edges of theartwork you cut out, so that they do not appear pixelated.
Antialiasing

NOTE
This option is only available with bitmap layers.

This option allows you to select which layers the tool should affect. It can be
toggled on or off. When toggled on, it has two different modes. You can selecta mode by clicking and holding on the button.
l

Apply to Visible
Drawing LayerslOff: When this button is toggled off, the tool only works on thecurrently selected layers. If several layers are selected, the tool will workon all these layers simultaneously.
Apply to Visible Drawing Layers: The tool will work on all thevisible layers in the Camera view.

l

Apply to Synced Drawing Layers: If the currently selected layer is
synced with another layer, the tool will work on both the current layer
and its synced layer.

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Icon

Property

Description

NOTE
This option only works in the Camera view.

This option allows you to determine which drawings in the current layer the
tool should affect. It can be toggled on or off. When toggled on, it has two
different modes. You can select a mode by clicking and holding on the button.
l

Apply to All
Framesl

Off: When this button is toggled off, the tool only works on the drawing
in the current frame.
Apply to All Frames: The tool will work on every exposed drawing inthe selected layer simultaneously.

lApply to Onion Skin Range: The tool will work on every drawing
displayed in the Onion Skin. Onion Skin must be enabled for this option
to work.

Allows you to perform drawing operations on both the Line Art and Colour Art
layers of your drawing simultaneously.
Apply to Line andColour Art

NOTE
If you have Overlay and Underlay Art layers enabled, they will also beaffected when this option is enabled.

Operations
Icon

Property

Description

Flip Horizontal

Flips the current selection horizontally.

Flip Vertical

Flips the current selection vertically.

Rotate 90 Degrees
CW

Rotates the current selection 90 degrees clockwise.

Rotate 90 Degrees
CCW

Rotates the current selection 90 degrees counter-clockwise.

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Chapter 4: Tools Properties

Drawing Pivot Tool Properties
The Drawing Pivot tool lets you set the pivots on your character. You can set the drawing pivots on drawings
and symbols.

Tool Options
Icon

Property

Description
The Set the Pivot for Symbol on All Frames option isenabled by default. When you set a drawing pivot on
a symbol, all of its cells use the same drawing pivot.
This means you do not have to set a drawing pivot on
all frames. Once you set it, it is done.
If you prefer to set a different drawing pivot for aseries of cells, you can deselect the option and set
your pivots on each cell or cell range.

Setting the Drawing Pivot for Symbols on
All Frames

NOTE
If you have already set several different
pivots on your symbol's cells and selected
the Set the Pivot for Symbol on All Frames
option, once you set a new pivot on thesame symbol, all of its pivots will be reset
and will use your new pivot.

Snap to Contour

Snaps your selection or point to any line you position
it on. As soon as you move it close enough to anotherline, your point or selection will snap to it.

Snap and Align

Snaps the selected anchor point to any existing line
while displaying temporary rulers as a guide that you
can also snap your anchor point to.

Snap to Grid

Snaps your selection following the currently enabled
grid.

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When you click the Reset Pivot option, the drawing
Reset Pivot

pivot of the selected drawing or symbol is reset to thecentre of the Camera view.
When you import new extra drawings, such as hands
and mouths, you can use the drawing pivot that wasset on your drawings and report them to the symbol's
cells. Use the Copy Pivot to Parent Symbol commandfor this.

NOTE

Copying Pivot on Parent Symbol

When you copy drawing pivots to the parent
symbol, there is no link between thedrawings' pivots and the symbol's pivots. If
you modify the drawing pivot later, it will
not link to the symbol. You would need toperform the operation again. If you need tomodify the symbol's pivots, you can do it
directly on the symbol's cells.

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Chapter 4: Tools Properties

Dropper Tool Properties
The Dropper tool allows you to pick a colour from your drawing without going to the Colour view.
NOTE
The following options will only have an effect when picking colours from a bitmap layer, as theyaffect the colour that gets picked. When working on a vector layer, you can only pick colours thatare available in one of the palettes in your scene. Therefore, the colour you pick will always be
exactly the colour that was used to fill the shape or stroke you clicked on.

How to access the Dropper tool properties
1. In the Tools toolbar, select the Droppertool.

The tool's properties are displayed in the Tool Properties view.

Icon

Property

Sample All
LayersDo Not Pick
Transparency

Description

By default, the Dropper tool picks the colour from the active drawing layer only.
This means that if the colour is semi-transparent, it will still only take the colour
from the active layer, along with its transparency, and ignore the colours from layers
behind it.
With this option enabled, the Dropper tool will pick the colour as it appears on thescreen instead, allowing you to pick colours that are the result of several layers
composited together.
By default, the Dropper tool picks the colour's alpha value as well as its colour
values. When enabled, the colour picked will always have an alpha value of 255.

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Edit Gradient/Texture Tool Properties
The Edit/Gradient Texture tool allows you to move, rotate and scale a gradient or texture fill within the shape it
fills, without modifying the shape itself.

How to access the Edit Gradient/Texture tool properties
1. In the Tools toolbar, select the Edit Gradient/Texture

tool.

The tool's properties are displayed in the Tool Properties view.

Tool Options
Icon

Property

Description

This option allows you to select which layers the tool should affect. It can be
toggled on or off. When toggled on, it has two different modes. You can selecta mode by clicking and holding on the button.
l

Apply to Visible
Drawing LayerslOff: When this button is toggled off, the tool only works on thecurrently selected layers. If several layers are selected, the tool will workon all these layers simultaneously.
Apply to Visible Drawing Layers: The tool will work on all thevisible layers in the Camera view.

l

Apply to Synced Drawing Layers: If the currently selected layer is
synced with another layer, the tool will work on both the current layer
and its synced layer.

NOTE
This option only works in the Camera view.

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Chapter 4: Tools Properties

Ellipse Tool Properties
The Ellipse tool allows you to quickly draw an ellipse or a circle.

How to access the Ellipse tool properties
1. In the Tools toolbar, select the Ellipse

tool.

The tool's properties are displayed in the Tool Properties view.

Pencil Properties
Just like other shape tools, this tool creates pencil lines. Hence, its tool properties are similar to the ones of thePencil tool and it can be used with pencil presets.

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Property

Description

The Preview area lets you see a preview of the stroke your drawing tool will make.
Preview Area

The arrow button right of the preview area opens the Pencil Properties dialog.

Pencil Properties
DialogSize

While the Tool Properties view only gives you access to a few of the pencil properties,
a list of pencil presets and other drawing options, the Pencil Properties dialog gives
you access to all the available options for your pencil's shape and texture. For more
information on the Pencil Properties dialog, see the Pencil Properties Dialog on page867 section below.
Defines the width of the pencil line used to draw the shape.
You can adjust the start, end, and join style of a pencil line.

Shape

l

l

l

Start: Lets you select the style of the start tip, which is the first tip you drew.
You can choose between Round or Flat style.
End: Lets you select the style of the end tip, which is the last tip you drew. You
can choose between Round or Flat style.
Join: Lets you select the joint style. The joints are where the line curves abruptly.
You could also define the Join style as the corner style. You can choose between
Round, Mitre and Bevel style.

Pencil Presets
These options allow you to select, create and manage pencil presets.
Icon

Property

Description

Presets list

Harmony provides a variety of pencil presets and thickness stencils and863

Chapter 4: Tools Properties

Icon

Property

Description

also lets you create and save your own. It is a good idea to create andsave pencils with precise sizes and parameters when you draw for
efficiency and consistency.
A thickness stencil saves the thickness information across the length ofthe line. When drawing with a thickness stencil, the pressure sensitivityof the tablet is discarded. A thickness stencil can be used while drawing,or applied afterwards.
You also have the possibility to apply different textures to your lines byeither using the default presets or to import your own.
You can export the pencil presets that you have created and import thosethat others have created. This is a good way for you and project
collaborators to keep a consistent look for the project.

New Brush Preset

Creates a new preset based on the current tool properties.

Delete Brush Preset

Deletes the currently selected preset.

Open a menu that contains the following options:
l

l

l

l

Brush Presets Menu
l

l

l

l

New Brush Preset: Creates a new preset based on the current tool
properties.
Delete Brush: Deletes the currently selected preset.
Rename Brush: Allows you to rename the currently selected
preset.
Import Brushes: Allows you to import brush presets exported
from Harmony.
Export Brushes: Allows you to export your brush presets into an.xml file.
Small Thumbnail: Displays presets in a grid of small thumbnails
with a preview of their tip.
Large Thumbnail: Displays presets in a grid of big thumbnails,
with their name and a preview of their tip.
Stroke View: Displays presets in a list, with their name and apreview of a stroke done with each preset.

Drawing Options
These options affect the way your shape is added to your artwork.

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Icon

Property

Description

When enabled, your brush strokes will appear behind the existing artwork.

Draw Behind

NOTEYour brush stroke will temporarily appear over your artwork as you
draw it, until you release the mouse cursor or tablet pen.

When enabled, the shape you draw is automatically filled with the selectedcolour. By default, drawing a shape only creates its outlines.

Auto Fill

TIP
By default the pencil line and its fill will be the same colour. If you
want to select different colours for the pencil line and its fill, you
can click on the Unlock Three Colours

button in the Colour

view, then select different colours for Brush strokes
lines

and Paint fills, Pencil.

Snap to Contour

When enabled, while you're drawing, the mouse cursor will snap to the
nearby contours of the artwork in your drawing.

Snap and Align

When enabled, while you're drawing, the mouse cursor will automaticallyalign to the rectangular bounding boxes of other strokes and shapes inyour drawing.

Snap to Grid

When enabled, while you're drawing, the mouse cursor will snap against
the intersecting points of the grid.

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Icon

Property

Description

TIP
To display the grid, select View > Grid > Show Grid from the top
menu or press Ctrl + '.

As you draw in the Line Art layer, the Automatically Create Colour Art
option instantly creates the corresponding strokes in the Colour Art layer.
Automatically Create
Colour Art

By default, when drawing on a vector layer, each new stroke is created as aseparate drawing object, which can be edited independently from otherparts of the artwork. When enabled, the Auto-Flatten option automaticallymerges strokes into existing artwork.

Auto Flatten Mode

NOTE
Using the Select tool, you can use select and remove a segment offlattened pencil lines. Overlapping pencil lines drawn with theAuto-Flatten mode are essentially cut into segments by theoverlap and can be treated as individual lines.

Use Stored Colour
Gradient

The Use Stored Colour Gradient option can be used when painting with agradient colour to always position the gradient in the same way it wasstored, making it consistent across brush strokes. You can store a gradientby selecting a zone painted with a gradient with the Select tool, thenclicking on Store Colour Gradient

Draw Circle

in the Tool Properties view.

When checked, the shape you draw will be of equal width and height,
making it a perfect circle.

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Icon

Property

Description

TIP
You can also draw a circle by holding the Shift key while drawing.

Pencil Properties Dialog
The Ellipse tool draws the same type of line as the Pencil tool. Hence, you can configure the Ellipse tool's lines
using the Pencil Properties dialog, which you can open by clicking on the arrow button right of the stroke
display area in the Tool Properties view.

Size and Smoothness Tab
The Size and Smoothness tab allows you to select your pencil's size, its smoothing parameters as well as theshape of its tips and corners.

Property

Description

Maximum Size

Defines the maximum size of the pencil line. If the tool is used with a pressure
sensitive pen tablet, the width of the stroke will vary between its maximum size andminimum size depending on the amount of pressure used. If used with a mouse, thewidth of the stroke will always be its maximum size.

Minimum Size

Defines the minimum size of your stroke as a percentage of the maximum size. If you

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Property

Description

do not have pressure sensitivity from a pen table, the minimum size value will beignored.

Proportional to Camera

If you check this option, the size of the pencil will be adjusted to the position of thecamera on the z-axis. This means that if the camera is zoomed in on the scene, thepencil will be proportionally smaller so that it appears the same size in the rendered
image. Likewise, if the camera is zoomed out, the pencil will be proportionally bigger.

Smoothing

Defines the number of control points added to the centre line. The fewer the control
points the smoother (but less faithful) the line.

Contour Smoothing

Defines the number of points on the contour share of your stroke. This will smoothout the bumps and waves on tour contour shape of your brush strokes.
You can adjust the start, end, and join style of a pencil line.

Shape

l

l

l

Start: Lets you select the style of the start tip, which is the first tip you drew.
You can choose between Round or Flat style.
End: Lets you select the style of the end tip, which is the last tip you drew.
You can choose between Round or Flat style.
Join: Lets you select the joint style. The joints are where the line curves
abruptly. You could also define the Join style as the corner style. You canchoose between Round, Mitre and Bevel style.

Texture Tab
In the Pencil Properties view, the Texture tab allows you to select a pencil texture from the currently selected
pencil texture palette to use with the Pencil tool. You can also add, remove or rename textures, save the current
pencil texture palette as the default one, or import the pencil texture palette into your scene.
The pencil texture palette used in the Texture tab of the Pencil Properties dialog is the one selected in the
Colour view. You can select a pencil texture palette by selecting it from the pencil texture palette list in the
Colour view—see Colour View on page 1058.

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Icon

Property

Use as Default Pencil
Texture Palette

Description

Sets the currently selected pencil texture palette as the default pencil
texture palette in your user preferences. The default pencil texture paletteis added to every scene you create in Harmony. The palette is copied inyour preferences, so it will be added to your new scenes in the exact state
it is when you make it the default pencil texture palette.

Reload Default Texture
PaletteImports the default pencil texture palette as a new pencil texture palette
into your scene's palette list, and selects it as the current pencil texture
palette.

New Texture

Allows you to import an image file into a new pencil texture swatch in thecurrent pencil texture palette. The pencil texture's effect on your pencil line
will be based on the image's transparency channel, and will follow yourpencil lines on its horizontal axis.

Delete Texture

Deletes a pencil texture swatch from the current pencil texture palette.

Rename Texture

Renames the selected pencil texture swatch in the current pencil texture
palette.

Pencil Texture List

Displays the pencil textures in the current pencil texture palette and allows
you to select one to use with the Pencil tool.

Pencil Texture Palette

Displays the name of the currently selectedpencil texture palette, for869

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Icon

Property

Description

reference. To select a different pencil texture palette, you must select it in
the Colour view—see Colour View on page 1058.

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Envelope Tool Properties
Selecting the Envelope tool displays its properties and options in the Tool Properties view.

Icon

Tool Name

Description
Increase the width and height values to add morecolumns and rows to the deformation grids.

Width and Height

Sets the selection mode to Lasso, which allows you toselect multiple items by drawing a lasso around them.

TIP

Lasso

When this option is enabled, you can press
and hold the Alt key to temporarily use
Marquee mode.

Sets the selection mode to Marquee, which allows you
to select multiple items by drawing a rectangle aroundthem.

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TIP
When this option is enabled, you can press
and hold the Alt key to temporarily use
Lasso mode.

Snap to Contour

Snaps your selection or point to any line you position
it on. As soon as you move it close enough to anotherline, your point or selection will snap to it.

Snap and Align

Snaps the selected anchor point to any existing line
while displaying temporary rulers as a guide that you
can also snap your anchor point to.
Snaps your selection following the currently enabled
grid.

Snap to Grid

To display more controls,you can click on the Show
Advanced Controls button.

Show Advanced Controls

Allows you to perform drawing operations on boththe Line Art and Colour Art layers of your drawing
simultaneously.

Apply to Line and Colour
Art

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NOTE
If you have Overlay and Underlay Art layers
enabled, they will also be affected when thisoption is enabled.

Flip Horizontal

Flips the current selection horizontally.

Flip Vertical

Flips the current selection vertically.

Rotate 90 Degrees CW

Rotates the current selection 90 degrees clockwise.

Rotate 90 Degrees CCW

Rotates the current selection 90 degrees counterclockwise.
You can modify the central line smoothness of yourline using this option. This parameter smooths thedeformed lines. Increasing the value will result in asmoother line with fewer control points. The more you
increase the value, the less details and curves you willget. Use the left and right arrows to increment the

Smoothvalue by one full unit. Use the Up - Down slider toquickly increment the value.

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Eraser Tool Properties
The Eraser tool allows you to erase artwork by drawing eraser strokes over it. When using the Eraser tool witha tablet, it is pressure sensitive, like with the Brush and Pencil tool.

How to access the Eraser tool properties
1. In the Tools toolbar, select the Eraser

tool.

The tool's properties are displayed in the Tool Properties view.

Eraser Properties
The way the Eraser tool is configured is almost identical to the way the Brush tool is configured.
Property

Description

The Preview area lets you see a preview of the stroke your drawing tool will make.
Stroke Preview Area

Eraser Properties
Dialog

The arrow button right of the display area opens the Eraser Properties dialog, which
gives you access to all the parameters and options for your eraser. The Tool Properties
view only gives you access to a few of the eraser properties, a list of eraser presets andoptions for the Eraser tool that are not related to the eraser properties. For more

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Property

Description

information on the Eraser Properties dialog, see the Eraser Properties Dialog section
below.

Defines the maximum size of the eraser.
Maximum Size

Smoothing

Flow

If the tool is used with a pressure sensitive pen tablet, the width of the stroke will vary
between its maximum size and minimum size depending on the amount of pressureused. If used with a mouse, the width of the stroke will always be its maximum size.
Defines the number of control points added to the centre line. The fewer the control
points the smoother (but less faithful) the line.
Lets you set the opacity for each instance of the eraser tip that gets erased from yourartwork. Contrary to the Opacity parameter, the flow parameter has a cumulative effect.
This means that a lower flow will make your eraser strokes less effective towards its
extremities and more effective in its center. Your stroke's flow will also accumulate if
you draw over it. By default, your eraser's flow varies with the amount of pressure you
put on your tablet pen.

NOTE
This option is only displayed in the Tool Properties view when drawing on abitmap layer.

The Opacity parameter are where Lets you set the opacity of your brush strokes.
Contrary to the Flow parameter, the Opacity parameter is non-cumulative. Your wholebrush stroke's opacity will not exceed the Opacity parameter. By default, the Opacity
parameter varies depending on the amount of pressure you put on your tablet pen.
Opacity

NOTEThis option is only displayed in the Tool Properties view when drawing on abitmap layer.

Eraser Presets
These options allow you to select, create and manage eraser presets.

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Icon

Property

Description

Presets list

By default, Harmony has preloaded eraser presets. You can also create
your own eraser presets by configuring your eraser, then saving its
properties into a new preset. It is also possible to export and import eraser
presets.

New Brush Preset

Creates a new preset based on the current tool properties.

Delete Brush

Deletes the currently selected preset.

Rename Brush

Allows you to rename the currently selected preset.

Import Brushes

Allows you to import brush presets exported from Harmony.

Export Brushes

Allows you to export your brush presets into an .xml file.

Small Thumbnail

Displays presets in a grid of small thumbnails with a preview of their tip.

Large Thumbnail

Stroke View

Displays presets in a grid of big thumbnails, with their name and apreview of their tip.
Displays presets in a list, with their name and a preview of a stroke donewith each preset.

Erasing Options
These options affect the way your eraser strokes are applied to your artwork.
Icon

Property

Description

Allows you to perform drawing operations on both the Line Art and Colour
Art layers of your drawing simultaneously.
Apply to Line andColour Art

NOTE
If you have Overlay and Underlay Art layers enabled, they will
also be affected when this option is enabled.

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Icon

Property

Description

If you erase the end of a pencil line or erase a pencil line through the centre,
new line tips are created. Use the Tip Style option to customize the shapeof the tips of the pencil lines that are trimmed by the Eraser tool.

Tip Style

By default, this option is set to Bevel, which will leave the end of thepencil line cut at the same angle as the eraser stroke
Apply to Synced
Drawing Layers

If the currently selected layer is synced with another layer, the tool will
work on both the current layer and its synced layer.

Eraser Properties Dialog
Erasers have an extensive set of options and properties that are not displayed in the Tool Properties view, butrather, in a dialog you can access from it. To open the Eraser Properties dialog, click on the arrow button right ofthe stroke display area.

The Eraser Properties dialog has five different tabs, minus the Smoothing tab if you are working on a bitmap
layers. Below is detailed information about the options available in each tab:l

Tip Tab on page 877lSmoothing Tab on page 882

lTransparency Tab on page 883l

Dual Tip Tab on page 886lPaper Texture Tab on page 890

Tip TabThe Tip tab allows you to configure the shape, size, hardness and spacing of your eraser tip.

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Property

Description

Allows you to select between one of the following eraser types:llEraser Typel

Solid Vector: Simply cuts out the eraser stroke's shape from the vector artwork.
A solid vector eraser always completely erase the artworks leaving hard seams.
Textured Eraser: Allows to configure the eraser with the same options as witha textured brush. A textured eraser will decrease the opacity of bitmap texturesin textured brush strokes if it doesn't completely erase it. If it completely erases
a brush stroke, it will cut out the erased part from the vector artwork.
Textured, Preserve Vector: Like a Textured Eraser, except that it will not cut out
from the vector shapes, even if it fully erases pixels in a textured brush stroke's
texture.

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Property

Description

NOTE
Textured erasers only work as expected on textured brush strokes. Using a
Textured eraser on a solid vector brush stroke or on a pencil line will only cut
the eraser stroke's shape out of it. If you use a Textured, Preserve Vector typeeraser on a solid vector shape or on a pencil line, the eraser will not erase
anything.

NOTE
This option is not available when working on a bitmap layer. With bitmap layers,erasers are always textured, and textured eraser options are always available.

Eraser Tip LibraryThis is where you select the shape of the eraser tip. By default, it is round. Note thatsome tips are designed to have semitransparent areas, even when the maximum eraser
opacity is set to 100%.
To create a custom eraser tip, you must prepare the file ahead of time, either inHarmony or in a third-party software, such as Adobe Photoshop. Colour is notsupported and transparency is not supported in the traditional sense. Black appears as
100% opaque, white appears as 100% transparent and all the shades of grey inbetween appear as varying degrees of semitransparency. A range of file formats aresupported—.jpeg, .png, .tif, .psd, .tga to name a few. Alpha channels are disregardedon import. It is recommended that your file be between 100 x 100 pixels and 400 x 400
pixels.
You can also import eraser tips that you exported from Harmony, so you can sharethem with colleagues.
The minimum and maximum sizes of your drawing tool produce the thick and thineffect on your stroke. This works with the pressure sensitivity of a pen tablet.

Minimum and Maximum
Size

l

l

Maximum Size: Defines the maximum width of the stroke.
Minimum Size: Defines the minimum width of the stroke in relation to and as apercentage of the maximum size.

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Property

Description

NOTE
Setting the Minimum Size value to 100% eliminates the possibility of creating
width variation on your stroke. In other words, you would be forcing a uniform
line width using the Maximum Size value.

If you check this option, the size of the eraser will be adjusted to the position of the
Proportional to Camera

camera on the z-axis. This means that if the camera is zoomed in on the scene, theeraser will be proportionally smaller so that it appears the same size in the rendered
image. Likewise, if the camera is zoomed out, the eraser will be proportionally bigger.
The Roundness and Angle parameters allow you to change the shape and orientationof the tip.
llRoundness and Angle

Roundness: The vertical scaling to apply to the tip. Reducing this setting
squashes the tip vertically, allowing you to turn round or square tips into flat
tips.
Angle: The angle at which to rotate the brush tip, counterclockwise.

NOTE
The squashing is not relative to the angle—if the tip is rotated, the squashingwill still be done relative to the tip's original orientation.

The Hardness and Spacing parameters allow you to change the softness and spacingof the marks made by the eraser tip. You can preview the hardness and spacing at the
top of the Eraser Properties window, stroke preview area.

Hardness

The hardness value corresponds to the softness of the eraser tip's edges. The lower thevalue, the softer the tip edge. The higher the value, the sharper the tip edge. Be awarethat some eraser tips are not 100% opaque, so they will always appear somewhat soft,
even at 100% hardness.

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Property

Description

Defines the amount of space between each stamp of the eraser. A value of 100% sets
the stamp marks edge to edge, if there is no white space around the shape. The larger
the value, the greater the space between marks. A really large value can make the eraser
stroke appear as a string of individual marks. Conversely, a small spacing value will givethe appearance of a fluid brush stroke.
Spacing is only evident when making a continuous stroke.
Spacing

Randomness

The Randomness parameters let you create a varied bitmap eraser stroke. Refining
these options can give your stroke a lovely, non-mechanical look.
You can create variation between the thick and thin of your eraser stroke just by setting
the Maximum and Minimum Size values. If you add randomness to the mix, pressure
sensitivity from your drawing tablet will still be applied. Light pressure will create
random values around the minimum, while heavy pressure will create random values
closer to the maximum. The larger the percentage, the larger the range of randomvariation.

Random Size

NOTE
Setting the Minimum Size to 100% eliminates the possibility of creating widthvariation on your stroke, whether you are applying randomness or not.
Therefore, you would be forcing a uniform line width using the Maximum Sizevalue.

Random Angle

Sets the range for random rotation around the set Angle value. For example, if the881

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Property

Description

Angle is set to 45° and the Random Angle set to 10°, the software will choose values
between 40°–50° (plus or minus 5 degrees, equaling a total of 10 degrees).

Sets the range for random spacing around the set Spacing value. For example, if theSpacing is set to 50% and the Random Spacing is set to 10%, then Harmony will
choose values between 45%–55% (plus or minus 5 percent, equaling a total of 10
percent).

Random Spacing

Smoothing Tab
The Smoothing tab contains options to configure how Harmony should automatically smooth your eraser
strokes as you paint.

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NOTE
The Smoothing tab is only available when working on a vector layer, as bitmap layers do notsupport smoothing.

Property

Description

Centerline Smoothing

Defines the amount of smoothing Harmony should perform on your eraser stroke's
direction, curves and corners. A higher setting will prevent your line from being
shaky, but is liable to reduce drawing precision and turn sharp angles into curves.

Contour Smoothing

Defines the amount of smoothing Harmony should perform on outer contour of theeraser stroke. A higher setting will round sharp corners and reduce the amount ofcontrol points for the resulting vector shape.

Transparency Tab
The Transparency tab allows you to decide if your eraser has antialiasing as well as to set its flow and opacity
settings.

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Chapter 4: Tools PropertiesNOTE
The Transparency tab's options are only available on vector layers if the Eraser Type option of the
Tip tab is set to Textured Vector or Textured, Preserve Vector.. On bitmap layers, those options
are always available.

Property

Description

Enabled by default. This option causes the contours of the eraser strokes toblend with the surrounding colours, to create an illusion of smoothness
otherwise not possible due to the picture resolution.
Antialiasing

If antialiasing is disabled, the eraser will either fully erase pixels or leave themintact.

NOTE
When disabled, all other options in the Transparency tab are disabled.

The Maximum and Minimum Flow parameters let you set the range for the rate at
which your eraser's effect flows. The greater the flow, the more consistent theeffect is. If the flow is light, then the effect may look spotty. This feature works
with the pressure sensitivity of a pen tablet.
llMaximum and Minimum Flow

Maximum Opacity and
Minimum Opacity

Maximum Flow: Sets the maximum rate at which colour and texture areapplied as you create a fluid stroke.
Minimum Flow: Sets the minimum rate at which colour and texture areapplied as you create a fluid stroke. It is defined as a percentage of theMaximum Flow value. If the Minimum Flow value is set to 100%, thentablet pressure sensitivity will no longer be applicable. The flow will be
set to the constant rate of the Maximum Flow value.

The Maximum and Minimum Opacity parameters are where you set the opacity
range for a eraser mark. This works with the pressure sensitivity of a pen tablet.
l

Maximum Opacity: Sets the transparency limit of the eraser mark when
the pressure is heavy.

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Property

DescriptionlRandomness

Minimum Opacity: Sets the transparency limit of the eraser mark when
the pressure is very light. It is defined as a percentage of the Maximum
Opacity value. If the Minimum Opacity value is set to 100%, then tablet
pressure sensitivity will no longer be applicable. The opacity will be set tothe constant rate of the Maximum Opacity value.

Th Randomness parameter lets you set the range for the randomness of the flow
and opacity. This works with the pressure sensitivity of a pen tablet.
You can create variation in the flow of your eraser stroke just by setting theMaximum and Minimum Flow values. If you add randomness to the mix, pressure
sensitivity from your drawing tablet will still be applied. Light pressure will create
random values around the minimum, while heavy pressure will create random
values closer to the maximum. The larger the percentage, the larger the range ofrandom variation.

Randomness Flow

NOTE
Setting the Minimum Flow value to 100% eliminates the possibility ofcreating flow variation on your stroke, whether you are applying
randomness or not. That is, you would be forcing a uniform flow using theMaximum Flow value.

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Property

Description

You can create variation in the opacity of your eraser stroke just by setting theMaximum and Minimum Opacity values. If you add randomness to the mix,pressure sensitivity from your drawing tablet will still be applied. Light pressure
will create random values around the minimum, while heavy pressure will create
random values closer to the maximum. The larger the percentage, the larger therange of random variation.

Random Opacity

NOTE
Setting the Minimum Opacity value to 100% eliminates the possibility ofcreating opacity variation on your stroke, whether you are applying
randomness or not. That is, you would be forcing a uniform opacity using
the Maximum Opacity value.

Dual Tip Tab
The Dual Tip tab lets you set the parameters for creating a dual tip eraser. The primary bitmap eraser tip andthe dual tip always work together. You can set the parameters for the primary tip in the Tip tab and those forthe dual tip in the Dual Tip tab. The Blend mode you select determines how the tips are combined.
By default, the Blend Mode is set to Multiply and the Random Angle to 360°.

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NOTE
To use a Dual Tip, you must enable option by checking the checkbox inside the Dual Tip tab.
Additionally, if you are working on a vector layer, the Eraser Type option of the Tip tab must be set
to Textured Vector or Textured, Preserve Vector.

Tool Name

Description

Enable/Disable

The checkbox inside the tab allows you to decide whether or not your eraser uses adual tip. If this checkbox is unchecked, the options in the Dual Tip tab will bedisabled.

Blend Mode

The Blend modes let you decide how the primary tip and the dual tip are combined.

Multiply

This is the default blend mode. When the two eraser tips are combined in this mode,
they essentially cut each other out in overlapping areas, where one or both tips havean area of 100% transparency. The less opaque the eraser tips are, the lighter their
combination.

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Tool Name

Colour Dodge

Description

In this mode, the primary tip cuts out the shape of the dual tip. Where the tip shapes
overlap, within the boundaries of the primary shape, the colour and opacity appear
darker.

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Tool Name

CombineDescription

This mode treats the two tips as two different and separate erasers that have thesame colour and follow the same path.

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Tool Name

Description

Paper Texture Tab
The Paper Texture tab lets you configure a paper-like texture for your eraser. You can also add textures byimporting image files, or import paper textures that were previously exported from Harmony.

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NOTE
To use a Paper Texture, you must enable option by checking the checkbox inside the Paper
Texture tab. Additionally, if you are working on a vector layer, the Eraser Type option of the Tip tab
must be set to Textured Vector or Textured, Preserve Vector.

Property

Description

Enable/Disable

The checkbox inside the tab allows you to decide whether or not your eraser uses apaper texture. If this checkbox is unchecked, the options in the Paper Texture tab will
be disabled.

Texture Scale

Increase or decreases the size of the paper texture.

Additive

This option layers the texture on top of itself as you scribble overlapping lines in one
continuous stroke. If this option is turned off, areas of overlapping lines from a single,
continuous stroke will appear the same, in terms of darkness and texture, as nonoverlapping areas.

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Property

Description

This option defines the way separate, overlapping strokes behave. If this option isenabled, the paper texture's position does not change with each sweep of the eraser.
If this option is disabled, each sweep of the eraser produces a different texture
position. The texture orientation always stays the same.

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Ink Tool Properties
When you select the Ink tool, its properties and options appear in the Tool Properties view.

Icon

Tool Name

Tool
Sets the selection mode to Lasso, which allows
you to select multiple items by drawing a lasso
around them.

Lasso

TIP
When this option is enabled, you canpress and hold the Alt key to temporarily
use Marquee mode.

Sets the selection mode to Marquee, which allows
you to select multiple items by drawing a rectangle
around them.
Marquee

TIP
When this option is enabled, you canpress and hold the Alt key to temporarily
use Lasso mode.

Show Inkable Lines

Highlights all pencil lines (no brush strokes) on theselected layer. Pencil line segments that are alreadyinked with the selected swatch colour from thecolour palette are also not highlighted.

Be Smart on Connecting Lines

As you hover and move the cursor acrossintersecting pencil lines, the path that you create
will be highlighted. When you click on your mouseor stylus the highlighted segments are inked. With
this option disabled, all the intersecting segmentsthat your cursor comes near will be highlighted
and become part of the selection, even if they were
not situated in the direction of the chosen path.

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NOTE
This option only works if the Ink tool is in
Hover mode.

Use this mode instead of the Hover Mode. In the
Hover Mode, any potentially inkable pencil line will
have its central vector line highlighted as the Inktool’s cursor hovers over it. Use Ctrl

Select Mode(Windows/Linux) or ⌘ (macOS) to toggle between
the two modes.
In the Paint tool properties, this option keeps aselection highlighted around the latest paintedzone after using the Paint, Repaint, Unpaint, orPaint Unpainted tool.

Select Newly Painted, Repainted,
and Unpainted Contours/LinesRaise

As you ink the pencil line, the segment will be
moved on top of the other intersecting strokes.
Disable this option for the line to be sent behind.
Hold down the Alt key to perform the opposite
operation as you ink.

Mitre

As you hover over two perpendicular or nearly
perpendicular segments, a highlighted path with acorner is created. Clicking on these highlighted
segments inks both segments and makes themappear as a single stroke with a corner or bend.
Options include: As Is, Round, Miter, and Bevel.

Tip StyleLets you customize the edge of the Ink tool.
Options include: Round, Flat, and Bevel.

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Inverse Kinematics Tool Properties
The IK tool has a series of different modes and options available in the Tool Properties view.

Mode
Mode

ButtonDescription
Enabled by default, this mode lets you click on any bone in a characterand move it without having to select the actual layer.

Bone Selection

When you disable this mode, you cannot move any bone except the
selected one. This allows you to grab and rotate the selected part frommany angles and locations. You can click completely outside thecharacter and move the pieces.

•

Simple Chain Mode: This is the default mode and will only
allow for the movement of parts attached to a single chain up
to the point of intersection. A single chain is a straight linewith no secondary chain attached.

•

Direct Chain Mode: This mode allows you to move parts
up a simple secondary chain to a principle chain, as long astranslation movement is possible (the principle chain is
attached to its own peg), but will ignore all secondary chains.
A direct chain is a single chain which goes directly to the core.

Chain

•

All Chain Mode: This mode allows you to move all parts
attached to all chains in the IK skeleton. All chains areattached and move simultaneously when one part is moved.

IK Manipulation

The main working mode for the IK tool. Enable this mode when you
want to animate and position a puppet.
Ctrl + click (Windows/Linux) or ⌘ + click (macOS) on a body part to895

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select it. You do not need to select a part to be able to move it.

Apply IK Constraints

Lets you correct a part's position on a series of frames. For example, if
the character's foot is sinking into the floor, you can correct its
position and angle over a series of frames.

Edit Min/Max Angle

Lets you set a rotation restriction on some of your parts, such as
elbows, knees and ankles.

Bone Editing

Lets you fix the bone orientation on extremities, such as hands andfeet.

IK Options
Parameter

Description

IK Keyframe

Used in combination with the IK Constraints mode, this option determines thestarting frame of the constraint you will apply.

Ease Shape

While animating with the IK tool and before doing a movement, set an easingpreset so the motion is not so mechanical.
Before moving the part, select a preset from the Ease Shape menu:

If you select a new preset in the list and move the part again on the same

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keyframe, the easing will automatically update.

Selection
Parameter

Description

Enable Translation If Top of
Hierarchy
Used only on master pegs. This option is useful when you have this particluar
situation: You want the character to do a perfect split (sitting down with the legs
at right angles to the body or at the sides with the torso facing forwards), thenthe hip will need to translate and not just rotate on the spot. And since IK is allabout rotation, you would select the hip layer and enable the translation option.

Enable Rotation

This option is enabled by default. The pivot disappears but you can still see thebone. When this option is disabled, the selected part cannot be rotated and willremain in the same position. You can use this option to simulate an arm in aplaster cast.

Exclude from IK

This option lets you exclude certain parts of the puppet from the IK influence,such as the eyes and mouth.

IK Nails

These options let you temporarily fix a part of a character to a spot either intranslation or rotation, or enable maximum and minimum angle usage.

Stiffness

When a certain part is selected, you can apply a stiffness value to it. A different
stiffness value can be set to each body part individually. The greater the stiffness,the more difficult it is to make that part rotate, thereby rendering it stiff while theother parts continue to move freely on their joints.

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Line Tool Properties
The Line tool allows you to quickly draw a line segment by dragging the mouse from its starting point to its end
point.

How to access the Line tool properties
1. In the Tools toolbar, select the Linetool.

The tool's properties are displayed in the Tool Properties view.

Pencil Properties
Just like other shape tools, this tool creates pencil lines. Hence, its tool properties are similar to the ones of thePencil tool and it can be used with pencil presets.

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Tool Name

Description

The Preview area lets you see a preview of the stroke your drawing tool will make.
Preview Area

The arrow button right of the preview area opens the Pencil Properties dialog.

Pencil Properties
DialogSize

While the Tool Properties view only gives you access to a few of the pencil properties,
a list of pencil presets and other drawing options, the Pencil Properties dialog gives
you access to all the available options for your pencil's shape and texture. For more
information on the Pencil Properties dialog, see the Pencil Properties Dialog section
below.
Defines the width of the pencil line used to draw the line.
You can adjust the start, end, and join style of a pencil line.

Shape

l

l

l

Start: Lets you select the style of the start tip, which is the first tip you drew.
You can choose between Round or Flat style.
End: Lets you select the style of the end tip, which is the last tip you drew. You
can choose between Round or Flat style.
Join: Lets you select the joint style. The joints are where the line curves abruptly.
You could also define the Join style as the corner style. You can choose between
Round, Mitre and Bevel style.

Pencil Presets
These options allow you to select, create and manage pencil presets.
Icon

Property

Description

Presets list

Harmony provides a variety of pencil presets and thickness stencils and899

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Icon

Property

Description

also lets you create and save your own. It is a good idea to create andsave pencils with precise sizes and parameters when you draw for
efficiency and consistency.
A thickness stencil saves the thickness information across the length ofthe line. When drawing with a thickness stencil, the pressure sensitivityof the tablet is discarded. A thickness stencil can be used while drawing,or applied afterwards.
You also have the possibility to apply different textures to your lines byeither using the default presets or to import your own.
You can export the pencil presets that you have created and import thosethat others have created. This is a good way for you and project
collaborators to keep a consistent look for the project.

New Brush Preset

Creates a new preset based on the current tool properties.

Delete Brush Preset

Deletes the currently selected preset.

Open a menu that contains the following options:
l

l

l

l

Brush Presets Menu
l

l

l

l

New Brush Preset: Creates a new preset based on the current tool
properties.
Delete Brush: Deletes the currently selected preset.
Rename Brush: Allows you to rename the currently selected
preset.
Import Brushes: Allows you to import brush presets exported
from Harmony.
Export Brushes: Allows you to export your brush presets into an.xml file.
Small Thumbnail: Displays presets in a grid of small thumbnails
with a preview of their tip.
Large Thumbnail: Displays presets in a grid of big thumbnails,
with their name and a preview of their tip.
Stroke View: Displays presets in a list, with their name and apreview of a stroke done with each preset.

Drawing Options
These options affect the way your drawing strokes are added to your artwork.

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Icon

Tool Name

Description

When enabled, your brush strokes will appear behind the existing artwork.

Draw Behind

NOTEYour brush stroke will temporarily appear over your artwork as you
draw it, until you release the mouse cursor or tablet pen.

When enabled, while you're drawing, the mouse cursor will automaticallysnap to the nearby contours of existing artwork, allowing you to draw
shapes that connect with other parts of your drawing.

Snap to Contour

NOTE
If you draw a line with the Line tool and make its tip snap to acontour or another control point in your artwork, they will belocked together. You can then manipulate both simultaneously
using the Contour Editor

tool. You can also separate two

drawing strokes that have been snapped together by selecting oneof them with the SelectSnap and Aligntool and moving it away.

When enabled, while you're drawing, the mouse cursor will automaticallyalign with the edges of strokes and shapes in your artwork, allowing you
to draw shapes that align with parts of your drawing.

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Icon

Tool Name

Description

When enabled, while you're drawing, the mouse cursor will snap against
the intersecting points of the grid.
Snap to Grid

TIP
To display the grid, select View > Grid > Show Grid from the top
menu or press Ctrl + '.

As you draw in the Line Art layer, the Automatically Create Colour Art
option instantly creates the corresponding strokes in the Colour Art layer.
Automatically Create
Colour Art

By default, when drawing on a vector layer, each new stroke is created as aseparate drawing object, which can be edited independently from otherparts of the artwork. When enabled, the Auto-Flatten option automaticallymerges strokes into existing artwork.
Auto-Flatten Mode

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Icon

Tool Name

Description

NOTE
Using the Select tool, you can use select and remove a segment offlattened pencil lines. Overlapping pencil lines drawn with theAuto-Flatten mode are essentially cut into segments by theoverlap and can be treated as individual lines.

When enabled, small gaps between the pencil lines you draw will beclosed by an invisible stroke to make sure your shapes are closed and thatthey can be filled with the Paint tool.

Auto-Close Gap

When drawing contours with pencil lines, the centreline is used todetermine whether or not the contour is closed, but the visible tips of thepencil line will extend a bit beyond the tips of its centreline, making it
possible to have shapes that appear closed, but are not really. This canprevent the shape from being filled with the Paint tool. Enabling thisoption when drawing with the Pencil or Line tool will prevent you fromleaving invisible gaps in your contours.

The Line Building mode is very useful when drawing long lines and curves
in small increments with pencil lines or the Line tool. As the pencil lines arecentral vector lines, it may be difficult to align the line tips perfectly tocreate a uniform stroke and close all gaps.

Line Building ModeIn this mode, you can draw lines in small increments and the tips are merge
into one single stroke.

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Icon

Tool Name

Description

NOTE
This mode only works with pencil lines or the line tool.

The Use Stored Colour Gradient option can be used when painting with agradient colour to always position the gradient in the same way it was

Use Stored Colour

stored, making it consistent across brush strokes. You can store a gradientby selecting a zone painted with a gradient with the Select tool, then

Gradient

clicking on Store Colour Gradientin the Tool Properties view.

Pencil Properties Dialog
Since the Line tool draws pencil lines, you can use the Pencil Properties dialog to customize the type of lines it
draws. To open the Pencil Properties dialog, click on the arrow button right of the stroke display area.

Size and Smoothness Tab
The Size and Smoothness tab allows you to select your pencil's size, its smoothing parameters as well as theshape of its tips and corners.

Property

Description

Maximum Size

Defines the maximum size of the pencil line. If the tool is used with a pressure904

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Property

Description

sensitive pen tablet, the width of the stroke will vary between its maximum size andminimum size depending on the amount of pressure used. If used with a mouse, thewidth of the stroke will always be its maximum size.

Minimum Size

Defines the minimum size of your stroke as a percentage of the maximum size. If you
do not have pressure sensitivity from a pen table, the minimum size value will beignored.

Proportional to Camera

If you check this option, the size of the pencil will be adjusted to the position of thecamera on the z-axis. This means that if the camera is zoomed in on the scene, thepencil will be proportionally smaller so that it appears the same size in the rendered
image. Likewise, if the camera is zoomed out, the pencil will be proportionally bigger.

Smoothing

Defines the number of control points added to the centre line. The fewer the control
points the smoother (but less faithful) the line.

Contour Smoothing

Defines the number of points on the contour share of your stroke. This will smoothout the bumps and waves on tour contour shape of your brush strokes.
You can adjust the start, end, and join style of a pencil line.

Shape

l

l

l

Start: Lets you select the style of the start tip, which is the first tip you drew.
You can choose between Round or Flat style.
End: Lets you select the style of the end tip, which is the last tip you drew.
You can choose between Round or Flat style.
Join: Lets you select the joint style. The joints are where the line curves
abruptly. You could also define the Join style as the corner style. You canchoose between Round, Mitre and Bevel style.

Texture Tab
In the Pencil Properties view, the Texture tab allows you to select a pencil texture from the currently selected
pencil texture palette to use with the Pencil tool. You can also add, remove or rename textures, save the current
pencil texture palette as the default one, or import the pencil texture palette into your scene.

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The pencil texture palette used in the Texture tab of the Pencil Properties dialog is the one selected in the
Colour view. You can select a pencil texture palette by selecting it from the pencil texture palette list in the
Colour view—see Colour View on page 1058.

Icon

Property

Description

Use as Default Pencil
Texture Palette

Sets the currently selected pencil texture palette as the default pencil
texture palette in your user preferences. The default pencil texture paletteis added to every scene you create in Harmony. The palette is copied inyour preferences, so it will be added to your new scenes in the exact state
it is when you make it the default pencil texture palette.

Reload Default Texture
PaletteImports the default pencil texture palette as a new pencil texture palette
into your scene's palette list, and selects it as the current pencil texture
palette.

New Texture

Allows you to import an image file into a new pencil texture swatch in thecurrent pencil texture palette. The pencil texture's effect on your pencil line
will be based on the image's transparency channel, and will follow yourpencil lines on its horizontal axis.

Delete Texture

Deletes a pencil texture swatch from the current pencil texture palette.

Rename Texture

Renames the selected pencil texture swatch in the current pencil texture
palette.

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Icon

Property

Description

Pencil Texture List

Displays the pencil textures in the current pencil texture palette and allows
you to select one to use with the Pencil tool.

Pencil Texture Palette

Displays the name of the currently selectedpencil texture palette, forreference. To select a different pencil texture palette, you must select it in
the Colour view—see Colour View on page 1058.

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Chapter 4: Tools Properties

Morphing Tool Properties
As you create and adjust your morphing sequences, you will often use the Tool Properties view. Using this view
allows you to do things such as toggle between your key drawings, adjust the easing or select a hint type.

Icon

Tool Name

Description
The Hint Type drop-down menu allows you to selectthe correct hint to remedy any problem areas in yourdrawing.

Hint TypeYou can have more than one hint type in yourdrawings. You can mix all of the hint types in yourmorphing sequence.
The Hide Hints button temporarily Temporarily hides
the hint points from the key drawings. Use this option
when you have a series of hint points hiding somelines you would like to see.

Do not Pick
Transparency

908

Harmony 16.0 Premium Reference GuideShow Morphing in PlaceThe Show Morphing In Place option is used withmorphing layers. Enabling this option prevents thecurrently selected morphing layer from being shownon top of the others and maintains the correct layerordering.

Suggest Hints

The Suggest Hints option is used to automatically set
Automatically sets hint points on key drawings as ahelp tool. If you're not sure where to set hints, you can
use this option. It will set the main hints which you
can then fine tune.
The Switch Between Drawings button is used totoggle Toggles between the two key drawings in yourmorphing sequence. This option is useful whilesetting hints. You can use the default keyboard
shortcut F4 to toggle between your drawings.

Switch Between
Drawings

The Flatten option is used when you have to morph asequence with a semi-transparent or transparent
colour in it.

Flatten

The Quality setting is used to make the lines of themorphed drawings smoother. Adjust this parameter
when you are doing an extreme close up of youranimation.

Quality

The Morphing Layers option is used when working
with morphing layers. You can add, remove andmanage your different morphing layers in this space.

Morphing Layers

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To create new drawings, double-click on the blankarea under the From section to create the source
drawing and the To section for the destination
drawing and type a different value than the ones used
for the main layer.

Add Layer

Adds a new Morphing layer.

Delete Layer

Deletes the selected Morphing layer.

Move Up

Moves the new layer up in the stack.

Move Down

Moves the new lower up in the stack.

Indicates the start frame of the selected Morphing
layer.

Start

Indicates the end frame of the selected Morphing
layer.

Stop

The Easing option is used to adjust the starting andending velocity of your morphing sequence so thatthe motion is smooth and not mechanical.
You can adjust the Ease In and Ease Out value by
dragging your cursor up and down or typing a newvalue. The values go from -1.0 to 1.0.

Ease in and Ease out

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The Convert Hints option is used to switch the type ofthe selected hint points. This option is useful when
you position hints and then realize they are not theright type. You can select them and convert them tothe correct type instead of deleting them and setting
new ones.

Convert Hints

Use the Morphing tool to select the hints and thenconvert them by going to the Tool Properties view andselecting the new hint type from the Convert Hints
drop-down menu.
The Time field is used to set the timing on Appearing
Point and Vanishing Point hints. These hints are used
to set the trajectory of appearing and vanishingobjects, With the Time field, select your Appearing
Point or Vanishing Point hint and type the frame
number on which the object will start its appearing orTimevanishing animation.

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Paint Tool Properties
The Paint tool allows you to fill closed areas of your drawing with the selected colour.

How to access the Paint tool properties
1. In the Tools toolbar, select the Paint, Paint Unpainted, Repaint

or Unpainttool.

The tool's properties are displayed in the Tool Properties view.

Paint Tool Options
Icon

Property

Description

Allows you to choose the method to visually select multiple elements:lLasso: Allows you to select multiple elements by drawing a lasso
around them with your mouse.

lSelection Mode

Marquee: Allows you to select multiple elements by drawing a
rectangle around them. This is faster, as you only need to drag yourmouse from one corner of the rectangle to its opposite corner, but it may
not be as precise as you want.

TIP
You can press and hold the Alt key to temporarily use the other selection
mode.

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Icon

Property

Description

The Paint tool has four different modes:lPaint: Paints or repaints selected zones, whether or not they are
already filled.

lPaint Mode

Paint Unpainted: Only paints empty zones, and does not repaintzones that are already filled with colour.

lRepaint: Only paints zones that are already filled with colour, and does
not fill empty zones.

l

Unpaint: Removes colour from the selected zone, replacing it withtransparency.

Paint andRemoveTextures

The Paint and Remove Texture option is used when you vectorized images asgreyscale texture style. An image vectorized as texture is a mix of bitmap filling
encapsulated in a vector-based frame. Painting a textured zones with the Paint
tool will change the tint of the textured lines. Painting the textured zones using
the Paint and Remove Texture option transforms the bitmap filling into a 100%
vector based zone and fills it with a solid colour.

This option allows you to select which layers the tool should affect. It can be
toggled on or off. When toggled on, it has two different modes. You can select amode by clicking and holding on the button.
l

Apply to Visible
Drawing LayerslOff: When this button is toggled off, the tool only works on the currently
selected layers. If several layers are selected, the tool will work on all theselayers simultaneously.
Apply to Visible Drawing Layers: The tool will work on all the visible
layers in the Camera view.

l

Apply to Synced Drawing Layers: If the currently selected layer is
synced with another layer, the tool will work on both the current layer andits synced layer.

NOTE
This option only works in the Camera view.

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Icon

Property

Description

This option allows you to determine which drawings in the current layer the tool
should affect. It can be toggled on or off. When toggled on, it has two different
modes. You can select a mode by clicking and holding on the button.
ll

Off: When this button is toggled off, the tool only works on the drawing
in the current frame.
Apply to All Frames: The tool will work on every exposed drawing inthe selected layer simultaneously.

lApply to All
FramesRespect
Protected
ColourUse Stored
Colour Gradient

Apply to Onion Skin Range: The tool will work on every drawing
displayed in the Onion Skin. Onion Skin must be enabled for this option to
work.

The Respect Protected Colour option is enabled by default. In your Colour view,
you can protect some colour swatches to avoid repainting or unpainting thezones linked to that swatch.
If you disable this option the Paint tool will not follow the protect colour rule andwill repaint or unpaint the protected colours on your drawings until you enable
the option again.
When you paint a zone with a gradient or textured colour swatch, the gradient or
texture’s position is set relative to the size of the zone you are painting. If you
want the Paint tool to use a particular size and position, you must first store yourdesired position and size using the Select tool and then enable the Use Stored
Colour Gradient option in the Paint tool properties.

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Icon

Property

Description

In the Paint tool properties, this option keeps a selection highlighted around thelatest painted zone after using the Paint, Repaint, Unpaint, or Paint Unpainted
tool.
Select Newly
Painted,Repainted, andUnpainted
Contours/Lines

By default, if you attempt to fill a shape that has a small gap in its contour, thePaint tool will not be able to fill the shape. This option allows you to make the
Paint tool automatically add a stroke to close the shape when it detects a small
gap between two strokes in the shape.
The Close Gap setting can be set to a value between 0 and 10. This determines
the maximum size of a gap to close, in pixels. You can also use one of thefollowing presets:
Close Gapll

No Close Gap: Sets the Close Gap setting to 0, disabling the feature.
Close Small Gap: Sets the Close Gap setting to 2, making the Paint
tool close gaps that are barely visible.

l

Close Medium Gap: Sets the Close Gap setting to 4, making the Paint
tool close gaps that are somewhat visible.

l

Close Large Gap: Sets the Close Gap setting to 8, making the Paint
tool close gaps that are easy to notice.

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Bitmap Options
Since bitmap drawings are made of pixels instead of shapes, and that the outlines of shapes in bitmap
drawings are often feathered, it can be complicated to figure out exactly the area the Paint tool must fill whentrying to fill a zone in a bitmap drawing. For example, if the Paint tool only replaces pixels with the exact same
colour as the one you click on with the selected colour, it will leave a small gap near the outlines of the shape.

The following settings determine how the Paint tool figures out the area it must fill. When any of these settings
are increased, the Paint tool's tolerance for colour or alpha differences increases and it will a bigger area that itotherwise would.
Icon

Property

Description

Allows you to select which art layer to use in order to determine thefillable zone. By default, this is set to Current Art, which means thelayer you are filling will be used to determine the fillable zone. However,
if you want to keep your colour art on the Colour Art layer and the line arton the Line Art layer, you can set the Source to Line Art

Source, and then use

the Paint tool on the Colour Art layer. The Paint tool will use the artworkin the Line Art layer to determine the area to fill with colour, but will still
add this colour to the Colour Art layer.
This property has the following options:llCurrent Art: Bases the zone to fill on the current art layer.
Line Art: Bases the zone to fill on the Line Art layer,
regardless of which layer you are painting on.

lColour Art: Bases the zone to fill on the Colour Art layer,
regardless of which layer you are painting on.

--

Alpha

The alpha threshold that separates opaque and transparent zones. Whenfilling a "transparent" zone, the paint tool will apply the colour undersemi-transparent pixels, making them opaque. Then filling an "opaque"zone, the paint tool will replace the colour of semi-transparent pixels
without affecting their transparency.
If you want to repaint lineart or shapes that have no outlines, you can do

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Icon

Property

Description

so by decreasing this setting completely. This will make it fill any pixelthat isn't 100% transparent, so it will paint your outlines completely.
However, if you're using this method to repaint outlines, they must not
be filled yet for this method to work.
If you want to paint transparent zones that have dirt or semi-transparent
spots, you can increase this setting to make the Paint tool paint behindthem instead of around them.

NOTE
Raising this setting too high may cause the paint tool to ignore
outlines that are not 100% opaque, which can cause it to think
the shape is not closed. Hence, it might fail to find a zone to fill
and not do anything.

--

Colour Tolerance

The amount of tolerance the paint tool has for changes in colour whenfilling an area. Raising this setting will allow the paint tool to fill overareas that have some variations in colour, but may cause it to fill beyond
the areas you meant to paint.
The maximum amount of pixels beyond the fillable zone that the Paint
tool can fill.
When this setting is set to any value above zero, the paint tool will fill
the zone until it finds a pixel that is a different colour, value ortransparency as the one you clicked on. Then, it will start filling pixels
beyond that point, up until it filled the amount of pixels in the Maximum
Overlap setting.

--

Maximum Overlap

If it lands outside of a fillable zone before it reached the maximum
overlap, it will stop filling at that point. However, if it lands into anotherfillable zone before reaching its maximum overlap, it will fill that zone aswell. Therefore, if you're filling shapes inside other shapes, you have to
set this setting to the approximate width of your outlines. Setting it
higher will make the colour spill beyond the zone you clicked on and fill
the zone outside of it, and setting it lower is liable to leave a small gap
between the fill and the outlines.

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Icon

Property

Description

NOTE
When you fill a zone with overlap, Harmony tries to detect andpreserve the outlines of your shape. This is easy to do whenfilling a transparent shape, or when repainting a shape made ofsolid outlines and a solid fill. However, if you are trying torepaint an already painted zone, it may fail to detect youroutlines and may repaint over them if the colour of your outlines
or inside the shape isn't consistent. Therefore, it is highly
recommended to avoid repainting painted zones as much as
possible when working with bitmap layers.

When enabled, the outlines of the fill will be smoothed so that they do
not look pixelated.

Antialiasing

NOTE
The effect of this setting will not be visible if you fill all the way
to the outlines, as the Paint tool will preserve the antialiasing ofexisting outlines when filling up to them.

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Pencil Tool Properties
The Pencil tool allows you to draw simple contour lines that are defined by their centerline and their thickness.
When you select the Pencil tool, the Tool Properties view displays the different Pencil modes that control how
the pencil line is drawn.

How to access the Pencil tool properties
1. In the Tools toolbar, select the Pencil

tool.

The tool's properties are displayed in the Tool Properties view.

Pencil Properties
The following properties affect the pencil's size, smoothing, shape and other properties for the drawing style ofyour pencil. Those properties can be saved into pencil presets for later use.
Property

Description

The Preview area lets you see a preview of the stroke your drawing tool will make.
Preview Area

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Property

Description

The arrow button right of the preview area opens the Pencil Properties dialog.

Pencil Properties
DialogWhile the Tool Properties view only gives you access to a few of the pencil properties,
a list of pencil presets and other drawing options, the Pencil Properties dialog gives
you access to all the available options for your pencil's shape and texture. For more
information on the Pencil Properties dialog, see the Pencil Properties Dialog section
below.
Defines the maximum width of the pencil line.

Maximum Size

Smoothing

If the tool is used with a pressure sensitive pen tablet, the width of the stroke will vary
between its maximum size and minimum size depending on the amount of pressureused. If used with a mouse, the width of the stroke will always be its maximum size.
Defines the number of control points added to the centre line. The fewer the control
points the smoother (but less faithful) the line.
You can adjust the start, end, and join style of a pencil line.

Shape

l

l

l

Start: Lets you select the style of the start tip, which is the first tip you drew.
You can choose between Round or Flat style.
End: Lets you select the style of the end tip, which is the last tip you drew. You
can choose between Round or Flat style.
Join: Lets you select the joint style. The joints are where the line curves abruptly.
You could also define the Join style as the corner style. You can choose between
Round, Mitre and Bevel style.

Pencil Presets
These options allow you to select, create and manage pencil presets.

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Icon

Property

Description

Harmony provides a variety of pencil presets and thickness stencils andalso lets you create and save your own. It is a good idea to create andsave pencils with precise sizes and parameters when you draw for
efficiency and consistency.

Presets list

A thickness stencil saves the thickness information across the length ofthe line. When drawing with a thickness stencil, the pressure sensitivityof the tablet is discarded. A thickness stencil can be used while drawing,or applied afterwards.
You also have the possibility to apply different textures to your lines byeither using the default presets or to import your own.
You can export the pencil presets that you have created and import thosethat others have created. This is a good way for you and project
collaborators to keep a consistent look for the project.

New Brush Preset

Creates a new preset based on the current tool properties.

Delete Brush Preset

Deletes the currently selected preset.

Open a menu that contains the following options:
l

l

l

l

Brush Presets Menu
l

l

l

l

New Brush Preset: Creates a new preset based on the current tool
properties.
Delete Brush: Deletes the currently selected preset.
Rename Brush: Allows you to rename the currently selected
preset.
Import Brushes: Allows you to import brush presets exported
from Harmony.
Export Brushes: Allows you to export your brush presets into an.xml file.
Small Thumbnail: Displays presets in a grid of small thumbnails
with a preview of their tip.
Large Thumbnail: Displays presets in a grid of big thumbnails,
with their name and a preview of their tip.
Stroke View: Displays presets in a list, with their name and apreview of a stroke done with each preset.

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Drawing Options
These options affect the way your drawing strokes are added to your artwork.
Icon

Property

Description

When enabled, your brush strokes will appear behind the existing artwork.

Draw Behind

NOTEYour brush stroke will temporarily appear over your artwork as you
draw it, until you release the mouse cursor or tablet pen.

When enabled, drawing a closed shape will automatically fill it with thecurrently selected Paint colour.

Auto Fill

TIP
By default the pencil line and its fill will be the same colour. If you
want to select different colours for the pencil line and its fill, you
can click on the Unlock Three Colours

button in the Colour

view, then select different colours for Brush strokes
lines

and Paint fills, Pencil.

When enabled, drawing a closed shape will automatically remove theoutstanding lines.
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Icon

Property

Description

When the Trim Extra Lines option is enabled, enable this option to makethe point where the beginning and end of the stroke meet into a smooth
curve rather than a hard corner.

Align Handles AfterTrim

As you draw in the Line Art layer, the Automatically Create Colour Art
option instantly creates the corresponding strokes in the Colour Art layer.
Automatically Create
Colour Art

By default, when drawing on a vector layer, each new stroke is created as aseparate drawing object, which can be edited independently from otherparts of the artwork. When enabled, the Auto-Flatten option automaticallymerges strokes into existing artwork.

Auto Flatten

NOTE
Using the Select tool, you can select and remove a segment offlattened pencil lines. Overlapping pencil lines drawn with theAuto-Flatten mode are essentially cut into segments by theoverlap and can be treated as individual lines.

Auto-Close Gap

When enabled, small gaps between the pencil lines you draw will beclosed by an invisible stroke to make sure your shapes are closed and thatthey can be filled with the Paint tool.

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Icon

Property

Description

When drawing contours with pencil lines, the centreline is used todetermine whether or not the contour is closed, but the visible tips of thepencil line will extend a bit beyond the tips of its centreline, making it
possible to have shapes that appear closed, but are not really. This canprevent the shape from being filled with the Paint tool. Enabling thisoption when drawing with the Pencil or Line tool will prevent you fromleaving invisible gaps in your contours.

The Line Building mode is very useful when drawing long lines and curves
in small increments with pencil lines or the Line tool. As the pencil lines arecentral vector lines, it may be difficult to align the line tips perfectly tocreate a uniform stroke and close all gaps.
In this mode, you can draw lines in small increments and the tips are merge
into one single stroke.

Line Building Mode

NOTE
This mode only works with pencil lines or the line tool.

Auto Adjust Thickness

The Auto Adjust Thickness tool is useful when you want to render aportion of a line thicker. When tracing a drawing on paper, you will often
go back to a section of a curve to make it thicker to add dynamism to theline. Using the Auto Adjust Thickness tool, you can draw highlight strokes
over the section to make thicker. Once you release the pen or mouse, theline becomes thicker following the shape and curve of the original stroke.
This way is much faster and smoother than using the Pencil Editor tool.

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Icon

Property

Description

You do not have to add extra points and adjust the position and Bezier
handles.

The default overlay colour is light yellow. If this colour is difficult to see
because of the background or drawing colour, you can adjust the colour.

Line Pushing Mode

The Line Pushing Mode option lets you draw highlight strokes overexisting pencil lines. You can reshape the curves. Depending how you
draw the pushing stroke over your line, the highlighted section will bereshaped in one direction or the other.
The default overlay colour is light yellow. If this colour is difficult to see
because of the background or drawing colour, you can adjust the colour.

ColourYou can change the colour of the temporary strokes that appear in thedrawing space when using the Line Pushing Mode or the Auto Adjust
Thickness option by clicking on the Colour swatch and selecting a newcolour in the Colour Picker dialog.

Pencil Properties Dialog
Pencils have extra parameters which are not accessible from the Tool Properties view. To open the Pencil
Properties dialog, click on the arrow button right of the stroke display area.

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Chapter 4: Tools Properties

Size and Smoothness Tab
The Size and Smoothness tab allows you to select your pencil's size, its smoothing parameters as well as theshape of its tips and corners.

Property

Maximum Size

Description

Defines the maximum size of the pencil line. If the tool is used with a pressure
sensitive pen tablet, the width of the stroke will vary between its maximum size andminimum size depending on the amount of pressure used. If used with a mouse, thewidth of the stroke will always be its maximum size.

Minimum Size

Defines the minimum size of your stroke as a percentage of the maximum size. If you
do not have pressure sensitivity from a pen table, the minimum size value will beignored.

Proportional to Camera

If you check this option, the size of the pencil will be adjusted to the position of thecamera on the z-axis. This means that if the camera is zoomed in on the scene, thepencil will be proportionally smaller so that it appears the same size in the rendered
image. Likewise, if the camera is zoomed out, the pencil will be proportionally bigger.

Smoothing

Defines the number of control points added to the centre line. The fewer the control
points the smoother (but less faithful) the line.

Contour Smoothing

Defines the number of points on the contour share of your stroke. This will smoothout the bumps and waves on tour contour shape of your brush strokes.

Shape

You can adjust the start, end, and join style of a pencil line.

926Harmony 16.0 Premium Reference Guide

Property

Description

l

l

l

Start: Lets you select the style of the start tip, which is the first tip you drew.
You can choose between Round or Flat style.
End: Lets you select the style of the end tip, which is the last tip you drew.
You can choose between Round or Flat style.
Join: Lets you select the joint style. The joints are where the line curves
abruptly. You could also define the Join style as the corner style. You canchoose between Round, Mitre and Bevel style.

Texture Tab
In the Pencil Properties view, the Texture tab allows you to select a pencil texture from the currently selected
pencil texture palette to use with the Pencil tool. You can also add, remove or rename textures, save the current
pencil texture palette as the default one, or import the pencil texture palette into your scene.
The pencil texture palette used in the Texture tab of the Pencil Properties dialog is the one selected in the
Colour view. You can select a pencil texture palette by selecting it from the pencil texture palette list in the
Colour view—see Colour View on page 1058.

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Chapter 4: Tools Properties

Icon

Property

Description

Use as Default Pencil
Texture Palette

Sets the currently selected pencil texture palette as the default pencil
texture palette in your user preferences. The default pencil texture paletteis added to every scene you create in Harmony. The palette is copied inyour preferences, so it will be added to your new scenes in the exact state
it is when you make it the default pencil texture palette.

Reload Default Texture

Imports the default pencil texture palette as a new pencil texture palette

Paletteinto your scene's palette list, and selects it as the current pencil texture
palette.

New Texture

Allows you to import an image file into a new pencil texture swatch in thecurrent pencil texture palette. The pencil texture's effect on your pencil line
will be based on the image's transparency channel, and will follow yourpencil lines on its horizontal axis.

Delete Texture

Deletes a pencil texture swatch from the current pencil texture palette.

Rename Texture

Renames the selected pencil texture swatch in the current pencil texture
palette.

Pencil Texture List

Displays the pencil textures in the current pencil texture palette and allows
you to select one to use with the Pencil tool.

Pencil Texture Palette

Displays the name of the currently selectedpencil texture palette, forreference. To select a different pencil texture palette, you must select it in
the Colour view—see Colour View on page 1058.

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Pencil Editor Tool Properties
When you select the Pencil Editor tool, its properties and options appear in the Tool Properties view.

Icon

Tool Name

Description
Allows you to choose the method to visually select multiple elements:lLasso: Allows you to select multiple elements by drawing alasso around them with your mouse.

Selection ModelMarquee: Allows you to select multiple elements by drawing a
rectangle around them. This is faster, as you only need to dragyour mouse from one corner of the rectangle to its opposite
corner, but it may not be as precise as you want.

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Chapter 4: Tools Properties

TIP
You can press and hold the Alt key to temporarily use the otherselection mode.

This option allows you to select which layers the tool should affect. It canbe toggled on or off. When toggled on, it has two different modes. You
can select a mode by clicking and holding on the button.
l

Off: When this button is toggled off, the tool only works on thecurrently selected layers. If several layers are selected, the tool will
work on all these layers simultaneously.

Apply to Visible Drawing
Layersl

Apply to Visible Drawing Layers: The tool will work on all thevisible layers in the Camera view.

l

Apply to Synced Drawing Layers: If the currently selected
layer is synced with another layer, the tool will work on both thecurrent layer and its synced layer.

NOTE
This option only works in the Camera view.

Defines the maximum width of the pencil line.
Maximum Size

Minimum Size

If the pencil line has a constant size, this will define the width of thepencil line all over. If the pencil line has a varying size, this will define thewidth of its larger areas. Areas that are in-between the maximum andminimum size will be resized proportionally.
Defines the minimum width of the pencil line. If the pencil line has avarying size, this will define the width of its smaller areas. Areas that are
in-betwen the maximum and minimum size will be resized proportionally.
You can adjust the start, end, and join style of a pencil line.

Shape
l

l

Start: Lets you select the style of the start tip, which is the first tip
you drew. You can choose between Round or Flat style.
End: Lets you select the style of the end tip, which is the last tip
you drew. You can choose between Round or Flat style.

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Harmony 16.0 Premium Reference Guidel

Join: Lets you select the joint style. The joints are where the line
curves abruptly. You could also define the Join style as the cornerstyle. You can choose between Round, Mitre and Bevel style.

Harmony provides a variety of pencil presets and thickness stencils andalso lets you create and save your own. It is a good idea to create andsave pencils with precise sizes and parameters when you draw for
efficiency and consistency.
A thickness stencil saves the thickness information across the length ofPresets

the line. When drawing with a thickness stencil, the pressure sensitivityof the tablet is discarded. A thickness stencil can be used while drawing,or applied afterwards.
You also have the possibility to apply different textures to your lines byeither using the default presets or to import your own.
You can export the pencil presets that you have created and import thosethat others have created. This is a good way for you and project
collaborators to keep a consistent look for the project.

New Brush

Allows to create a new preset from the selected pencil line.

Delete Brush

Deletes the currently selected preset.

Rename Brush

Allows you to rename the currently selected preset.

Small Thumbnail, Large
Thumbnail, and Stroke
View

Allows you to display the presets as small square thumbnails, large
square thumbnails or a list of stroke preview.

Use as Default Pencil
Texture Palette

Sets the currently selected pencil texture palette as the default pencil
texture palette in your user preferences. The default pencil texture paletteis added to every scene you create in Harmony. The palette is copied inyour preferences, so it will be added to your new scenes in the exact state
it is when you make it the default pencil texture palette.

Reload Default Texture
PaletteImports the default pencil texture palette as a new pencil texture palette
into your scene's palette list, and selects it as the current pencil texture
palette.

New Texture

Adds a new custom pencil texture to the list.

Delete Texture

Deletes a texture preset from the list.

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Chapter 4: Tools Properties

Rename Texture

Renames the selected texture to keep the list organized.

Presets

Harmony provides a variety of pencil texture presets and also lets you
create and save your own.

Pencil Texture Palette

Displays the colour palette assigned to hold the pencil textures. Use theColour View menu to assign a new palette.
The Smooth operation lets you smooth out selected drawing strokes andremove extra points.

Smooth Selection

TIP
You can also smooth the selection by selecting Drawing>

Optimize > Smooth from the top menu or by pressing Alt + Shift+ S.

The Pump Pencil Pressure option is used to increase the line thickness ofa selected area on a pencil line.

Pump Pencil Pressure

Deflate Pencil Pressure

The Deflate Pencil Pressure option is used to decrease the line thicknessof a selected area on a pencil line.

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Because pencil lines are defined by their centre lines, two pencil lines thatbrush against each other may not actually make a closed shape, even if
they appear closed. If you select several pencil lines that are close
together, you can use this button to close the small gaps between thesepencil lines and make them into a single pencil line.
Merge Pencil Lines

The Reverse Pencil Thickness option inverts the thick and thin section ona selected pencil line. This option will take the thickest size on the line
and apply it to the thinnest, and it will apply the thinnest to the thickest.

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Chapter 4: Tools Properties

Perspective Tool Properties
The perspective tool allows you to deform artwork by creating a rectangular bounding box around it andallowing you to manipulate any of the four corners. The selected artwork will be deformed to fit the shape you
make by simulating a perspective effect.

How to access the Perspective tool properties
1. In the Tools toolbar, select the Perspectivetool.

The tool's properties are displayed in the Tool Properties view.

Icon

Tool Name

Description

Perspective Tool Options
Allows you to choose the method to visually select multiple elements:lLasso: Allows you to select multiple elements by drawing alasso around them with your mouse.

lSelection Mode

Marquee: Allows you to select multiple elements by drawing a
rectangle around them. This is faster, as you only need to dragyour mouse from one corner of the rectangle to its opposite
corner, but it may not be as precise as you want.

TIP
You can press and hold the Alt key to temporarily use the otherselection mode.

Snap to Contour

When enabled, while moving a selection, the mouse cursor (along withthe selection) will snap against the nearby points and contours of yourartwork, allowing you to snap parts of your artwork together.

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Icon

Tool Name

Description

Snap and Align

When enabled, while moving a selection, the rectangular bounding boxof the selection will snap to the rectangular bounding box of any otherdrawing stroke in the drawing, allowing you to align drawing strokes
laterally.
When enabled, while moving a selection, the mouse cursor will snap
against the intersecting points of the grid.

Snap to Grid

TIP
To display the grid, select View > Grid > Show Grid from the
top menu or press Ctrl + '.

Allows you to perform drawing operations on both the Line Art andColour Art layers of your drawing simultaneously.
Apply to Line and Colour
Art

NOTE
If you have Overlay and Underlay Art layers enabled, they will
also be affected when this option is enabled.

Allows you to select between one of the two following deformation
modes:l

Perspective: Deforms the selection by simulating aperspective effect.

l

Lattice: Deforms the selection by simply making the artwork
fit the bounding box, without applying a perspective effect.

Deformation Mode

The difference between both modes becomes easier to understand if you
apply a transformation to a drawing of a grid to make it look like it's laid
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Chapter 4: Tools Properties

Icon

Tool Name

Description

Flip Horizontal

Flips the selection horizontally.

Flip Vertical

Flips the selection vertically.

Rotate 90 CW

Rotates the selection 90° clockwise.

Rotate 90 CCW

Rotates the selection 90° counterclockwise.

Operations

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Polyline Tool Properties
The Polyline tool allows you to draw complex lines or shapes by defining each point and their Bezier handles
one by one.

How to access the Polyline tool properties
1. In the Tools toolbar, select the Polyline

tool.

The tool's properties are displayed in the Tool Properties view.

Pencil Properties
Just like other shape tools, this tool creates pencil lines. Hence, its tool properties are similar to the ones of thePencil tool and it can be used with pencil presets.
Icon

Property

Description
The Preview area lets you see a preview of the stroke your drawing tool
will make.

Preview Area

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Chapter 4: Tools Properties

The arrow button right of the preview area opens the Pencil Properties
dialog.

Pencil Properties
DialogSize

While the Tool Properties view only gives you access to the pencil size, alist of pencil presets and other drawing options, the Pencil Properties
dialog gives you access to all the available options for your pencil's shapeand texture. For more information on the Pencil Properties dialog, see the
Polyline Tool Properties section below.
Defines the width of the pencil line used to draw the shape.

Pencil Presets
Icon

Property

Description

Presets list

Harmony provides a variety of presets and also lets you create and saveyour own. It is a good idea to create and save pencils with precise sizes
and parameters when you draw and design for efficiency andconsistency.
All tools using pencil lines share the same preset list. Therefore, thePolyline, Line, Rectangle, Ellipse, and Pencil tools share the same preset
list.

New Preset

Creates a new preset based on the current tool properties.

Delete Preset

Deletes the currently selected preset.

Presets Menu

Gives access to more options for managing presets.

Rename Brush

Allows you to rename the currently selected preset.

Import Brushes

Allows you to import brush presets exported from Harmony.

Export Brushes

Allows you to export your brush presets into an .xml file.

Small Thumbnail

Displays presets in a grid of small thumbnails with a preview of their tip.

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Large Thumbnail

Displays presets in a grid of big thumbnails, with their name and apreview of their tip.

Stroke View

Displays presets in a list, with their name and a preview of a stroke donewith each preset.

Drawing Options
Icon

Property

Description
When this option is enabled, clicking close to a contour in your drawing
will add the point to that contour. The line you are building will be linked
to that contour.

Snap to Contour

If this option is disabled, attempting to click on existing contours will
always create a point very close to that contour, but not exactly on it.
Therefore, it is necessary to enable this mode if you want to create linesthat branch from into existing contours in your drawing.

NOTE
If you draw a line with the Line tool and make its tip snap to acontour or another control point in your artwork, they will belocked together. You can then manipulate both simultaneously
using the Contour Editor

tool. You can also separate two

drawing strokes that have been snapped together by selecting
one of them with the Selecttool and moving it away.

When enabled, drawing a closed shape will automatically fill it with thecurrently selected Paint colour.
Auto Fill939

Chapter 4: Tools Properties

TIP
By default the pencil line and its fill will be the same colour. If
you want to select different colours for the pencil line and its fill,
you can click on the Unlock Three Colours

button in the

Colour view, then select different colours for Brush strokes, Pencil lines

and Paint fills.

When enabled, drawing a closed shape will automatically remove theoutstanding lines.
Trim Extra Lines

When the Trim Extra Lines option is enabled, enable this option to makethe point where the beginning and end of the stroke meet into a smooth
curve rather than a hard corner.
Align Handles AfterTrim

As you draw in the Line Art layer, the Automatically Create Colour Art
option instantly creates the corresponding strokes in the Colour Art layer.
Automatically Create
Colour Art

Auto-Flatten Mode

By default, when drawing on a vector layer, each new stroke is created asa separate drawing object, which can be edited independently from otherparts of the artwork. When enabled, the Auto-Flatten option
automatically merges strokes into existing artwork.

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NOTE
Using the Select tool, you can use select and remove a segmentof flattened pencil lines. Overlapping pencil lines drawn with theAuto-Flatten mode are essentially cut into segments by theoverlap and can be treated as individual lines.

Pencil Properties Dialog
The Polyline tool draws the same type of line as the Pencil tool. Hence, you can configure the Polyline tool'slines using the Pencil Properties dialog, which you can open by clicking on the arrow button right of the stroke
display area in the Tool Properties view.

Size and Smoothness Tab
The Size and Smoothness tab allows you to select your pencil's size, its smoothing parameters as well as theshape of its tips and corners.

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Chapter 4: Tools Properties

Property

Description

Maximum Size

Defines the maximum size of the pencil line. If the tool is used with a pressure
sensitive pen tablet, the width of the stroke will vary between its maximum size andminimum size depending on the amount of pressure used. If used with a mouse, thewidth of the stroke will always be its maximum size.

Minimum Size

Defines the minimum size of your stroke as a percentage of the maximum size. If you
do not have pressure sensitivity from a pen table, the minimum size value will beignored.

Proportional to Camera

If you check this option, the size of the pencil will be adjusted to the position of thecamera on the z-axis. This means that if the camera is zoomed in on the scene, thepencil will be proportionally smaller so that it appears the same size in the rendered
image. Likewise, if the camera is zoomed out, the pencil will be proportionally bigger.

Smoothing

Defines the number of control points added to the centre line. The fewer the control
points the smoother (but less faithful) the line.

Contour Smoothing

Defines the number of points on the contour share of your stroke. This will smoothout the bumps and waves on tour contour shape of your brush strokes.
You can adjust the start, end, and join style of a pencil line.

Shape

l

l

l

Start: Lets you select the style of the start tip, which is the first tip you drew.
You can choose between Round or Flat style.
End: Lets you select the style of the end tip, which is the last tip you drew.
You can choose between Round or Flat style.
Join: Lets you select the joint style. The joints are where the line curves
abruptly. You could also define the Join style as the corner style. You canchoose between Round, Mitre and Bevel style.

Texture Tab
In the Pencil Properties view, the Texture tab allows you to select a pencil texture from the currently selected
pencil texture palette to use with the Pencil tool. You can also add, remove or rename textures, save the current
pencil texture palette as the default one, or import the pencil texture palette into your scene.

942Harmony 16.0 Premium Reference Guide

The pencil texture palette used in the Texture tab of the Pencil Properties dialog is the one selected in the
Colour view. You can select a pencil texture palette by selecting it from the pencil texture palette list in the
Colour view—see Colour View on page 1058.

Icon

Property

Description

Use as Default Pencil
Texture Palette

Sets the currently selected pencil texture palette as the default pencil
texture palette in your user preferences. The default pencil texture paletteis added to every scene you create in Harmony. The palette is copied inyour preferences, so it will be added to your new scenes in the exact state
it is when you make it the default pencil texture palette.

Reload Default Texture
PaletteImports the default pencil texture palette as a new pencil texture palette
into your scene's palette list, and selects it as the current pencil texture
palette.

New Texture

Allows you to import an image file into a new pencil texture swatch in thecurrent pencil texture palette. The pencil texture's effect on your pencil line
will be based on the image's transparency channel, and will follow yourpencil lines on its horizontal axis.

Delete Texture

Deletes a pencil texture swatch from the current pencil texture palette.

Rename Texture

Renames the selected pencil texture swatch in the current pencil texture
palette.

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Chapter 4: Tools Properties

Icon

Property

Description

Pencil Texture List

Displays the pencil textures in the current pencil texture palette and allows
you to select one to use with the Pencil tool.

Pencil Texture Palette

Displays the name of the currently selectedpencil texture palette, forreference. To select a different pencil texture palette, you must select it in
the Colour view—see Colour View on page 1058.

NOTE
L

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Rectangle Tool Properties
The Rectangle tool allows you to quickly draw a rectangle or a square.

How to access the Rectangle tool properties
1. In the Tools toolbar, select the Rectangle

tool.

The tool's properties are displayed in the Tool Properties view.

Pencil Properties
Just like other shape tools, this tool creates pencil lines. Hence, its tool properties are similar to the ones of thePencil tool and it can be used with pencil presets.
Property

Description

The Preview area lets you see a preview of the stroke your drawing tool will make.
Preview Area

Pencil Properties

The arrow button right of the preview area opens the Pencil Properties dialog.

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Chapter 4: Tools Properties

Property

Description

While the Tool Properties view only gives you access to a few of the pencil properties,
a list of pencil presets and other drawing options, the Pencil Properties dialog gives
you access to all the available options for your pencil's shape and texture. For more
information on the Pencil Properties dialog, see the Pencil Properties Dialog on page
950 section below.

DialogSize

Defines the width of the pencil line used to draw the shape.
You can adjust the start, end, and join style of a pencil line.

Shape

l

l

l

Start: Lets you select the style of the start tip, which is the first tip you drew.
You can choose between Round or Flat style.
End: Lets you select the style of the end tip, which is the last tip you drew. You
can choose between Round or Flat style.
Join: Lets you select the joint style. The joints are where the line curves abruptly.
You could also define the Join style as the corner style. You can choose between
Round, Mitre and Bevel style.

Drawing Options
These options affect the way your shape is added to your artwork.
Icon

Property

Description

When enabled, your brush strokes will appear behind the existing artwork.

Draw Behind946Harmony 16.0 Premium Reference Guide

Icon

Property

Description

NOTEYour brush stroke will temporarily appear over your artwork as you
draw it, until you release the mouse cursor or tablet pen.

When enabled, the shape you draw is automatically filled with the selectedcolour. By default, drawing a shape only creates its outlines.

Auto Fill

TIP
By default the pencil line and its fill will be the same colour. If you
want to select different colours for the pencil line and its fill, you
can click on the Unlock Three Colours

button in the Colour

view, then select different colours for Brush strokes
lines

and Paint fills, Pencil.

Snap to Contour

When enabled, while you're drawing, the mouse cursor will snap to the
nearby contours of the artwork in your drawing.

Snap and Align

When enabled, while you're drawing, the mouse cursor will automaticallyalign to the rectangular bounding boxes of other strokes and shapes inyour drawing.
When enabled, while you're drawing, the mouse cursor will snap against
the intersecting points of the grid.

Snap to Grid

TIP
To display the grid, select View > Grid > Show Grid from the top
menu or press Ctrl + '.

Automatically Create
Colour Art

As you draw in the Line Art layer, the Automatically Create Colour Art
option instantly creates the corresponding strokes in the Colour Art layer.

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Chapter 4: Tools Properties

Icon

Property

Description

By default, when drawing on a vector layer, each new stroke is created as aseparate drawing object, which can be edited independently from otherparts of the artwork. When enabled, the Auto-Flatten option automaticallymerges strokes into existing artwork.

Auto Flatten Mode

NOTE
Using the Select tool, you can use select and remove a segment offlattened pencil lines. Overlapping pencil lines drawn with theAuto-Flatten mode are essentially cut into segments by theoverlap and can be treated as individual lines.

Use Stored Colour
Gradient

The Use Stored Colour Gradient option can be used when painting with agradient colour to always position the gradient in the same way it wasstored, making it consistent across brush strokes. You can store a gradientby selecting a zone painted with a gradient with the Select tool, thenclicking on Store Colour Gradientin the Tool Properties view.

When checked, the shape you draw will be of equal width and height,
making it a perfect square.
Draw Square

TIP
You can also draw a square by holding the Shift key while drawing.

Pencil Presets
These options allow you to select, create and manage pencil presets.

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Icon

Property

Description

Harmony provides a variety of pencil presets and thickness stencils andalso lets you create and save your own. It is a good idea to create andsave pencils with precise sizes and parameters when you draw for
efficiency and consistency.

Presets list

A thickness stencil saves the thickness information across the length ofthe line. When drawing with a thickness stencil, the pressure sensitivityof the tablet is discarded. A thickness stencil can be used while drawing,or applied afterwards.
You also have the possibility to apply different textures to your lines byeither using the default presets or to import your own.
You can export the pencil presets that you have created and import thosethat others have created. This is a good way for you and project
collaborators to keep a consistent look for the project.

New Brush Preset

Creates a new preset based on the current tool properties.

Delete Brush Preset

Deletes the currently selected preset.

Open a menu that contains the following options:
l

l

l

l

Brush Presets Menu
l

l

l

l

New Brush Preset: Creates a new preset based on the current tool
properties.
Delete Brush: Deletes the currently selected preset.
Rename Brush: Allows you to rename the currently selected
preset.
Import Brushes: Allows you to import brush presets exported
from Harmony.
Export Brushes: Allows you to export your brush presets into an.xml file.
Small Thumbnail: Displays presets in a grid of small thumbnails
with a preview of their tip.
Large Thumbnail: Displays presets in a grid of big thumbnails,
with their name and a preview of their tip.
Stroke View: Displays presets in a list, with their name and apreview of a stroke done with each preset.

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Chapter 4: Tools Properties

Pencil Properties Dialog
The Rectangle tool draws the same type of line as the Pencil tool. Hence, you can configure the Rectangle tool'slines using the Pencil Properties dialog, which you can open by clicking on the arrow button right of the stroke
display area in the Tool Properties view.

Size and Smoothness Tab
The Size and Smoothness tab allows you to select your pencil's size, its smoothing parameters as well as theshape of its tips and corners.

Property

Description

Maximum Size

Defines the maximum size of the pencil line. If the tool is used with a pressure
sensitive pen tablet, the width of the stroke will vary between its maximum size andminimum size depending on the amount of pressure used. If used with a mouse, thewidth of the stroke will always be its maximum size.

Minimum Size

Defines the minimum size of your stroke as a percentage of the maximum size. If you
do not have pressure sensitivity from a pen table, the minimum size value will beignored.

Proportional to Camera

If you check this option, the size of the pencil will be adjusted to the position of thecamera on the z-axis. This means that if the camera is zoomed in on the scene, thepencil will be proportionally smaller so that it appears the same size in the rendered
image. Likewise, if the camera is zoomed out, the pencil will be proportionally bigger.

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Harmony 16.0 Premium Reference Guide

Property

Description

Smoothing

Defines the number of control points added to the centre line. The fewer the control
points the smoother (but less faithful) the line.

Contour Smoothing

Defines the number of points on the contour share of your stroke. This will smoothout the bumps and waves on tour contour shape of your brush strokes.
You can adjust the start, end, and join style of a pencil line.

Shape

l

l

l

Start: Lets you select the style of the start tip, which is the first tip you drew.
You can choose between Round or Flat style.
End: Lets you select the style of the end tip, which is the last tip you drew.
You can choose between Round or Flat style.
Join: Lets you select the joint style. The joints are where the line curves
abruptly. You could also define the Join style as the corner style. You canchoose between Round, Mitre and Bevel style.

Texture Tab
In the Pencil Properties view, the Texture tab allows you to select a pencil texture from the currently selected
pencil texture palette to use with the Pencil tool. You can also add, remove or rename textures, save the current
pencil texture palette as the default one, or import the pencil texture palette into your scene.
The pencil texture palette used in the Texture tab of the Pencil Properties dialog is the one selected in the
Colour view. You can select a pencil texture palette by selecting it from the pencil texture palette list in the
Colour view—see Colour View on page 1058.

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Chapter 4: Tools Properties

Icon

Property

Use as Default Pencil
Texture Palette

Description

Sets the currently selected pencil texture palette as the default pencil
texture palette in your user preferences. The default pencil texture paletteis added to every scene you create in Harmony. The palette is copied inyour preferences, so it will be added to your new scenes in the exact state
it is when you make it the default pencil texture palette.

Reload Default Texture
PaletteImports the default pencil texture palette as a new pencil texture palette
into your scene's palette list, and selects it as the current pencil texture
palette.

New Texture

Allows you to import an image file into a new pencil texture swatch in thecurrent pencil texture palette. The pencil texture's effect on your pencil line
will be based on the image's transparency channel, and will follow yourpencil lines on its horizontal axis.

Delete Texture

Deletes a pencil texture swatch from the current pencil texture palette.

Rename Texture

Renames the selected pencil texture swatch in the current pencil texture
palette.

Pencil Texture List

Displays the pencil textures in the current pencil texture palette and allows
you to select one to use with the Pencil tool.

Pencil Texture Palette

Displays the name of the currently selectedpencil texture palette, for952

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Icon

Property

Description

reference. To select a different pencil texture palette, you must select it in
the Colour view—see Colour View on page 1058.

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Reposition All Drawings Tool Properties
When you use the Reposition All Drawings tool, its properties and options appear in the Tool Properties view.

Tool Options
Icon

OptionDescription

Easy Drag

When enabled, you can drag the selection by clicking anywhere inside its boundingbox. By default, you must click on the artwork in the selection to be able to drag it.

Apply toSyncedDrawing
LayersIf the currently selected layer is synced with another layer, the tool will work on boththe current layer and its synced layer.

Operations
Icon

OptionDescription

Flip Horizontal

Flips the current selection horizontally.

Flip Vertical

Flips the current selection vertically.

Rotate 90
Degrees CW

Rotates the current selection 90 degrees clockwise.

Rotate 90
Degrees CCW

Rotates the current selection 90 degrees counter-clockwise.

Offset X and Y

Use the Offset X and Offset Y operation fields to enter specific values andprecisely reposition the selected shape.

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Icon

OptionDescription

1. X: Type a value in this field to reposition your selection along the X-axis.
2. Y: Type a value in this field to reposition your selection along the Y-axis.
3. Up/Down arrows: Use the up and down arrows to modify the value in the
X or Y value field.
Use the Width and Height operation fields to enter specific values to resize theselected shape with precision.

Width andHeight

1. Width: Type a value in this field to resize the width of your selection.
2. Height: Type a value in this field to resize the height of your selection.
3. Up/Down arrows: Use the up and down arrows to modify the value in the
Width or Height fields.
4. Lock icon: Click the lock icon to lock or unlock the ratio between the
Width and Height values.
The Angle operation lets you to enter specific values and accurately rotate theselected shape.

Angle
1. Angle: Type a degree value in this field to rotate your selection.
2. Up/Down arrows: Use the up and down arrows to modify the value in theAngle value field.

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Rigging Tool Properties
In the Tool Properties view, you can customize not only the behaviour of the tool but also the settings of thedeformers that you will create.

Mode
Name

ButtonDescription

Automatic Mode

Sets the Rigging tool to automatically create a Bone orCurve deformer, corresponding to the movement of the
cursor in the Camera view.

Bone Mode

Sets the Rigging tool to create Bone deformers.

Curve Mode

Sets the Rigging tool to create Curve deformers.

Envelope Mode

Sets the Rigging tool to create Envelope deformers.

Game Bone Mode

Sets the Rigging tool to create Game Bone deformers.

Options
Parameter
Show All Manipulators

ButtonDescription
Lets you immediately see the resting position in red (Setup) and956

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the animated position in green.

Show All Regions ofInfluenceLets you visualize the area within which the art will be
influenced by the deformation effect—see Rigging Tool
Properties on page 956.

Automatically Create
Group when Creating a
New Deformation Rig

This option automatically creates a deformation groupconnected to the input port of the selected element. This group
includes all the necessary deformation nodes you created.
The Zone of Influence setting used as the default when creating
an articulation, bone deformer or curve deformer using the
Rigging tool.
Zero Influence: The Zone of Influence does not exist. No
deformation will happen.
Infinite Influence: This is the default option and is the mostcommonly used. The Zone of Influence has no boundary andcovers the whole element to which the deformer is linked andits children, excluding areas that are already part of anotherelliptic or shaped Zone of Influence. The Infinite Influence zone

Bone and Curve Zone ofInfluence

will extend from the centre of your skeleton to infinity, working
perpendicularly to the skeleton.
Elliptic Influence: The Zone of Influence boundary is defined byan elliptical shape; its size can be customized using the Bone,orArticulation or Curve node properties or by using the Transformtool. The Elliptic Influence will most likely be used on a bitmap
picture you want to deform.
Shaped Influence: The Zone of Influence boundary is defined bya shape which you can customize using the Transform tool. The
Shaped Influence will most likely be used on a bitmap picture
you want to deform.
Influence Radius: This value is the size of the influence zone.
The default value is 2.

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Chapter 4: Tools Properties

Operations
Name

Convert Elliptic Zone ofInfluence to Shape

ButtonDescription
After you have created a deformation chain using Elliptic as
the Zone of Influence type, you can select your deformer
and click on this button to convert it to a Shaped type.
Control points will appear around the shape making it easy
to customize.You can also convert the Elliptic zone ofinfluence to a shape. Select Animation > Deformation >Convert Elliptic Deformation ROI to Shape. This will createa much smaller initial zone of influence than if you were toconvert it directly to a shape.

Reset Deform (Reset
Current Keyframe)

Copies the resting position of the deformation skeleton to
the current frame.

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Select Tool Properties
The Select tool lets you select strokes and apply basic transformations such as repositioning, rotating, scaling or
skewing, using the different handles of the bounding box.
If you have text or pencil lines selected with the Select tool, their properties will display in the Tool Properties
view, allowing you to make changes to your selection.

How to access the Select tool properties
1. In the Tools toolbar, select either the Selecttool.

The tool's properties are displayed in the Tool Properties view.

Tool Options
Icon

Property

Description

Allows you to choose the method to visually select multiple elements:lLasso: Allows you to select multiple elements by drawing alasso around them with your mouse.

lSelection Mode

Marquee: Allows you to select multiple elements by drawing a
rectangle around them. This is faster, as you only need to dragyour mouse from one corner of the rectangle to its opposite
corner, but it may not be as precise as you want.

TIP
You can press and hold the Alt key to temporarily use the otherselection mode.

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Chapter 4: Tools Properties

Icon

Property

Description

Easy Drag

When enabled, you can drag the selection by clicking anywhere inside its
bounding box. By default, you must click on the artwork in the selection
to be able to drag it.

Snap to Contour

When enabled, while moving a selection, the mouse cursor (along withthe selection) will snap against the nearby points and contours of yourartwork, allowing you to snap parts of your artwork together.
When enabled, while moving your selection, the rectangular boundingbox of the selection will align with the rectangular bounding boxes ofother strokes and shapes in your artwork.

Snap and Align

When enabled, while moving a selection, the mouse cursor will snap
against the intersecting points of the grid.
Snap to Grid

TIP
To display the grid, select View > Grid > Show Grid from the
top menu or press Ctrl + '.

Select by Colour

When enabled, clicking on a coloured zone in your artwork will instantly
select all the zones that are filled with the same colour.

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Icon

Property

Description

NOTE
Only the zones painted with the same colour swatch in yourpalette will be selected. If another zone is coloured with the exact
same colour, but not the same colour swatch, it will not be
selected.

Allows you maintain a selection while editing multiple drawings. Once
this option is enabled, the selection zone made using the Select tool willremain as you navigate through drawings of the same layer and drawings
from other drawing layers.

Permanent Selection

This option allows you to select which layers the tool should affect. It canbe toggled on or off. When toggled on, it has two different modes. You
can select a mode by clicking and holding on the button.
Apply to Visible Drawing
Layersll

Off: When this button is toggled off, the tool only works on thecurrently selected layers. If several layers are selected, the tool will
work on all these layers simultaneously.
Apply to Visible Drawing Layers: The tool will work on all the961

Chapter 4: Tools Properties

Icon

Property

Description

visible layers in the Camera view.
l

Apply to Synced Drawing Layers: If the currently selected
layer is synced with another layer, the tool will work on both thecurrent layer and its synced layer.

NOTE
This option only works in the Camera view.

This option allows you to determine which drawings in the current layer
the tool should affect. It can be toggled on or off. When toggled on, it has
two different modes. You can select a mode by clicking and holding on
the button.
l

Apply to All FrameslOff: When this button is toggled off, the tool only works on thedrawing in the current frame.
Apply to All Frames: The tool will work on every exposeddrawing in the selected layer simultaneously.

lApply to Onion Skin Range: The tool will work on every
drawing displayed in the Onion Skin. Onion Skin must be enabled
for this option to work.

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Icon

Property

Description

Allows you to perform drawing operations on both the Line Art andColour Art layers of your drawing simultaneously.
Apply to Line and Colour
Art

NOTE
If you have Overlay and Underlay Art layers enabled, they will
also be affected when this option is enabled.

Operations
Icon

Property

Description

Flip Horizontal

Flips the current selection horizontally.

Flip Vertical

Flips the current selection vertically.

Rotate 90 Degrees CW

Rotates the current selection 90 degrees clockwise.

Rotate 90 Degrees CCW

Rotates the current selection 90 degrees counter-clockwise.

Smooth out selected drawing strokes and remove extra points.
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Icon

Property

Description

Merges drawing objects and brush strokes into a single layer. If you draw
new lines to fix a drawing or line with many brush strokes, it can be useful
to flatten them all into a single shape. By default, lines are drawn one on
top of each other. If you intend to repaint the lines or modify their shape, itwill be easier if they are flattened.

FlattenCreate Colour Art fromLine Art

Lets you use the outline you traced on one of the four embedded layers(line art, colour art, overlay, underlay) and create invisible strokes to paintyour drawings on separate layers. This provides more inking and painting
flexibility.
You can also configure this option to create the invisible strokes on any of
the four embedded layers.

Distribute to Layers

Store Colour Gradient

The Distribute to Layers option is used to separate the selected art strokes
and send them to new drawing layers. In the Camera view, once you havedrawn your artwork, you can select the strokes you want to distributeusing the Select tool and click on the Distribute to Layers button; you canalso select Drawing > Distribute to Layers. It will automatically take every
stroke from the drawing selection made in the Camera view and separate
them into a different layer for each. If an artwork is composed of several
strokes, you must group them using Edit > Group > Group before using
the Distribute to Layers option. This option cannot be done from theDrawing view.
Use the Store Colour Gradient operation to record the selected gradient’s
position. This reuses the stored position of the gradient when drawing
new brush lines or painting colour zones. Enable the Use Stored Colour
Gradient

Pencil to Brush

option in the Paint or Brush Tool Properties view to do this.

Converts the selected centre line pencil strokes into contour strokes brushlines.

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Icon

Property

Description

Because pencil lines are defined by their centre lines, two pencil lines thatbrush against each other may not actually make a closed shape, even if
they appear closed. If you select several pencil lines that are close together,you can use this button to close the small gaps between these pencil lines
and make them into a single pencil line.

Merge Pencil Lines

NOTE
Points must be close enough to be merged. If there is a large gap
between the lines, they will not be merged.

The Reverse Pencil Thickness option inverts the thick and thin section on aselected pencil line. This option will take the thickest size on the line andapply it to the thinnest, and it will apply the thinnest to the thickest.

Reverse Pencil Thickness

Offset X

Lets you enter a value to reposition the selection along the X-axis.

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Icon

Property

Description

Offset Y

Lets you enter a value to reposition the selection along the Y-axis.

Width

Lets you enter a value to resize the width of the selection.

HeightLets you enter a value to resize the height of the selection.

Lock

Locks or unlocks the ratio between the Width and Height values.

Angle

Lets you enter specific values to rotate the selection. A positive value
rotates the selection counter clockwise and a negative value rotates theselection clockwise.

Pencil Selection
If the selection contains pencil lines, the Pencil Selection section appears at the bottom of the Tool Properties
view, allowing you to adjust the properties of those pencil lines.

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Property

Description

Maximum Size

Adjusts the size of the parts of the pencil lines that are the thickest. Parts of thepencil lines that are between the minimum and maximum sizes will be adjusted
proportionally.

Minimum Size

Adjusts the size of the parts of the pencil lines that are the thinnest. Parts of thepencil lines that are between the minimum and maximum sizes will be adjusted
proportionally.
You can adjust the start, end, and join style of a pencil line.

Pencil Line Shape

l

l

l

Start: Lets you select the style of the start tip, which is the first tip you drew.
You can choose between Round or Flat style.
End: Lets you select the style of the end tip, which is the last tip you drew.
You can choose between Round or Flat style.
Join: Lets you select the joint style. The joints are where the line curves
abruptly. You could also define the Join style as the corner style. You canchoose between Round, Mitre and Bevel style.

Allows you to apply one of the available line thickness stencils to the selected pencil
lines. Stencils set the width of a pencil lines all along its length. You can use one ofthe preloaded presets, or create your own pencil stencils.

Pencil Stencils

Adding Texture to a
Pencil Line

Pencil lines support texture. Once a pencil line is drawn, you can apply a preset
texture or load your own. Textures are independent from pencil stencils.

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Text Selection
If your selection include text boxes created with the Text tool, a Text Selection section will appear at the bottomof the Tool Properties view, allowing you to adjust the formatting of the whole text box.
TIP
You can also adjust the formatting of parts of the text in the text box using the Text tool—see Text
Tool Properties on page 978.

Icon

Property

Description

Lets you select the font in which to display the text.
Font

Makes the selected text bold.
Bold

Makes the selected text italic.
ItalicAlign Left

Aligns the text in the selected text box to the left.

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Icon

Property

Description

Aligns the text in the selected text box to the centre.

Align Center

Aligns the text in the selected text box to the right.

Align Right

Makes the text in the selected text box take all the horizontal space byadjusting the spacing between each word. Text that use a single line andtext in the last line of a paragraph is aligned to the left.
Justify

Allows you to set the size of the selected text.
Size

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Chapter 4: Tools Properties

Icon

Property

Description

Allows you to increase or decrease the spacing between each character.

Kerning

Auto Kern

Sets the kerning automatically based on the font’s predefined standard.
Allows you to increase or decrease the indentation of the first line of text
in each paragraph.

IndentIncreases or decreases the space between each line of text.

Line Spacing

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Shift and Trace Tool Properties
The Shift and Trace tool allows you to temporarily move, rotate and scale drawings, then trace over them inother drawings, using Onion Skin to keep the outlines of the shifted drawings in your drawing space. Contrary
to Shift and Trace with the Drawing Desk, you can use the Shift and Trace tool in the Camera view.

How to access the Shift and Trace Tool Properties
1. Do one of the following:l

In the Tools toolbar, double-click on the Hand

tool and select Shift and Tracein thepop-up menu.
l

In the top menu, select Drawing > Drawing Tools > Shift and Trace.

The Shift and Trace tool properties appear in the Tool Properties view.

Icon

Tool Name

Description

Shift and Trace Tool Options
Enable/Disable
Shift and Trace

Enabled by default. When disabled, drawings that were repositioned, rotated orscaled with the Shift and Trace tool appear in their original position.

Display Cross
Hair

Enabled by default. When disabled, cross hairs added with the Shift and Trace
tool are invisible.

Show
manipulatorsfor shift andEnabled by default. This displays the manipulator allowing you to rotate and scaledrawings for Shift and Trace, as well as to re-position their pivot point. Whenhidden, you can only shift drawings laterally.

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Chapter 4: Tools Properties

Icon

Tool Name

Description

traceShow theoutline of theselected shift
and trace
drawing

When enabled, the contours of each brush stroke for the current drawing willappear highlighted in cyan.

Show/Hide
Pegs

Enabled by default. When using the Shift and Trace tool, peg holes are displayed
at the bottom of every drawing to help keep track of how offset drawings are fromtheir original position and from each other. You can also click and drag on the leftor right peg hole of a drawing to rotate it around the centre peg hole. Whendisabled, those peg holes are hidden.

Peg Position

Allows you to select on which edge of the drawings to display peg holes. By
default, they are displayed at the bottom of the drawings.

Modes and Operations

Set Add Cross
Hair Mode

When selected, clicking on the drawing will add a cross hair where you click.
Cross hairs are marks that appear on the same location on every drawing in thecurrent layer and which move when you offset a drawing with the Shift and Trace
tool, and they appear in the Onion Skin rendition of neighbouring drawings aswell. This allows you to keep track of how offset each drawing is.

RemoveAll Cross Hair

Removes all the cross hairs created for shift and trace.

Reset Selected
Drawings Shift
Position

Undoes all transformations done with the Shift and Trace tool on the selecteddrawings, resetting them to their original position, angle and scale.

Reset All
Drawings Shift
Position

Undoes all transformations done with the Shift and Trace tool on all drawings,
resetting them to their original position, angle and scale.

Info
Selected Drawings

The element name and drawing name of the currently selected drawing.

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Icon

Tool Name

Description

Position

The offset of the current drawing from its original position on the x and y axes, infields, when moved with the Shift and Trace tool.

Scale

The Shift and Trace scale factor of the currently selected drawing, when scaledwith the Shift and Trace tool.

Rotation

Pivot

The Shift and Trace rotation angle of the currently selected drawing, in degrees,counterclockwise, when rotated with the Shift and Trace tool.
The offset, in fields, of the current drawing's pivot point from its centre, on the x
and y axes. The pivot point is the point from which drawings are rotated andscaled.

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Smooth Editor Tool Properties
When you select the Smooth Editor tool, its properties and options appear in the Tool Properties view.

Icon

Tool Name

Description
The Smoothing Style options allow you to smooth aportion of your drawing by tracing a smoothing strokeover the zone to optimize or by selecting an area ofthe drawing with the Marquee or Lasso.
Note that by default, the Smooth Editor tool colour isyellow, it was changed to orange for screen grab
clarity.

Smoothing Style

The Show Control Points option allows you to showor hide the Bezier points around lines. When the
Bezier points are displayed, you can see the result ofyour smoothing and the number of points left on the
curve. When it is turned off, only the original artwork
is displayed.

Show Control Points

This is where you set the minimum and maximum
sizes of your drawing tool which will produce thethick and thin effect on your stroke. This works withthe pressure sensitivity of a pen tablet.

Minimum Size andMaximum Size

This options is available while using the Brush
Smoothingl974

style.

Maximum and Minimum Size: Defines theHarmony 16.0 Premium Reference Guide

maximum and minimum width of the stroke.
l

Up/Down arrows: Use the up and downarrows to set the minimum and maximum sizevalue.

The Smoothness impacts the strength of thesmoothing result. The higher the value, the morepoints are removed and the smoother the curve. The
Smoothness range is from 0 to 100; the default value
is 20.

Smoothness

You can modify the colour of the control points
displayed on the artwork while working with the
Smooth Editor tool by double-clicking on the colour
swatch.

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Stroke Tool Properties
When you select the Stroke tool, its properties and options appears in the Tool Properties view.

Icon

Tool Name

Description

Draw Stroke as
Straight Lines

Enable the Draw Stroke as Straight Lines option if you want the new strokes
you draw to be a perfect straight line. Disable the option if you want thestroke to follow the mouse gesture.

Connect Line Ends

Enable the Connect Line Ends option if you want the start or end point of
your new stroke to connect to your existing strokes to make sure no gaps areleft in your drawing.
When enabled, drawing a closed shape will automatically fill it with thecurrently selected Paint colour.

Auto Fill

TIP
By default the pencil line and its fill will be the same colour. If you
want to select different colours for the pencil line and its fill, you canclick on the Unlock Three Colours

button in the Colour view, thenselect different colours for Brush strokes
Paint fills

Trim Extra Lines, Pencil lines

and.

When enabled, drawing a closed shape will automatically remove theoutstanding lines.

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When the Trim Extra Lines option is enabled, enable this option to make thepoint where the beginning and end of the stroke meet into a smooth curve
rather than a hard corner.

Align Handles After
Trim

Auto-Flatten Mode

By default, when drawing on a vector layer, each new stroke is created as aseparate drawing object, which can be edited independently from other partsof the artwork. When enabled, the Auto-Flatten option automatically merges
strokes into existing artwork.
Allows you to perform drawing operations on both the Line Art and Colour
Art layers of your drawing simultaneously.

Apply to Line andColour Art

NOTE
If you have Overlay and Underlay Art layers enabled, they will also
be affected when this option is enabled.

Apply to Synced
Drawing Layers

If the currently selected layer is synced with another layer, the tool will workon both the current layer and its synced layer.

Smoothness

You can modify the central line smoothness of your line using this option.
This parameter smooths the initial movement of your line. Increasing thevalue will result in a smoother line with fewer control points. Use the left andright arrows to increment the value by one full unit. Use the Up - Down slider
to quickly increment the value.

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Text Tool Properties
The Text tool lets you add text fields to your project, in which you can type text, then adjust its formatting using
various fonts and text attributes.
With the Text tool selected, you can select text within text boxes you created and change the formatting of theselection. You can also select and manipulate text boxes using the Select tool, and change the formatting of theentire text box in the Select tool properties.

How to access the Text tool propertiesl

In the Tools toolbar, select the Text

tool.

The tool's properties are displayed in the Tool Properties view.

Icon

Property

Description

Lets you select the font in which to display the text.
Font

Makes the selected text bold.
Bold

ItalicMakes the selected text italic.

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Icon

Property

Description

Aligns the text in the selected text box to the left.

Align Left

Aligns the text in the selected text box to the centre.

Align Center

Aligns the text in the selected text box to the right.

Align Right

Makes the text in the selected text box take all the horizontal space byadjusting the spacing between each word. Text that use a single line andtext in the last line of a paragraph is aligned to the left.
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Icon

Property

Description

Allows you to set the size of the selected text.
Size

Allows you to increase or decrease the spacing between each character.

Kerning

Auto Kern

Sets the kerning automatically based on the font’s predefined standard.
Allows you to increase or decrease the indentation of the first line of text
in each paragraph.

IndentIncreases or decreases the space between each line of text.

Line Spacing

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Transform Tool Properties
When selecting the Transform tool, several options are available in the Tool Properties view.

Icon

Tool Name

Description
Sets the selection mode to Lasso, which allows you to selectmultiple items by drawing a lasso around them.

Lasso

TIP
When this option is enabled, you can press and hold the Alt
key to temporarily use Marquee mode.

Sets the selection mode to Marquee, which allows you to selectmultiple items by drawing a rectangle around them.
Marquee

TIP
When this option is enabled, you can press and hold the Alt
key to temporarily use Lasso mode.

Peg Selection ModeIn the Camera view, the Peg Selection Mode limits the selection topeg layers instead of drawing layers. This mode is useful when you
have created a character rig using peg layers for each drawing. Thatway, you do not accidentally select the drawing layer when you
want to animate on the peg.
When disabled, the Transform tool selects the drawing layers.

Control Selection Mode

When enabled, you can select several control points in the Camera
view by drawing a lasso or marquee around them. By default,
drawing a lasso or marquee in the Camera view will select layers in981

Chapter 4: Tools Properties

the area.

NOTE
This option works with curve and envelope deformation
points as well as Animated Matte Generator control points.

Snap and Align

Snaps the selected anchor point to any existing line while displaying
temporary rulers as a guide that you can also snap your anchor
point to.
Snaps your selection following the currently enabled grid.

Snap to Grid

The Hide Manipulator Controls button lets you hide the bounding
Hide Manipulator Controls

box and manipulator controls from the Camera view when anelement is selected.
Flips the current selection horizontally.

Flip Horizontal

You can also select Animation > Flip > Flip Horizontal from the top
menu or press 4 or 5.
Flips the current selection vertically.

Flip Vertical

You can also select Animation > Flip > Flip Vertical from the top
menu or press 4 or 5.

Rotate 90 Degrees CW

Rotates the current selection 90 degrees clockwise.

Rotate 90 Degrees CCW

Rotates the current selection 90 degrees counter-clockwise.

Offset X ad Y

Use the Offset X and Offset Y operation fields to enter specificvalues and precisely reposition the selected shape.

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1. X: Type a value in this field to reposition your selection along
the X-axis.
2. Y: Type a value in this field to reposition your selection along
the Y-axis.
3. Up/Down arrows: Use the up and down arrows to modify
the value in the X or Y value field.
Use the Width and Height operation fields to enter specific values
to resize the selected shape with precision.

Width and Height

1. Width: Type a value in this field to resize the width of yourselection.
2. Height: Type a value in this field to resize the height of yourselection.
3. Up/Down arrows: Use the up and down arrows to modify
the value in the Width or Height fields.
4. Lock icon: Click the lock icon to lock or unlock the ratio
between the Width and Height values.
The Angle operation lets you to enter specific values and accurately
rotate the selected shape.

Angle

1. Angle: Type a degree value in this field to rotate yourselection.
2. Up/Down arrows: Use the up and down arrows to modify
the value in the Angle value field.

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Zoom Tool Properties
The Zoom tool lets you zoom in and out of the Camera, Drawing, Side and Top views. You can also use it to reset
the zoom level.

How to access the Zoom tool properties
1. In the Tools toolbar, select the Zoom

tool.

The tool's properties are displayed in the Tool Properties view.

Tool Options
Icon

Parameter

Description

Zoom In ModeUse the mouse cursor to zoom in to the Camera or Drawing view.

Zoom OutMode

Use the mouse cursor to zoom out of the Camera or Drawing view.

Operations
Icon

Parameter

Description

Perform Zoom
In

Zoom in the Camera or Drawing view.

Perform Zoom
Out

Zoom out the Camera or Drawing view.

Reset Zoom

Restores the current zoom level to 100%.

Reset View

Restores the original display by resetting any pan, rotation or zoom actions.

The keyboard shortcut is 2.

The keyboard shortcut is 1.

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Chapter 5: Toolbars
Harmony contains toolbars which, by default, are located at the top of the interface. Some views also have a
toolbar which you can reposition to suit your work style. You can show or hide toolbars, as well as customize itwith the tools you use most often and hide the ones you don't.
Top Toolbars

988

Advanced Animation Toolbar

989

Art Layer Toolbar

991

Control Point Toolbar

993

Coordinate Toolbar

995

Deformation Toolbar

996

Display Toolbar

1001

Easy Flipping Toolbar

1002

Edit Toolbar

1003

File Toolbar

1004

Flip Toolbar

1005

Game Toolbar

1006Mark Drawing Toolbar

1007

Master Controller Toolbar

1008

Mini Playback Toolbar

1009

Onion Skin Toolbar

1010

Playback Toolbar

1012

Scripting Toolbar

1015

Shift and Trace Toolbar

1016

Tool Presets Toolbar

1018

Tools Toolbar

1019

Workspace Toolbar

1025

View Toolbars

1026

3D Graph View Toolbar

1027

Animated Matte Generator Toolbar

1028

Script Editor Toolbar

1031

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Timeline View Toolbar

1036

Xsheet View Toolbar

1038

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Top Toolbars
Harmony has a series of toolbars that are added by default at the top of the interface. These toolbars can be
moved on the sides of the interface as well as within specific views.
All top toolbars can be added through the top menu Windows > Toolbars > desired toolbar.
Advanced Animation Toolbar

989

Art Layer Toolbar

991

Control Point Toolbar

993

Coordinate Toolbar

995

Deformation Toolbar

996

Display Toolbar

1001

Easy Flipping Toolbar

1002

Edit Toolbar

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File Toolbar

1004

Flip Toolbar

1005

Game Toolbar

1006Mark Drawing Toolbar

1007

Master Controller Toolbar

1008

Mini Playback Toolbar

1009

Onion Skin Toolbar

1010

Playback Toolbar

1012

Scripting Toolbar

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Shift and Trace Toolbar

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Tool Presets Toolbar

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Tools Toolbar

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Workspace Toolbar

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Advanced Animation Toolbar
The Advanced Animation toolbar contains tools to position and animate layers. The Scale, Translate andRotate tools can be used to reposition the permanent pivot position of a layer. Unlike the Transform tool, eachtool in the Advanced Animation toolbar performs a single operation, either rotate, scale, translate or scale inrelation to the camera distance.

How to access the Advance Animation toolbar
1. Select Windows > Toolbars > Advanced Animation.

Icon

Tool Name

Description

TranslateLets you move the selected element along the X and Y
axes.

RotateTurns a selected element around its pivot point.

Scale

Increases or decreases the size of a selected element.
You can scale an object up to make it larger or down
to make it smaller. Press Shift to scale the element
while maintaining its proportions.

Skew

Slants the selected element.

Maintain Size

Keeps elements the same size aspect ratio in the
Camera view as you move them towards or away fromthe camera.

Spline Offset

Lets you reposition the visual trajectory without
offsetting or modifying your animation. By default, thetrajectory is located at 0,0,0 fields. If your elements
were drawn in a different location than the centre of
the drawing area, it will look like the trajectory is notaligned with your drawing. Also, if you have several
elements attached to one trajectory, you might wantyour trajectory to be at a different location to represent
the group's motion better.

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Lets you reposition, scale, rotate or skew all drawing
strokes on every drawing included in a layer.

Reposition Drawing

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Art Layer Toolbar
The Art Layer toolbar lets you access the art layers. By default, only the Line Art and Colour Art are displayed.
A drawing is composed of two layers, a line layer and a colour layer. The colour layer is always placed under theline layer. These layers are accessible in the Drawing or Camera view (using drawing tools). When you view thefinal drawing, you will see the final composition of the lines and colours, not two separate layers.

You can draw and paint in all layers. If you prefer to work in a single layer, everything can be done in the LineArt layer.
You can change your preferences to enable the advanced use of layers and have access to four layers instead oftwo:lOverlaylLine ArtlColour Artl

Underlay

How to access the Art Layer toolbar
1. Select Windows > Toolbars > Art Layer.

How to enable the Support Overlay and Underlay Arts option
1. Select Edit > Preferences ( Windows/Linux ) or Harmony Premium > Preferences ( macOS ).
2. In the Preferences dialog box, select the Advanced tab.
3. In the Advanced Options section, select the Support Overlay and Underlay Arts option.
4. Click OK.

Icon

Tool Name

Description

Preview Line Art andColour Art

Displays all Art layers.

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Overlay Art

Makes the Overlay Art layer current.

Line Art

Makes the Line Art layer current.

Colour Art

Makes the Colour Art layer current.

Underlay Art

Makes the Underlay Art layer current.

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Control Point Toolbar
The Control Point toolbar displays parameters when you select a keyframe or control point in the Camera,
Timeline or Xsheet view. You can edit keyframes and control point parameters, such as the continuity, bias,
tension and lock-in-time.

How to access the Control Point toolbar
1. Select Windows > Toolbars > Control Point.

Icon

Tool Name

Description

Frame

Indicates the current frame.

Locked in Time

Locks a control point in time, making it a keyframe.

Constant Keyframe

Removes any interpolation and keeps the keyframe
value constant up to the next keyframe.
Controls how sharply the path bends as it passes
through a control point or keyframe.

T

TensionControls the smoothness of a transition between thesegments joined by a point.

C

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Controls the slope of the path so it flows towards one
side of the motion point or the other.

B

Bias

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Coordinate Toolbar
T-ANIMCO2-001-001
The Coordinate toolbar displays parameters of keyframes or control points in the Camera, Timeline or Xsheet
view. You can edit keyframes and control point parameters, such as the position, scale and rotation coordinates.

For tasks related to this toolbar, see Coordinates and Control Points View on page 1066.

How to access the Coordinate toolbar
1. Select Windows > Toolbars > Coordinate.

Parameter

Translation

Description
The translation fields display the X, Y and Z translation values of the selected
layer. You can enter precise values to set the first frame and last frame position ofa layer. By default the Z value field is disabled. It will automatically become active
when the 3D option is enabled.

Scale

The scale fields display the X, Y and Z scaling values of the selected layer. You canenter precise values to set the first frame and last frame size of a layer. By default
the Z value field is disabled. It will automatically become active when the 3D
option is enabled.

Rotation

The rotation fields display the X, Y and Z rotation values of the selected layer. You
can enter precise values to set the first frame and last frame rotation of a layer. By
default the Z value field is disabled. It will automatically become active when the
3D option is enabled.

Skew

The skew field displays skew value of the selected object. You can enter a precise
value to set the skew of the object.

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Deformation Toolbar
T-RIG-007-009
The Deformation toolbar contains the various tools and options used to create a deformation rig. This toolbar isdisplayed in the default interface.
By default, the Deformation toolbar only contains the essential options. If you right-click on the toolbar andselect Customize, you can add additional buttons.

Default Buttons
Icon

Tool Name

Description
The Rigging tool is used to create either a Bone orCurve deformation chain. You also use it to set up theresting position.

Rigging Tool

To learn more about the Rigging tool's properties, see
Rigging Tool Properties on page 956.
Show Selected
Deformation Chains andHide All Others

Displays the deformer manipulators for the selecteddrawings or selected deformers in the Camera view,and hides all other deformer manipulators.

Show Manipulator

When several points from a curve or envelope
deformation chain are selected, this displays amanipulator bounding box around them. Using thismanipulator, you can move, rotate and scale theselected points together.

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The Reset Current Keyframe copies the resting
position, the original setup of your skeleton before
undergoing any deformation, to your current frame.
Once you have created a deformation chain, you can
use the Rigging tool to adjust the position andappearance of the rig to fit the element. When theskeleton is in place, you can use the Reset Current
Keyframe button to reset the current frame position to
the resting position.

Reset Current Keyframe

The Create New Deformation Chain option allows you
to create a new deformation chain on a samecharacter. For example, if you have drawings for thedifferent views of your puppet (front, profile, back,etc.), you can use this feature to setup a new set ofchains for each angle without having to create
completely different puppets.

Create New Deformation
Chain

The Rename Transformation option allows you to give
specific names to your different transformation
chains. By default, chains are named Transformation
plus the number of the chain, such as Transformation
2. You can rename these to identify them easier, suchas front, side, back, and so on.

Rename Transformation

The Transformation Selector drop-down menu allows
you to assign an existing chain to a set of drawings.
For example you might want to reuse the front
deformation chains for another series of drawing.

Transformation Selector

When creating a new drawing, the Default
Transformation is assigned. While on the new
drawing frames, from the drop-down menu, select a
different chain to automatically assign it.

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The Enable Deformations button allows you to display
your drawings in their original state or with
deformations while creating additional drawings.
Depending on the artwork you need to create, you
might need to refer to the other images either
deformed or in their original position.
Enable Deformations

NOTE
Disabling deformations is only a display
mode. Although drawings will not appear
deformed in the Camera view, evenin Render View mode, they will still be
deformed in the rendered images.

Matches the drawing name and drawing location pathin the Transformation Switch node's Properties withthe drawing name and drawing location path found in
the Drawing Layer's Properties. For this button towork, a drawing node connect to a deformationgroup, with a Transformation Switch inside, must be
selected.

Associate Parent
Transformation Switch
with Selected Element

Optional Buttons
Icon

Tool Name

Description

Convert Elliptic Zone of Influence to Shape

After you have created a deformation chain using
Elliptic as the Zone of Influence type, you can selectyour deformer and click on this button to convert it toa Shaped type. Control points will appear around theshape making it easy to customize.You can also
convert the Elliptic zone of influence to a shape. SelectAnimation > Deformation > Convert Elliptic
Deformation ROI to Shape. This will create a muchsmaller initial zone of influence than if you were toconvert it directly to a shape.

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NOTE
You can also convert the Elliptic zone ofinfluence to a shape. Select Animation >Deformation > Convert Elliptic
Deformation ROI to Shape. This will
create a much smaller initial zone ofinfluence than if you were to convert it
directly to a shape.

Convert to New Drawing and Add
Deformation Chain

Takes the pose/drawing and the deformer of theselected frame and converts it to a new pose/drawing
with the corresponding deformer.

Remove All Keyframes

The Remove All Keyframes option removes all
keyframes on the selected deformation chain.
The Show All Controls button lets you visualize theresting position in red (Setup mode) and the active
position (Animation) in green at the same time

Show All Controls

The Show All Regions of Influence button displays all
regions of influence in the deformers in your project.
Note that the deformer’s controls must be visible inorder for its zones of Influence to show. The regions
will not be displayed when a deformer’s zone ofInfluence is set to Infinite or Zero.

Show All Regions of Influence

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NOTE
Region of influences are not available forGame Bone deformers.

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Display Toolbar
The Display toolbar lets you select the different Display nodes available in the node system.

When your scene does not have a Display node, it is automatically set to Display All which uses the Timelineview ordering and shows floating nodes from the Node view. You can also set your scene to use Display All
using the Display toolbar.
NOTE
If you try to add a peg or other transformation layer in the Timeline view without having a layer
selected, an error message will display. Make sure to change to Display All. The peg layer will befloating in the Node view and will not be visible in the Timeline view. The Timeline view shows only
layers that are connected to the Composite node.
If you switch to Display All, you run the risk of not realizing when you have floating nodes that are
not connected to your composite. For this reason, it is not recommended to work in Display All
mode.

How to access the Display toolbar
1. Select Windows > Toolbars > Display.

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Easy Flipping Toolbar
T-LAY-003-007
The Easy Flipping toolbar lets you rapidly flip through drawings in the Drawing view as is done with paper
drawings. In order for the features in this toolbar to work, you must be in the Drawing view.

How to access the Easy Flipping toolbar
1. Select Windows > Toolbars > Easy Flipping.

Icon

Tool Name

Description

Previous Drawing

Displays the previous drawing of your animation.

Next Drawing

Displays the next drawing of your animation.

SliderLets you flip forwards or backwards through yourdrawings by moving the slider.

Loop

Displays drawings in the first frame after you reachthe last frame of your animation.

Easy Flip

Automatically flips through the drawings based on
the FPS.

Preroll

Sets the number of drawings to be flipped throughbefore the starting drawing. The starting drawing isdetermined by the position of the red playhead in theTimeline view.

FPS

Sets the speed of playback in the units of frames per
second.

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Edit Toolbar
The Edit toolbar contains common operations such as Copy, Paste, Cut, Undo and Redo. These options can also
be found in the Edit menu.

How to access the Edit toolbar
1. Select Windows > Toolbars > Edit.

Icon

Tool Name

Description

Undo

Removes the last change made to your project.
Harmony supports multiple undo, so you can undochanges you made in the order you made them.

Redo

Redoes an operation you have undone. This commandis active only after you use the Undo command.

Cut

Removes selected objects. You can then paste theobject or its properties to another object.

Copy

Copies selected objects and properties.

Paste

Places an object you cut or copied into the location
you select in a view.

Create Symbol

Creates a symbol from selected drawing elements inthe Drawing or Camera view, nodes in the Node view,or a layer or cells in the Timeline view.

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File Toolbar
The File toolbar contains the common file operations such as New, Save and Open. These options can also befound in the File menu.

How to access the File toolbar
1. Select Windows > Toolbars > File.

Icon

Tool Name

Description

New (Harmony Stand
Alone)Creates a new scene while closing any scene already open. The New
Scene dialog box opens, asking for directory, name, and resolution
information.

Open

Displays the Open Scene dialog box where you can browse for a scene
file. You can open a new scene from the current one and the previous
scene will close.

Save

Saves all changes made to the opened scene, drawings, palettes, andpalette lists.
Saves the current file with a different name and at a different location.

Save As

Saves the current state of a scene as another scene. The Save As
window prompts you for a new name and a different location for thisscene before saving it. This will create a complete scene directory for the
new scene.

NOTE
The scene name cannot exceed 23 characters.

Import Images

Imports bitmap images which you can choose to vectorize.

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Flip Toolbar
The Flip toolbar lets you determine the type of drawing to include in your flipping selection. You can flip throughthe key, breakdown or in-between drawings individually, or view a combination.

How to access the Easy Flipping toolbar
1. Select Windows > Toolbars > Easy Flipping.

Icon

Tool Name

Description

Show Key Drawings

Displays key drawings when flipping throughdrawings.

Show Breakdown
Drawings

Displays breakdown drawings when flipping throughdrawings.

Show In-between
Drawings

Displays in-between drawings when flipping throughdrawings.

Show Retake Key
Drawings

Displays retake key drawings when flipping throughdrawings.

Show Retake Breakdown
Drawings

Displays breakdown retake drawings when flipping
through drawings.

Show Retake In-between
Drawings

Displays retake in-between drawings when flipping
through drawings.

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Game Toolbar
The Game toolbar contains tools for setting anchors and props, as well as exporting to sprite sheets and Easel
JS.

How to access the Game toolbar
1. Select Windows > Toolbars > Game.

Icon

Tool Name

Description

Toggle Anchor

Adds the Anchor parameter to the selected layer.

Toggle Prop

Adds the Prop parameter to the selected layer.

Export to Sprite Sheets

Opens the Export to Sprite Sheets window where youcan export your animation as sprite sheets .

Export to Easel JS

Opens the Export to Easel JS window where you canexport your animation as Easel JS.

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Mark Drawing Toolbar
The Mark Drawing toolbar lets you identify drawings such as key, breakdown and in-between. The drawing
Identification feature can help the animator stay well organized and save time when identifying key,breakdown or in-between drawings in the Xsheet and Timeline views.

How to access the Mark Drawing toolbar
1. Select Windows > Toolbars > Mark Drawings.

Icon

Tool Name

Description

Mark as Key Drawing

Identifies the selected drawing as a key drawing.

Mark as Breakdown
Drawing

Identifies the selected drawing as a breakdown
drawing.

Mark as In-between
Drawing

Identifies the selected drawing as an in-between
drawing.

Mark as Retake Key
Drawing

Identifies the selected drawing as a key retakedrawing.

Mark as Retake
Breakdown Drawing

Identifies the selected drawing as a breakdown retakedrawing.

Mark as Retake Inbetween Drawing

Identifies the selected drawing as a in-between retakedrawing.

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Master Controller Toolbar
T-RIG3-008-002
The Master Controller toolbar allows you to launch one of the wizards that are packaged with Harmony which
can be used to generate Master Controller widgets.

How to access the Master Controller toolbar
1. Do one of the following:

Icon

l

In the top menu, select Windows > Toolbars > Master Controller.

lRight-click on any existing toolbar and select Master Controller.

Tool Name

Description

Opens the Interpolation Grid wizard, which allows you to create a 2D point
Interpolation Grid
WizardInterpolation Slider
Wizardwidget Master Controller that can pose your rig, or part of your rig, according
to a grid of preset poses—see Interpolation Grid Wizard Dialog Box on page
104.
Opens the Interpolation Slider wizard, which allows you to create a slider
widget Master Controller that can pose your rig, or part of your rig, according
to a line-up of 2 or more poses—see Interpolation Slider Wizard Dialog Box onpage 111.

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Mini Playback Toolbar
The Mini Playback toolbar allows you to quickly preview a short span of animation starting a few frames before
the current frame and ending a few frames after the current frame, at a customizable frame rate.

How to add the Mini Playback toolbar to your workspace
1. Do one of the following:

Icon

l

In the top menu, select Windows > Toolbars > Mini Playback.

l

Right-click on any existing toolbar and select Mini Playback.

Tool
Name

Description

Mini
Playback

Open the Mini Playback dialog. This dialog allows you to set the amount of frames
before and after the current frame to playback when using Mini Playback, to set the

Dialogspeed of Mini Playback and to start Mini Playback.

Mini
Playback

Begins Mini Playback using the last settings entered in the Mini Playback dialog. By
default, Mini Playback will play 5 frames before and after the current frame, at thescene's frame rate.

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Onion Skin Toolbar
The Onion Skin toolbar contains a few options that can be used with Onion Skin. Specifically, you can use it toquickly toggle the Enable Onion Skin for other elements option, as well as to only display drawings with specificmarkers in the Onion Skin.

How to access the Onion Skin toolbar
1. Select Windows > Toolbars > Onion Skin.

Icon

Tool Name

Description

In the Drawing View, when the Light Table is enabled, making otherlayers visible alongside the current layer, this will make the Onion Skin

Enable Onion Skin in
Other Elementsfor other visible layers appear alongside the Onion Skin for the current
layer. Drawings for elements above the current layer will appear in blue,and drawings for elements below will appear in yellow.

NOTE
The drawings from other elements that get displayed in theOnion Skin are the drawings that are exposed at the same timeas the drawings displayed in the current layer's Onion Skin.

Show Key Drawings

Only displays drawings marked as key drawings in the Onion Skin.

Show Breakdown
Drawings

Only displays drawings marked as breakdowns in the Onion Skin.

Show In-between
Drawings

Only displays drawings with no marker in the Onion Skin. Drawings withno marker are considered in-betweens.

Show Retake Key
Drawings

Only displays drawings marked as retake key drawings in the Onion Skin.

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Icon

Tool Name

Description

Show Retake Breakdown
Drawings

Only displays drawings marked as retake breakdowns in the Onion Skin.

Show Retake In-between
Drawings

Only displays drawings marked as retake in-betweens in the Onion Skin.

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Playback Toolbar
The Playback toolbar lets you play back animation and sound. Use it to scrub the sound to create your lip-sync,
loop the playback, navigate through frames, and change the playback range and speed.

Name

ButtonDescription
Plays the scene in the Camera or Drawing
view.

Play

You can also select Play > Play or Stop fromthe top menu.
Renders your scene's frames, then opens therendered frames in Play for playback.
This allows you to preview your scene's
animation in real time, with the effects
rendered and with no risk of slowdown.

Render and PlayYou can click and hold this button to switch
its mode to Record and Play or Test SWF
Movie.
Exports your scene as it appears in the Camera
view into a movie file, then opens it in yourworkstation's default video player.
Record and PlayThis allows you to preview your animation
without any risk of slowdown, but it does notpreview the effects in your scene. However, it
is much faster than Render and Play.
Quickly exports your scene as a Flash Movie(.swf), then opens it in your workstation's
default web browser.

Test SWF Movie

If pressed, your scene will repeat indefinitely
when playing. Otherwise, it will stop when theend is reached.

Enable Loop

You can also select Play > Loop from the top
menu.

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When pressed, your scene's soundtrack willplay during playback.

Enable SoundYou can also select Play > Enable Sound fromthe top menu.
When pressed, you will hear a sample of yourscene's soundtrack at the current frame whenmoving your scene's playhead in the Timeline
view.

Enable Sound Scrubbing

This allows you to easily situate where theaction is relative to the sound track.
You can also select Play > Enable Sound
Scrubbing.
Allows you to quickly play your scene forward
or backward to preview your animation.
Moving the handle towards the right will playyour scene forward, while moving it towards
the left will play your scene backward.
The closer to the edge you move the handle,
the faster the playback will be, allowing you to

Jog Frames

dose the speed at which your scene is played.
When the handle is at the edge, your scene
will play at its actual framerate.
Once the head is released, it returns to the
middle and playback stops.
Lets you manually enter the current frame
number, setting the playhead's position.

Frame

Let's you manually enter the number of thefirst frame to play during playback.

TIP

Start

You can also click on Start (just leftof the input field) to quickly set theStart frame to the current frame.

Let's you manually enter the number of thefirst frame to play during playback.

Stop

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TIP
You can also click on Stop (just leftof the input field) to quickly set the
Stop frame to the current frame.

Lets you set the amount of frames that shouldbe played during every second of playback,which is how the playback speed isdetermined.
FPS (Frames per second)

NOTE
This does not change the frames per
second setting in your scene's
resolution settings.

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Scripting Toolbar
The scripting toolbar allows you to create buttons that run functions in your scripts. You can add one button foreach function you want to be able to run, and clicking on the button will instantly run the script function yourlinked it to.

How to add the Scripting toolbar to your workspace
1. Do one of the following:

Icon

l

In the top menu, select Windows > Toolbars > Scripting.

l

Right-click on any existing toolbar and select Scripting.

Tool Name

Description

ManageScripts

Opens the Scripts Manager dialog box where you can add scripts and functions toyour Scripting toolbar.

Stop Script

Stops the execution of a script launched from the Scripting toolbar.

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Shift and Trace Toolbar
The Shift and Trace toolbar allows you to temporarily move, rotate and scale drawings, then trace over them inother drawings using Onion Skin. Contrary to Shift and Trace with the Drawing Desk, you can use the Shiftand Trace toolbar in the Camera view.

How to access the Shift and Trace toolbar
1. Do one of the following:l

In the top menu, select Windows > Toolbar > Shift and Trace.

l

Right-click on any existing toolbar and select Shift and Trace.

NOTE
You can also select the Shift and Trace
the Handtool from the Tools toolbar, under the pop-up menu oftool. When the Shift and Trace tool is active, all the commands in the Shift and Trace

toolbar are available in the Tool Properties view.

Icon

Tool Name

Description

Enables the Shift and Trace tool, with which you can temporarily offset, rotate andscale drawings.
Shift and TraceTool

The transformations done on drawings with the Shift and Trace tool are only
meant to allow you to trace these drawings, and can be undone at any time toreset the drawings back to their intended position.
Selecting the Shift and Trace tool also enables Shift and Trace and Onion Skin.

Enable/Disable
Shift and Trace

Enabled by default. When disabled, drawings that were repositioned, rotated orscaled with the Shift and Trace tool appear in their original position.

Set Add Cross
Hair Mode

When selected, clicking on the drawing will add a cross hair where you click.
Cross hairs are marks that appear on the same location on every drawing in thecurrent layer and which move when you offset a drawing with the Shift and Trace
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Icon

Tool Name

Description

well. This allows you to keep track of how offset each drawing is.
RemoveAll Cross Hair

Removes all the cross hairs created for shift and trace.

Reset Selected
Drawings Shift

Undoes all transformations done with the Shift and Trace tool on the selected

Position
Reset All
Drawings Shift
Positiondrawings, resetting them to their original position, angle and scale.

Undoes all transformations done with the Shift and Trace tool on all drawings,
resetting them to their original position, angle and scale.

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Tool Presets Toolbar
The Tool Presets toolbar lets you create new tool presets and manage them.

How to access the Tool Presets toolbar
1. Select Windows > Toolbars > Tool Presets.

Icon

Tool Name

Description

New Tool Preset

Creates a new tool preset from the current tool
settings.

Manage Presets

Opens the Manage Tool Preset dialog box where you
can update, organize, and delete existing presets.

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Tools Toolbar
The Tools toolbar contains the main tools you need to work in Harmony. In the default workspace, this toolbar
located on the left-most side of the interface. A small triangle at the lower-right corner of a tool indicates that
additional tools can be selected in a pop-up menu. To access these tools, either click and hold on the tool
button, or select the tool then click on it again.

By default, the Tools toolbar displays several of its tools in pop-up menus that must be opened. It is possible to
make the Tools toolbar display every tool in its individual button instead by enabling the Flat Tools Toolbar
preference. This makes the selection of tools quicker. However, because there is not enough vertical space todisplay all tools, some tools will be hidden from the Tools toolbar by default. Which tools are displayed in the
Tools toolbar when Flat Tools Toolbar is enabled can be customized. The order in which tools are listed in Flat
Tools Toolbar mode can also be customized.

How to make every tool in the Tools toolbar display in buttons rather than pop-up
menus
1. Do one of the following:lSelect Edit > Preferences (Windows/Linux) or Harmony Premium > Preferences(macOS).

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lPress Ctrl + U (Windows/Linux) or ⌘ + U (macOS).

2. Select the General tab.
3. In the Options section, select the Flat Tool Toolbar option.

4. Click OK and restart Harmony.

How to customize which tools are displayed in the Tools toolbar when it is in Flat mode
1. Right-click on the Tools toolbar and select Customize.
The Toolbar Manager dialog appears.

2. In the Available Tools list, select each tool that you want to add to the Tools toolbar, then click on
the Add the selected tool to the toolbar

button.

3. In the Toolbar list, select each tool that you want to remove from the Tools toolbar, then click on the
Remove the selected tool from the toolbar

Tool Name

SelectIcon

button.

Description
Allows you to select and reposition, scale, rotate and skew brush strokes,
pencil lines, shapes and other parts of your artwork.

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CutterAllows you to cut a part of your artwork, then reposition, scale, rotateand skew it.

Reposition All
Drawings

Allows you to reposition, scale, rotate and skew all drawings in thecurrent layer.

Contour Editor

Allows you to edit the vector contours of brush strokes, pencil lines andshapes in your artwork. You can add, remove, tweak and move vector
points, move the Bezier handles of the vector points as well as deform
vector outlines.

Centerline Editor

Allows you to tweak and deform a brush stroke by manipulating thepoints at the centre of its line rather than its contour.

Pencil Editor

Allows you to adjust the thickness of a pencil line at its different points
and corners, tweak the shape of its extremities and scale its texture.

Smooth Editor

Allows you to optimize contours and lines by removing its extra points,
making them easier to edit.

Perspective

Allows you to deform artwork by applying a perspective effect on it.

Envelope

Allows you to deform and warp artwork by moving points and tweaking
lines in a grid.

Edit
Gradient/Texture

Allows you to adjust the position, angle and size of gradients andtextures in a colour zone.

Brush

A pressure-sensitive tool for creating a contour shape with a thick andthin line effect, as if created with a paint brush.

PencilA pressure-sensitive tool for drawing outlines. Pencil lines are made ofcentral vector lines, making them easier to tweak and edit than brushstrokes.

Text

Allows you to add text and to format it.

EraserA pressure-sensitive tool for erasing parts of a drawing.

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Chapter 5: Toolbars

Paint

Allows you to fill colour zones with a colour or texture.

Ink

Allows you to recolour pencil lines with precision by changing the colourof one segment at a time.

Paint Unpainted

Allows you to quickly fill empty zones in your artwork with a colour or
texture, leaving filled zones unchanged.

Repaint

Allows you to quickly repaint painted zones in your artwork. Empty
zones will remain empty.

Unpaint

Allows you to empty filled colour zones of their colour and texture.

StrokeAllows you to create invisible lines that can serve as colour zones thatcan be filled, or close the gaps in existing colour zones.

Close Gap

Allows you to close open shapes so that they can be filled with the Paint
tool. By drawing a stroke near a small gap in a shape, this tool will createa small invisible stroke connecting the two closest points around the gap.

Line

Draws a straight line segment going from one point to the other.

Rectangle

Draws a rectangle.

EllipseDraws an ellipse.

Polyline

Allows you to draw shapes, segmented lines or complex curved lines byclicking to create each point in the sequence of line segments.

Dropper

Allows you to select a colour by clicking on a colour in your artwork.

Drawing Pivot

Allows you to position the pivot on a drawing layer by clicking where youwant its location to be.

Morphing

Allows you to create and configure a morphing sequence, which willautomatically generate the in-betweens between two drawings in the1022Harmony 16.0 Premium Reference Guide

current layer.

Hand

Allows you to pan the Camera and Drawing views.

Zoom

Rotate View

Shift and Trace

Allows you zoom in and out of the Camera and Drawing views.

Lets you rotate the Camera and Drawing views just like with a realanimation disc.
Allows you to temporarily move drawings so you can trace over them inother drawings using Onion Skin.

When this option is selected, every time you use theTransform,
Advanced Animation orInverse Kinematic tools to
Animate Current Frame

manipulate an element in your scene, the position of the element will be
stored in a keyframe at the current frame. This allows you to animate
elements in your scene without creating keyframes manually.

When this option is selected, if you use theTransform or
Advanced Animation tools to make transformations to an element
AnimateOnion Skin Range

in your scene, the transformations will be stored as keyframes at the
beginning and at the end of the current Onion Skin range, as well as on
every existing keyframe in-between. This can be useful if you want toreposition an element that you have already animated, but only during a
specific range of frames, which you can define by enabling Onion Skinand setting the Onion Skin range to cover that range of frames.

When this option is selected, if you use theTransform or
Advanced Animation tools to make transformation to an element
Animate Offin your scene, the transformations will affect the element throughout thewhole scene. This can be useful if you want to reposition an element after
you have already animated it.

Transform

Allows you to select drawing layers and position, rotate, scale and skew
them.

Inverse Kinematics

Allows you to pose a character model by pulling on its extremities, suchas hands and feet, and have the other connected limbs follow. Can beused on any piece connected in a hierarchy.

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Chapter 5: Toolbars

Onion Skin

Advanced Onion
Skin

Displays the previous and next frames of an animation. Useful when
animating cut-out characters.
Enables Advanced Onion Skin, a more flexible kind of Onion Skin that canbe easily configured using the Onion Skin view.

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Workspace Toolbar
The Workspace toolbar lets you load other workspaces. The first time you start Harmony, the default
workspace is loaded. Other workspaces are available such as the Hand-Drawn Animation and Compositing
workspaces; these display different views and toolbars. You can access these workspaces and any you create,from the Windows menu and the Workspace toolbar.

How to access the Workspace toolbar
1. Select Windows > Toolbars > Workspace.

Icon

Tool Name

Description

Workspace List

Allows you to select an existing workspace.

Workspace Manager

Opens the Workspace Manager where you canorganize, display, and remove workspace from yourlist.

Save Workspace

When the Automatically Save Workspace preferenceis disabled, the Save Workspace button becomes
available. This allows you to manually save your newworkspace configuration.

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Chapter 5: Toolbars

View Toolbars
Harmony has a series of view specific toolbars that are only available in a given view. These toolbars can be
moved only within their view.
All view toolbars can be added, as long as the view is visible, through the top menu Windows > Toolbars >desired toolbar.
3D Graph View Toolbar

1027

Animated Matte Generator Toolbar

1028

Script Editor Toolbar

1031

Timeline View Toolbar

1036

Xsheet View Toolbar

1038

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3D Graph View Toolbar
The 3D Graph toolbar works in conjunction with the elements in the 3D Graph view.

How to access the 3D Graph toolbar
1. With the 3D Graph view open in your workspace, do one of the following:l

From the top menu, select Windows > Toolbars > 3D Graph.

l

Right-click on the top area of the 3D Graph view and select 3D Graph.

NOTE
This toolbar is for use with the 3D Graph view. For more information on this view, see 3D Graph
View on page 1042.

Icon

Functionality

Description

Enable SubnodeEnables the selected subnode, making it and all its enabled children
visible. You can also enable a selection of multiple subnodes.

Disable SubnodeDisables the selected subnode, making it and all its children invisible.
You can also disable a selection of multiple subnodes.

Make Properties Available

When the 3D model is connected to a Subnode Animation node, thiswill add the properties (ie: position, angle, scale) of the selectedsubnode to the Subnode Animation node's list of properties in theTimeline view. This is useful if you want to add keyframes to a
subnode before animating it or if you want to outline which
subnodes should be animated and which ones should not.

Add 3D Kinematic Output

Creates a 3D Kinematic Output node and connects it under the
3D Model's Subnode Animation node. This 3D Kinematic Output
node will be configured to use the currently selected subnode's
animation. You can then connect this 3D Kinematic Output node toan element in your scene to apply the selected subnode's animation
to that element.

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Chapter 5: Toolbars

Animated Matte Generator Toolbar
The Animated Matte Generator toolbar displays by default at the top of the Animated Matte Generator view,adding some extra functionalities for editing and animating Animated Matte Generator nodes.

How to access the Animated Matte Generator toolbar
1. Add the Animated Matte Generator view to your workspace by doing one of the following:
From the top-right corner of any currently visible view, click the Add Viewlbutton andselect Animated Matte Generator.
From the top menu, select Windows > Animated Matte Generator.

l

2. Click on the Animated Matte Generator to set the focus on it.
3. In the top menu, select Windows > Toolbars > Animated Matte Generator.

NOTE
This toolbar is for the Animated Matte Generator view. For information about the options andfunctionalities of the Animated Matte Generator view, see Animated Matte Generator View on
page 1044.

Icon

Functionality

Description

Adds the attribute for the position and handles of the selected
matte point(s) to the list of visible attributes for the AnimatedMatte Generator node in the Timeline view.
Set up the Selected Points for
Animation

If you expand the parameters of an Animated Matte Generator
toolbar in the Timeline view, by default, you will see its
interpolation factor and its colour properties, which areanimatable, but you will not see the attributes of each of thecontrol points of the matte contours.

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Icon

Functionality

Description

Attributes for a point are automatically added to the node's listof attributes if you animate the point in the Camera view. A
keyframe is created at the same time for these attributes, torecord the point's position.

You can use this button to add the attributes of the currently
selected control points in the matte contour to the list of
attributes of the Animated Matte Generator node in the Timelineview, without requiring you to animate them first.

This can serve as an indication to animators as to which control
points they are supposed to animate and which ones should beleft in their default position.

Merge Inner and Outer Matte
Contours

By default, the points in the animated matte generator's outer
contour and their corresponding points from the inner contour

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Icon

Functionality

Description

are locked together, allowing you to animate a single matteinstead of two mattes. If you disable one of the contours by
toggling off the Outer Contour

or Inner Contour

visibility buttons in the Animated Matte Generator view, you cananimate the other contour's points separately from the hidden
contour, which causes the points to be separated. This
command puts separated contour points from the inner andouter contours in the same position, and locks them back
together, as they were initially.

Delete Matte Point Animation

Deletes every keyframe in the scene for the selected matte
points, as well as their attributes in the Timeline view. This
resets the selected points to their original position and makes
them static throughout the scene.
Deletes the selected matte control points from the contour.

NOTE
Delete Selected Matte Point

Delete Unused Matte Generator
Attributes

If a point from one of the two contours is deleted, thecorresponding point from the other contour will also bedeleted. It is not possible to have a different amount ofpoints on a matte's inner and outer contours.

This cleans up the list of attributes for the Animated Matte
Generator layer in the Timeline view by removing attributes thathave been created for points that no longer exist. For example,
points that were created for a drawing that was deleted, or for apart of a drawing that was erased or modified.

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Script Editor Toolbar
The Script Editor toolbar gives you quick access to some commonly used commands for editing and testing
scripts in the Script Editor view—see Script Editor View on page 1106.

How to access the Script Editor toolbar
1. Add the Script Editor view to your workspace by doing one of the following:l

In the top-right corner of an existing view, click on the

Add View button and select Script

Editor.
l

In the top menu, select Windows > Script Editor.

2. Click on the Script Editor view to set the focus on it.
3. In the top menu, select Windows > Toolbars > Script Editor.

Icon

ButtonDescription

Creates a new script. When you click on this button, you are first prompted totype in a name for the script. Then, you will be prompted to select which location
to save the script in:l

User: Saves the script to a directory in your user preferences directory. You
will be able to run and edit the script from any scene as long as you arelogged in as the same user.

NOTE

New Script

If you are using Harmony Stand Alone, the script will be saved tothe preferences for your account on your computer. if you areusing Harmony Server, the script will be saved to the preferences
for your Harmony database user.

lGlobal: If you are using Harmony Server, select this option to save thescript to the Harmony database's global script directory. Anyone who islogged in to the database will be able to edit and run this script.

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Chapter 5: Toolbars

Icon

ButtonDescription

l

l

l

l

Environment: If you are using Harmony Server, select this option to savethe script to the current scene's environment. Anyone will be able to edit
and run the script as long as they are working on a scene inside thisenvironment.
Job: If you are using Harmony Server, select this option to save the scriptto the current scene's job. Anyone will be able to edit and run the script aslong as they are working on a scene inside this job.
Scene: Save the script to the scene's scripts sub-folder. Anyone will beable to edit and run the script when working on this specific scene.
System Variable: Save the script to the directory in the TOONBOOM_GLOBAL_SCRIPT_LOCATION environment variable. This option is only
available if this environment variable is set.

NOTE
For more information on script locations, see Script list on page 1106.

Allows you to import a script from your machine into Harmony. When you clickon this button, you are prompted to browse for and select a script on your filesystem. Then, you are prompted to select which location to import the script in:l

User: Saves the script to a directory in your user preferences directory. You
will be able to run and edit the script from any scene as long as you arelogged in as the same user.

NOTE
If you are using Harmony Stand Alone, the script will be saved tothe preferences for your account on your computer. if you areusing Harmony Server, the script will be saved to the preferences
for your Harmony database user.

Import Script

l

l

l

Global: If you are using Harmony Server, select this option to save thescript to the Harmony database's global script directory. Anyone who islogged in to the database will be able to edit and run this script.
Environment: If you are using Harmony Server, select this option to savethe script to the current scene's environment. Anyone will be able to edit
and run the script as long as they are working on a scene inside thisenvironment.
Job: If you are using Harmony Server, select this option to save the scriptto the current scene's job. Anyone will be able to edit and run the script aslong as they are working on a scene inside this job.

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Icon

ButtonDescriptionll

Scene: Save the script to the scene's scripts sub-folder. Anyone will beable to edit and run the script when working on this specific scene.
System Variable: Save the script to the directory in the TOONBOOM_GLOBAL_SCRIPT_LOCATION environment variable. This option is only
available if this environment variable is set.

NOTES
l

l

When you import a script, any user interface (.ui) or icon (.png)
file that is in the same directory and has the same filename as the
script will also be imported.
For more information on script locations, see Script Editor View
on page 1106.

Deletes the selected script.

NOTES
l

Delete ScriptlRefresh Script
File List

You cannot delete a script if it is in the Application Resources
location, as those are scripts that are installed with Harmony.
If you delete a script that was originally in Application Resources
but which you copied to another location so you could makechanges to it, the original version of the script in the
Application Resources folder will be restored to the list.

Refresh the list of scripts in the Script Editor. If there are new scripts in your user
preferences or your scene's scripts sub-folder, click on this button to be able toopen them in the Script Editor.
Allows you to type in the path and name for your preferred text editing software.

NOTES
Set External
Editorll

On macOS, only typing the name of your preferred text editing
software is enough if that application supports the AppleScript
Open Document protocol.
On Windows and GNU/Linux, unless your text editor is in yoursystem's PATH environment variable, you will have to type in thefull path to the editor.

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Chapter 5: Toolbars

Icon

ButtonDescription

Open with
External Editor

Opens the selected script in the chosen external text editing software.

Prompts you to select which script and which function to use with the
and

Run

Debug buttons.

NOTES
Set Targetll

You can set the entire script as the target by selecting the<Nothing> function from the functions list.
You cannot link an entire script to a toolbar button. Only
functions within scripts can be added as toolbar buttons.
Therefore, running or debugging an entire script rather than oneof its functions should be done for testing purposes only.

Runs the target script and function.

NOTES
l

If you have not set a target script and function, you will beprompted to set one when you click on this button.

Runl

You can set or change the target script and function by clicking
on thel

Set Target button.

If you are editing <<<Sandbox>>>, this button will simply run
what you typed into the sandbox, regardless of whether anothertarget is set.

Open the target script and function in the Qt Script Debugger, in which you cantest and debug the function.

NOTES
l

Debug
l

If you have not set a target script and function, you will beprompted to set one when click on this button.
You can set or change the target script and function by clicking
on thel

Set Target button.

If you are editing <<<Sandbox>>>, this button will simply debug
what you typed into the sandbox, regardless of whether anothertarget is set.

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Icon

ButtonDescription

Stop Execution

If a script is currently running, this interrupts its execution.

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Chapter 5: Toolbars

Timeline View Toolbar
The 3D Graph toolbar works in conjunction with the elements in the 3D Graph view.

ButtonName

Description

Set Ease TypeCreate Empty Drawing

Duplicate Drawing

Insert Keyframe

Delete Keyframes

Set Motion Keyframe

Set Stop-Motion Keyframe

Go to Previous Keyframe

Go to Next Keyframe

Add Key Exposure

Delete Key Exposure

Centre On Selection

Set Ease for Multiple
Parameters

Create Keyframes On

Opens the Create Keyframes On dialog box, where you can set theoptions to create a new keyframe every x number of frames.

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Fill Empty Cells

Paste Mode: All Drawing
Attributes

Paste Mode: Keyframes Only

Paste Mode: Exposures Only

Add Prefix or Suffix

How to access the Timeline view toolbar
You can add the Timeline view toolbar to the Timeline view by:l

Going to the top menu and selecting Windows > Toolbars > Timeline view.

lright-clicking on the space at the top of the Timeline view and selecting Timeline view.

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Chapter 5: Toolbars

Xsheet View Toolbar
The Xsheet toolbar contains the common timing operations such as Add Column, Delete Column, Clone
Column, and so on. These options can also be found in the top menu.

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Chapter 6: Views

Chapter 6: Views
The Harmony interface is composed of different views, each one designed for a specific purpose. You can modify
the location of the views by adding a new view as a tab or as a window. You can also swap the location of aview.
When a view is active, a red rectangle appears around the view. Keyboard shortcuts and top menu options areassociated with the active view. If a menu option is greyed out, it means it does not apply to the layer, drawing
or other type of selection or the option does not apply to the active view.
3D Graph View

1042

Animated Matte Generator View

1044

Camera View

1051

Colour View

1058

Coordinates and Control Points View

1066

Drawing View

1069

Drawing Substitutions View

1072

Function View

1074

Guides View

1077

Integrated Help View

1080

Layer Properties View

1081

Library View

1083

Master Controller View

1086

Message Log View

1088

Metadata Editor View

1089

Model View

1091

Node View

1092

Node Library View

1094

Onion Skin View

1097

Perspective View

1103

Script Editor View

1106

Side View

1111

Timeline View

1113

Tool Properties View

1123
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Top View

1124

Xsheet View

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Chapter 6: Views

3D Graph View
When a 3D model is selected, the 3D Graph view allows you to view a list of the subnodes composing the 3Dmodel, arranged in their hierarchy. You can select a subnode from the list. When a subnode is selected, you canmanipulate it with the Transform tool, disable or enable it.
If your 3D model is connected to a Subnode Animation node, you can select this Subnode Animation node anduse the 3D Graph view to select and animate a subnode, to add its properties to the Subnode Animation's
properties in the Timeline view, or connect a subnode to a 3D Kinematic Output node to it so that its animation
can be applied to another element.

How to access the 3D Graph view
Do one of the following:l

From the top menu, select Windows > 3D Graph.

l

From any of the other views, click the Add View

button and select 3D Graph.

SectionDescription

3D Graph menu

Access commands through this menu—see 3D Graph View Menu.

3D Graph toolbar

See 3D Graph View Toolbar.

Subnode list

Lists the selected 3D model's subnodes in a tree hierarchy and allows you
to select a subnode.

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NOTE
Subnodes preceded with aicon are transformation subnodes

which are only used to affect the position, size and angle of its childsubnodes. Subnodes preceded with aare geometry subnode,

which actually contain a visible part of the 3D model.

Selected subnode hierarchy and
name

Displays the subnode's parent hierarchy followed by the subnode's name.

Search bar

Allows you to filter and search for subnodes. Typing anything in the field
will make the subnode list only display subnodes that contain the typed
text string in their name, along with their parents.

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Chapter 6: Views

Animated Matte Generator View
The Animated Matte Generator view allows you to configure and animate the matte created by a AnimatedMatte-Generator node. It also allows you to quickly add Animated-Matte-Generator templates to your Nodeview.

How to access the Animated Matte Generator view
1. Do one of the following:l

From the top-right corner of any currently visible view, click the Add View

button andselect Animated Matte Generator.
l

From the top menu, select Windows > Animated Matte Generator.

How to display the Animated Matte Generator controls and enable the Animated Matte
Generator view options
1. In the Tools toolbar, select the Transform tool or press Shift + T.
2. In the Timeline or Node view, select the Animated Matte Generator node you wish to configure oranimate.
3. In the Camera view toolbar, click on Show Controls

or press Shift + F11.

NOTEThe Animated Matte Generator view also has its own toolbar. For information on the buttons in thistoolbar, see Animated Matte Generator Toolbar

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Icon

Functionality

Description

Editing Mode
Allows you to manipulate the matte's contour points by
dragging them in the Camera view. Use this mode to edit andanimate your matte.

Define Matte Point

If the Animated Matte Generator node is connected to asnapping source drawing, this allows you to define which points
and contours of the matte should snap to the contours of thesnapping source drawing, by clicking on them.

Set to Snap

If you click on a point in this mode, it will be set to snap to thenearest contour of the snapping source drawing.

If you click on a contour in this mode, the contour will be set tosnap to the nearest contour of the snapping source drawing, andwill be made to match its curve. Both points on either end of that
contour will also be set to snap to the snapping source drawing.

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Chapter 6: Views

Points and contours that are configured to snap will snap to theclosest point or contour they can find in the snapping source,
provided that they are at a reasonable distance from their actual
coordinates. This distance can be adjusted by changing theDrag-to-Snap Distance parameter in the Animated Matte
Generator's layer properties.
Allows you create a point on the contour of the map by clicking
on one of the matte's contour where you want the point to becreated.

Add Matte Point

NOTE
Adding a matte point to one of the matter's contours
will also add a point to the matte's other contour. It is
not possible to have a different amount of points on amatte's inner and outer contours.

NOTE
Contrary to tools like the Contour Editor, you cannot use
a keyboard shortcut to click and add a point to a mattecontour.

Matte Visibility Settings

Outer Contour

When enabled, the matte's Outer Contour and its controls
display in the Camera view, and the Outer Contour can be
modified.

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TIP
You can hold Alt while pressing this button to quickly
enable the outer contour and disable the inner contour
simultaneously. You can also hold Shift while pressing
any of the Matte Visibility Settings buttons to quickly
enable all matte visibility settings.

When enabled, the matte's Inner Contour and its controls display
in the Camera view, and the Inner Contour can be modified.

NOTE
A matte always has an outer contour and an innercontour. By default, both contours are merged together,having the same shape and points, allowing you toanimate them simultaneously as if the matte had asingle contour. You can separate the points of the innerand outer contours by hiding one of the contours andmaking modifications on the other contour.

NOTE

Inner Contour

When two contour points are separated, you can lockthem back together by selecting them and clicking on
the Merge Inner and Outer Matte Contour

button of

the Animated Matte Generator toolbar or by moving
one of the points close to its corresponding point until
they snap together.

TIP
You can hold Alt while pressing this button to quickly
enable the inner contour and disable the contour
simultaneously. You can also hold Shift while pressing
any of the Matte Visibility Settings buttons to quickly
enable all matte visibility settings.

Point Id

When enabled, the identification number of each of the matte's
points display in the Camera view. These numbers are used to
track which point of the outer contour are matched with which
points of the inner contour.

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Chapter 6: Views

TIP
You can hold Shift while pressing any of the Matte
Visibility Settings buttons to quickly enable all mattevisibility settings.

When enabled, moving one of the control points of the mattecontours will scale the entire matte. A purple square will appear
in the middle of the matte's contour. Moving this square willchange the position of the pivot point used for scaling thecontour.

Scaling Controls

TIP
You can hold Shift while pressing any of the Matte
Visibility Settings buttons to quickly enable all mattevisibility settings.

Keyframe Settings

Auto Key on All Points

By default, when a matte control point is moved in the Camera
view, a keyframe is created for that point and its handles. With
this option enabled, a keyframe will be created for all the points
in the matte and all of their handles.

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When moving a control point, this will look for keyframes onother control points right before and after the current frame and,
if it finds any, it will create keyframes for the control point being
moved at these frames. This ensures that animating without theAuto Key on All Points option does not create overlapping
animation for control points, but does not create unnecessary
keyframes.

Fix Adjacent Keyframes

Node Systems Creation
If a Composite or Matte-Composite node is selected in the Nodeview, this creates an Animated Matte Generator template with anempty matte drawing layer in the Node view, then connects the
newly created Animated-Matte-Generator node to the selectedcomposite.

Add Matte to Composite

Composite Operation

When using the Add Matte to Composite option on a Matte

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Chapter 6: Views

Composite node, this determines whether the Animated Matte
Generator node being created will be connected to theselected Matte Composite node in Add, Subtract or Intersect
mode.
This creates an Animated Matte Generator template in the Nodeview which includes a Matte drawing layer, an Animated Matte
Generator node, a Colour Selector and a Cutter.

Add Matte Generator

If a drawing layer is selected when clicking this button, it will beconnected as the peg of the Matte drawing layer, and as the
input of the Colour Selector node.
This creates a similar template to the one created by the Add
Matte Generator button, except that the Animated-MatteGenerator node created by this option is connected to the matte
port of the Cutter node, and the Colour-Selector node connectedto the selected layer is connected to the input port of the Cutter
node.

Add Matte Generator as Mask

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Camera View
The Camera view is the centre of operations in Harmony. In this view, you can draw, paint, animate, set up yourscene, manipulate objects, open symbols and preview your animation.
The Camera view also has a top and bottom toolbar that you can use to navigate in the view, change thedisplay mode or go up your symbol hierarchy.

How to access the Camera view
Do one of the following:l

From the top menu, select Windows > Camera.

l

From any of the other views, click the Add View

Icon

button and select Camera.

SectionDescription

View Menu

The View menu contains all the tools and options thatyou can use in the Camera view to draw, animate or
set up the scene.

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Chapter 6: Views

The Editing Stack menu displays the names of thesymbols and their hierarchy when you are editing asymbol. You can click on the different names to go
back up to the different parent symbols or the
top/current project.

Editing Stack

The Camera View toolbar contains all the tools andoptions you can use in the Camera view to draw,
animate or set up the scene. The toolbar can bedisplayed or hidden by right-clicking on it andCamera View Toolbar

selecting or deselecting the Camera View toolbar.
When you have a drawing layer or drawing selected,
the Light Table button button allows you to fade thecolours of the other layers so you can see the current
artwork better as you edit with a drawing tool. Notethat the light table does not work when using a layer
editing tool, such as the Transform tool.
Light Table

When this button is enabled, the drawing that you are
currently editing with a drawing tool is temporarily
displayed in front of all the other elements. The actual
scene is not modified.

Current Drawing on Top

The Camera Mask button shows or hides Displays ablack mask around the scene’s frame to avoid seeing
the unnecessary artwork. This option is handy when
you're animating and setting up the scene. It allows
you to see your scene’s composition better.

Camera Mask

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You can also access this from the top menu byselecting View > Show > Camera Mask.

The Safe Area button shows or hides Displays the TV
safety zone and the centre of the camera frame. The
safe area adapts to the scene resolution, as well as thesafety zone and frame’s centre.
You can also access this feature from the top menu byselecting View > Show > Safe Area.
Safe Area

When you select an object in the Camera view with
the Transform tool, a bounding box always appears
around the object and the artwork is tinted in fuchsia,
red or yellow. Enabling this option will only keep thebounding box and remove the colour tint.
BBox Selection Style

Outline Locked Drawings

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Drawings that are locked in the Timeline view (cannot
be selected in the Camera view) are displayed as
wireframes.

Chapter 6: Views

The Reset View button resets any panning, zoomingor rotation done in the Camera view and returns thedisplay to the initial settings. You can also press Shift+ M.

Reset View

The Zoom menu lets you enlarge or reduce the Camera
or Drawing view display.
To make the camera frame size always match the sizeof your view, select the Fit to View option. Click thedrop-down arrow and select a zoom level or press 1
and 2.

Zoom Menu

The OpenGL View Mode button switches the Camera
view to fast display, letting you see your animation
play in real time. The OpenGL display requires lessmemory. The final look of your effects is not shown in
the OpenGL View Mode. You must switch to theRender View Mode to see your effects.

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The Render View Mode button swithes the Camera
view to a fully rendered display showing the final
image of the current frame. If a modification is done toyour current frame or if you move to a different frame,
click the Update Preview button to update the display
if your preview does not update automatically.The
Render View Mode display lets you see the final lookof your frames including effects and antialiasing. You
cannot play back your scene in Render View Mode. To
see your scene fully rendered and to play it back, youmust press the Render and Play button in the
Playback toolbar.

Render View Mode

The Matte View Mode button switches the Camera
view to a matte display showing the alpha channel ofthe elements in your scene. The transparency level
ranges from 0 to 100 percent. Zero percent iscompletely transparent and represented by black and100 percent is completely opaque and represented bywhite. Everything in between these extremes has atransparency level somewhere between 1 and 99
percent and is represented in various shades of grey.

Matte View Mode

l

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To access the Matte View mode, click on the
Render View button and select Matte View
from the drop-down menu.

Chapter 6: Views

The Depth View mode displays images in a relative
white to black gradient scale. The object(s) closest to
the camera are displayed in white and the object(s)furthest from the camera are displayed in black. If theposition of the last object changes along the z-axis,
that object will still remain black, so long as it retains
its position as the object the farthest back. It does notmatter where that object is in 3D space, it just matterswhat its position is relative to the other object in thesame space. The objects closest and farthest from thecamera set the range of the white to black scale. All
the other objects fall somewhere in between.

Depth View Model

To access the Depth View mode, click on the
Render View button and select Depth View
from the drop-down menu.

Drawing NameThe Drawing Name field displays the name of theselected drawing, as well as the layer containing it. If
the cell does not contain any drawing, an Empty
Cell text is shown in the field.

Tool Name

The Tool Name field displays the name of the selected
tool. If you temporarily override a drawing tool using akeyboard shortcut, the tool’s name will be highlighted
in red. You can temporarily override a tool by holding
its keyboard shortcut without the Alt key. For

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example, the Select tool shortcut is Alt + S. If you holddown the S key, you will switch to the Select tool.
When you release the key, you will return to the tool
you were using.
The Frame Number field displays the number of thecurrent frame.

Frame Number

The colour swatch displays the currently selected

Selected Colour

colour in the Colour view.

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Colour View
The Colour view is where you create colours and palettes and import existing palettes into your project. The
Colour view is also necessary for drawing, painting and creating colour styling.

How to access the Colour view
Do one of the following:l

From the top menu, select Windows > Colour.

lFrom any of the other views, click the Add View

button and select Colour.

Palette List Panel
Icon

OptionDescription

View Menu

The View menu contains all the commands and options that you canuse in the Colour view to manage colours and palettes.

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Collapse/Expand Palette
List

Allows you to show or hide your palette list and its options. By default,
the palette list is displayed, but you may want to hide it if you areworking with a single palette and want to allow more vertical space forthe colour swatch list.

Add Palette

Allows you to create a new palette.

Deletes the currently selected palette. If the colour swatch is used inyour project, zones painted with colour swatches which have been
deleted will turn red, easily identifying them so you can repaint themwith another colour swatch.

Remove Palette

Link Palette

Allows you to add a palette from a different location, be it in a scene,
job, environment or even an element to your palette list. The palette will
be linked to its original location rather than copied to your scene's
folder. Hence, if you make changes to the original palette, it will affectthe colour of elements in your scene.
If you want to import a palette as a copy into your scene's palette library,right-click on your palette list and select Import. You can also link to apalette in any location on your machine or network by selecting Link
to External.
Moves palettes further up or down the palette list.

Order Palette List

Edit Palette List Mode
Indicator

If a palette has been cloned, the highest palette among the original
palette and its clone(s) will be used by Harmony. This can be overridden
by using a Colour-Override effect—see Colour-Override Node on page540.
In Harmony Server, this icon appears when you have the modifying
rights on your scene's palette list. While several users can work on ascene at the same time, only one user may have the right to modify apalette list at any given time.

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NOTE
In Harmony Stand Alone, you can always modify your scene's
palette list. On Harmony Server, you must unlock your palette
list before making modifications to it.

Show Colour Palettes

Shows only colour palettes in the palette list. This is the default option.

Show
Pencil Texture Palettes

Shows only pencil texture palettes in the palette list.

Show All Palettes

Shows both colour and pencil texture palettes in the palette list.

Palette List
Icon

Description

In Harmony Server, this indicates that you have the rights to modify the palette.

Indicates that the palette is stored at the same level as its palette list. For example, a palette that is stored
in the scene's palette library and which is listed in the scene's palette list, or a palette that is stored in anelement's palette library and which is listed in that same element's palette list.
Indicates that the palette file is stored in an external location, such as a different scene, an element in adifferent scene, a job other than the scene's job, an environment other than the scene's environment, or acustom location on your file system or network. This means the palette is liable to be missing if it is
moved from its original location, or if the scene is exported from the database into an offline scene or to adifferent database.
This indicates that the palette is stored at a higher level than its palette list, making it a shared palette. For
example, a palette in your scene's palette list that is stored in the palette library of the scene's job or
environment, or a palette in an element's palette list that is stored in the palette library of the scene.
Indicates a potentially dangerous situation. For example, a palette file that is stored in one of the scene's
element folders, but which is added to your scene's palette list. The whole scene can use the palette, butsince it's stored inside an element, deleting that element will make your whole scene lose access to thatpalette.

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Colour Swatch List Panel
Icon

OptionDescription

Add Colour

Adds a new colour swatch to the bottom of your colour list.

The Remove Colour button lets you delete the currently selectedcolour swatches. If the colour swatch is used in your project, andconfirmation dialog will appear prompting you to confirm that you
want to delete the colour. Zones painted with colour swatches whichhave been deleted will turn red, easily identifying them so you can
repaint them with another colour swatch.

Remove Colour

Allows you to import a bitmap image as a texture, which can be
painted with just like a colour. When used with the Brush or Paint
tools, bitmap textures are tiled inside the shape they fill. The scaling
and position of the texture inside their shape can be tweaked with theEdit Gradient/Texture tool. When used with the Pencil tool or one of
the Shape tools, a bitmap texture will follow the pencil line's
direction.

Add Texture

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Set Current Brush Colour

When enabled, the colour you select in the colour view will beselected for the Brush tool.

Set Current Pencil Colour

When enabled, the colour you select in the colour view will beselected for the Pencil tool, as well as other tools that create pencil
lines, such as the Line, Rectangle, Ellipse and Polyline tools.

Set Current Paint Colour

When enabled, the colour you select in the colour view will beselected for the Paint tool.
When enabled, the colour you select will be selected for all drawing
tools. When disabled, you can select individual colours for the Brush,
Pencil and Paint tools.

Link/Unlink Three Colours

In Harmony Server, this allows you to get the modifying rights to theselected palettes.

Edit Palette Mode

Since several people can work on any given scene at the same time,and a palette can be shared between scenes, palettes may be loadedin read-only mode when opening a scene on a Harmony database.
Then, an user would only be able to edit a palette by first activating
Edit Palette Mode. This prevents several users from making changes
on the palette at the same time, since a user cannot activate Edit
Palette Mode on a palette that is already being edited by someone
else. This also prevents users from accidentally making modifications
on important palettes.
In Harmony Server, this icon appears when you have the modifying
rights on the currently selected palette.

Edit Palette Mode Indicator

NOTE
In Harmony Stand Alone, you can always modify yourpalettes.

Colour Swatch Name

Each colour swatch available in the Colour view can have its own
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part of your character or background.

NOTE
Two colours can have the same name. Harmony identifies
colours by an identification number.

Also referred to as colour pots, the colour swatch is the actual colour
information for a colour in your palette. It is represented by arectangle displaying the colour in the list.
Colour Swatch

Colour Editor Panel
The Colour Editor panel is an optional panel in the Colour view which can be enabled to edit your colour
swatches on the go.

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How to enable the Colour Editor panel
1. Do one of the following:l

Right-click on the palettes list, then select Colour Editor.

lClick on the View Menu

Optionbutton and select Palettes > Colour Editor.

Description
This collapses or expands the Tint section of the Colour Editor panel.

Enable/Disable Tint Options

When tint options are enabled, the Colour Editor panel can be used to add a tint
to the colour. This means that all sliders start with a value of 0 and that the newcolour will be calculated relative to the old colour, using the algorithm chosen in
the Tint Mode option. As you change the values of the colour sliders, the colour
in your palette is not updated immediately. Rather, it is only updated when you
click on the Apply button.
When Tint options are disabled, the Colour Editor panel only has colour sliders,
and those sliders start out with the values of the selected colour. Changing thevalue of any of the colour sliders immediately updates the colour in your palettewith the new value.
Allows you to select how the colour will be modified by the tint:lTint ModelOffset: The chosen tint's colour values will be added to the selectedcolour's values to make the new colour. You can choose negative values if
you wish to subtract from the selected colour's values.
Blend: The selected colour will be blended with the selected tint, resulting
in the average between the selected colour and the tint.

Reset

In tint mode, this sets all the colour sliders to their neutral value, leaving theselected colour unchanged.

Apply

In tint mode, this applies the tint to the selected colour. Note that when tint mode
is not enabled, changes to the selected colour are automatically applied.

H (Hue)Sets the hue of the colour or tint.

S (Saturation)

Sets the saturation level of the colour or tint.

V (Value)

Sets the value of the colour or tint.

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R (Red)Sets the red value of the colour or tint.

G (Green)

Sets the green value of the colour or tint.

B (Blue)

Sets the blue value of the colour or tint.

a (Alpha)

Sets the alpha (transparency) value of the colour or tint.

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Coordinates and Control Points View
The Coordinates and Control Points view displays the parameters of keyframes or control points selected in the
Camera, Timeline or Xsheet view. You can also see the same information in the Coordinate and Control Point
toolbars.
In this view, you can edit keyframes and control point parameters, such as the position, continuity, bias, tension
and lock-in-time.

How to access the Coordinates and Control Points view
Do one of the following:l

From the top menu, select Windows > Coordinates and Control Points.

l

From any of the other views, click the Add View

button and select Coordinates and Control

Points.

Parameter

Description

Name

The name of the function curve to which the select point is linked.

Position

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Separate

Modifies modify the X, Y and Z coordinates independently. When this option isdeselected, all three parameters are linked. If one is deleted, all others will also bedeleted.

Cumulative Z

When a layer is parented to other layers that are moved forward or backward on
the Z-axis, the currently selected layer's Z position value may not be accurate
since its parent will also have an offset on the Z-axis. The Cumulative Z value is acompilation of all the Z-axis offsets to give the real Z-axis offset value related tothe (0,0) centre.

Separate Scale

Modifies the width and height values independently. When this option is
selected, the width and height are locked to the same value, forcing the scale tobe on a 1:1 ratio. If the option is deselected, you have the ability to squash andstretch your layer at will.

Scale

Rotation
Angle

The rotation angle value from the permanent pivot of the element.

Skew

This is the skewing value.

Skew

Control Point and Keyframe
Frame

The frame at which the select point is set.

Locked in Time

Indicates whether the point is locked to a specific frame (keyframe) or only locked
to a specific position and the curve can flow through it freely as other points arebeing added, moved, or adjusted (control point).

Stop-Motion
Keyframe

When this option is selected, the keyframe is set as a stop-motion point. Thismeans that there is no automatic interpolation created between the selected point
and the next one. The layer will maintain its position until the animation reaches
the frame of the next point and will then jump to the new position. Deselect thisoption to generate interpolation and get the layer to progressively move to thenext position.

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keyframe.

Controls the smoothness of a transition between the segments joined by a point.

Continuity

Controls the slope of the path so it flows towards one side of the motion point or
the other.

Bias

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Drawing View
In Harmony, you can draw in both the Drawing or Camera views. Although the two views are similar, there aresome differences when it comes to drawing.
Only the selected drawing is displayed by default in the Drawing view. You can use features, such as the lighttable to display the current drawing of all the enabled layers of your scene in washed-out colours, or the Onion
Skin to display the previous and next drawings of the currently selected drawing layer.

How to access the Drawing view
Do one of the following:l

From the top menu, select Windows > Drawing .

lFrom any of the other views, click the Add View

Icon

button and select Drawing.

SectionDescription

View Menu

The View menu contains all the tools and options that1069

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you can use in the Drawing view to draw, animate andpaint.
This is the main space in the Drawing view. It is where
you draw and where the drawings are displayed.

Drawing Area

The Zoom menu lets you enlarge or reduce the Camera
or Drawing view display.
To make the camera frame size always match the sizeof your view, select the Fit to View option. Click thedrop-down arrow and select a zoom level or press 1
and 2.

Zoom Menu

Drawing NameThe Drawing Name field displays the name of theselected drawing, as well as the layer containing it. If
the cell does not contain any drawing, an Empty
Cell text is shown in the field.

Tool Name

The Tool Name field displays the name of the selected
tool. If you temporarily override a drawing tool using akeyboard shortcut, the tool’s name will be highlighted
in red. You can temporarily override a tool by holding
its keyboard shortcut without the Alt key. For
example, the Select tool shortcut is Alt + S. If you holddown the S key, you will switch to the Select tool.
When you release the key, you will return to the tool
you were using.

Frame NumberThis field displays the current frame of the animation
you are working on.

Cursor Coordinates

This indicates the position of the your pointer in the1070Harmony 16.0 Premium Reference Guide

drawing area.
The Colour Picker allows you to select a colour for
drawing.

Colour Picker

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Drawing Substitutions View
T-H16NEW-002-001
The Drawing Substitutions view allows you to quickly swap which drawing is exposed on the selected layer at
the current frame.

How to access the Drawing Substitutions view
1. Do one of the followinglFrom the top menu, select Windows > Drawing Substitutions.

l

In the top-right corner of any view, click on the

Add View button and select Drawing

Substitutions.

SectionDescription

Opens a menu with the Create Key Exposure option. This option can be enabled or disabled. It
determines what happens when you set the drawing in the current frame to the same drawing as
the drawing in the previous frame.
View MenullWhen enabled, the exposure of the drawing at the current frame will be separated from thedrawing in the previous frame with a key exposure.
When disabled, the exposure of the current frame will be merged with the exposure of theprevious frame.

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SectionDescription

Allows you to select the drawing to be exposed at the current frame. This will also replace thedrawing for all subsequent frames during which the current drawing is exposed.

Thumbnails

Current
layer name

The name of the currently selected layer. The drawings in the thumbnails list are the drawings
currently stored in this layer.

Zoom slider

Allows you to change the size of the thumbnails.

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Function View
The Function view lets you edit function curves and parameters. It contains a visual graph for adding, removing,and editing keyframes, as well as adjusting the velocity. The Function view allows you to display multiple
functions in the background as a reference.

How to access the Function view
Do one of the following:l

From the top menu, select Windows > Function.

l

From any of the other views, click the Add View

button and select Function.

How to display functions in the Function view
1. Open the Function view.
The Function view is blank until you select the layer containing the functions you want to display.

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2. To display a function in the Function view, click on the layer containing the functions to adjust in theTimeline view.
3. To select the functions you want to edit, select them in the Function list.

Parameter

Description

Function List

When selecting a layer in the Timeline view, all the corresponding functions are
displayed (if any). Select the functions you want to see and edit, and hide theones you don't.

Display Toolbar

Allows you to modify how the editing area is displayed. You can hide the grid,disable the synchronization with the current frame, reset the zoom level andnormalize the function display by stacking them one over the other to comparethem regardless of their value range.

Current Frame

Displays the current scene frame.

Selected Keyframe Value

Displays the value of the selected keyframe.

Display Advanced Parameter
Values

Displays the Projection, Bias, Tension and Continuity parameters to adjust the
curve around the selected keyframe.

Keyframe, Velocity andInterpolation Options

This toolbar lets you add and delete keyframes, adjust the velocity curve, adjust
the segments to motion or stop-motion keyframes and set the velocity to create
steps instead of a constant progression.

Function Types

This toolbar lets you click on the different function types to enable or disable all
the listed functions of that type.

Value Scale

Displays the value range for the displayed editing area. It can be referenced toknow the value of a keyframe.

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Selected Keyframe

The selected keyframe is displayed in red. When selected, the keyframe values are
displayed in the corresponding fields.

Bezier Handles

The Bezier handles let you adjust the ease in and ease out of each keyframe. The
more the handle is pulled out horizontally, the slower the animation will be. The
more the handle is pulled out vertically, the faster the animation will be.

Function Curve

The thin line going from keyframe to keyframe is the actual curve. The section of acurve located between two keyframes is called a segment.

Frame Scale

The Frame Scale displays the frame range for the displayed editing area. It can bereferenced to know the current frame of a keyframe.

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Guides View
The Guides view enables you to manage drawing guides for a given storyboard panel. Use Drawing Guides toassist you in creating a drawing with perspective.
Guides can be added, selected, renamed, deleted, cut, copied, pasted and reordered. Guides can also beexported to a file and re-imported later.

Icon

Name

Description

Enable Guide

Enables or disables drawing guides.

Options

When enabled:l

Align with Guide

The Brush, Pencil, Line and (optionally) Eraser tools are constrained by
the Drawing Guide to draw/erase straight lines only.

When disabled:l

The drawing tools are not constrained by the Drawing Guide, allowing
you to do freehand strokes. The guide acts as a visual aid only.

Lock Guide

Locks the editing of a Drawing Guide to prevent its accidental modification while
drawing.

Enable Guide
with Eraser

Toggles the use of Drawing Guides with the Eraser tool.

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Icon

Name

Description

When enabled:lFull Cursor
DisplayShow ReferenceLines

Drawing Guide axes extend to the edge of the drawing area.

When disabled:lDrawing Guide axes are short.

lDrawing Guide axes disappear while drawing a stroke.

Toggles the display of a visual reference consisting of lines that converge
towards the vanishing point(s).
Adjusts the amount of reference lines to display.

Number of Lines

Guides List
Allows you to add a guide to the scene's guides list. You can add a guide of oneof the following types:

New Guidel

Square gridl1-point perspectivel2-point perspective

l3-point perspective (bird’s eye view)l3-point perspective (worm’s eye view)

Delete Guide

Deletes the selected Drawing Guide(s) from the scene's guides list.

Guides View
Menu

Opens a menu with the following commands:

RenameGuide

Renames the selected Drawing Guide.

Cut

Cuts the selected Drawing Guide(s) from the list and adds it to the clipboard.

Copy

Copies the selected Drawing Guide(s) to the clipboard.

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Icon

Name

Description

Paste

Pastes Drawing Guide(s) from the clipboard to the scene's guides list. Pasted
guides are inserted under the selected guide.

ImportGuidesImports Drawing Guides from a source file and inserts them at the bottom of thescene's guides list. Duplicate guides are filtered out to avoid cluttering the list.

ExportSelected
GuidesExports the selected Drawing Guide(s) to a destination file.

Displays the scene's list of guides and allows you to select which guide todisplay and use.
Drawing Guides
List

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Integrated Help View
Use the Integrated Help when you are unsure about what a certain menu item is or the function of a specificpreference in the Preferences panel.
If you keep the Integrated Help window open for the entire duration of your work session, then you can use theforward and backward arrows to scroll through a history of the help information that you called up during yoursession.

How to access the Integrated Help view
1. Do one of the following:l

From the top menu, select Windows > Integrated Help.

l

From any of the other views, click the Add View

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Layer Properties View
The Layer Properties editor or view lets you adjust the properties of a layer in the Timeline view or a node in the
Node view. The Layer Properties can be viewed as a floating window or as a view (docked).
Each layer has its own set of properties that can be modified, including effect and peg layers. Display the Layer
Properties editor or view if you want to modify some of the layer’s properties, such as the name or theantialiasing quality.
NOTE
To know more about the parameters displayed in the Layer Properties view, see Nodes / Layers.

How to access the Layer Properties view
Do one of the following:1081

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lFrom the top menu, select Windows > Layer Properties.

l

From any of the other views, click the Add View

button and select Layer Properties.

How to access the Layer Properties editorlDouble-click on a layer in the Timeline view or a node in the Node view.

lRight-click on a layer in the Timeline view or a node in the Node view and select Layer Properties.

l

Select a layer in the Timeline view or a node in the Node view and press Shift + E.

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Library View
The Library view is used to store elements such as animation, drawings, backgrounds and character models so
as to reuse in different scenes and projects. You can also use the Library view to create and store symbols, aswell as to store and import images, sound files and 3D models.
To reuse elements from a scene in other scenes, you must create a template so that you can import it into
different scenes. Templates can contain anything from a single drawing to a whole scene structure. You cancreate a template by creating it in a scene, then copying the elements you want in your template into a library.
The resulting template is structured like a mini-scene that contains only the elements you copied into it. A
template does not have any dependencies on the scene it was originally created in. Hence, it can safely be
imported in any other scene.
Additionally, the Library view's Drawing Substitution panel allows you to quickly change the current frame's
exposure to one of the existing drawings in a layer. This is especially useful for animating a cut-out character's
mouths, hands, eyelids and other such body parts which typically contain several drawings to choose from.

How to access the Library view
Do one of the following:l

From the top menu, select Windows > Library.

l

From any of the other views, click the Add View

Icon

button and select Library.

SectionDescription

View Menu

The Library menu lets you access commands related to the Library view,
importing .swf movies and Illustrator files, add a new folder, and refresh

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Icon

SectionDescription

the library’s content.
The Preview window lets you see the content of the currently selected
template or symbol in the Template/Symbol list.

Preview Window

Preview Playback

The Preview Playback button lets you play back the content of theselected template or symbol if it contains more than one frame. Press thePlay button to play back the preview.
The Library Folder List displays all the folders linked to the Library view.

There are two default folders:
Library Folder Listll

Symbols: This folder is the only folder containing symbols. You
can organize it by adding subfolders inside.
Harmony Premium Library: This is a default folder found on thehard drive in your user documents. This folder can containtemplates, but no symbols.

You can link new library folders to the Library view and organize themwith subfolders.
When working on a movie or series, you will probably end up with many
templates and symbols in your library. Using the Search tool, you canquickly find the templates and symbols in your folders.
Library Search tool

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Icon

SectionDescription

Template/Symbol List

The Template/Symbol list displays the templates or symbols contained in
the selected library folder. You can display the templates by right-clicking
the symbols’ thumbnails and selecting View > Thumbnails.

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Master Controller View
T-RIG3-008-008
The Master Controller view allows you to quickly find, select and display Master Controllers in the current
scene.

How to add the Master Controller view to your workspace
1. Do one of the following:l

In the top-right corner of an existing view, click on

Add View and select Master

Controller.
l

Icon

In the top menu, select Windows > Master Controller.

SectionDescription

Path

Allows you to select a group in the current scene. When a group is selected, only the
Master Controllers within that group will be listed in the Master Controllers list. Thiscan be useful if you have several characters and only want the list of Master
Controllers for a specific character.

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Icon

SectionDescription

Name

Allows you to filter the Master Controllers in the Master Controllers list by their path or
name. When you type something in this field, only the Master Controllers that containthe text you typed in their full path including their name will be listed in the Master
Controllers list.

Master Controllers

MasterControllers

Allows you to select one of the Master Controllers in your scene. This list displays the
Master Controllers in your scene with their full path in the group hierarchy. Groups in
the hierarchy are separated by forward slashes (/).
If a group is selected in the Path list, only the Master Controllers within this group willappear in the list. If anything is typed in the Name field, only Master Controllers withthis text in their full path including their name will appear in the list. Otherwise, all the
Master Controllers in your scene are listed.

Refresh List

Refreshes the Path list if there are any changes in the name or hierarchy of groups inyour scene, as well as the Master Controllers list if there are any changes in the Master
Controllers in your scene.

Locate andSelectMasterController

If a Master Controller is selected in the Master Controllers list, clicking on this button
will select the actual Master Controller node. It will also make the Node View navigate
instantly to and focus on that Master Controller node.

Show
MasterController

If a Master Controller is selected in the Master Controllers list, clicking on this button
will display its widget in the Camera view.

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Message Log View
The Message log view displays information gathered during a render task, such as which frames and at whattime they were each rendered. The view also contains a list of the colour recovery operations.

How to access the Message Log view
Do one of the following:l

From the top menu, select Windows > Message Log.

l

From any of the other views, click the Add View

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Metadata Editor View

The Metadata Editor view lets you access the information of the props and anchors to be exported to Unity.
NOTE
Because the Unity game engine does not support Unicode characters, it is recommended to avoid
using it in scenes intended for games.

How to access the Metadata Editor viewlIn the top-right corner of a view, click the Add Viewl

In the top menu, select Windows > Metadata Editor.

Parameter

button and select Metadata Editor.

Description
This is a list of optional parameters you can create in a scene project to beexported to Unity. It will not have any incentive towards your scene assets, but
can help developers know what to do with the assets contained in your Harmony
scene.

Scene Metadata

Once in Unity, scene Metadata will appear in Inspector view > Metadata when the
Asset is selected in the Hierarchy view.
Name: Name of the Scene entry. (e.g. game.Armor001)

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Value: This can be anything that describes the state of an object. You could, forexample, have three different stages of armour: new, damaged and destroyed.
Displays only the props and anchors held inside your selection. If nothing isselected, no information will display. Name and value appear in this box as well.
Name will show you the associated .tvg name and value will be set as either On orOff, depending on whether you want the connection to be set as active or not.
Once in Unity, scene Metadata will appear in the Hierarchy view.
Node Metadata
Name: Name of the selected anchor or prop. (e.g. game.isAnchor). Notice that it
differs from the drawing layer name on the top-left corner of the Node Metadata
section.
Value: Can be set to be active (On) or inactive (Off).

NOTE
For any anchor or prop information created within the Metadata Editor, the naming convention
must always use the prefix "game.". The term "game." is recognized automatically by Unity as a
metadata information. For example: game.Armor001.

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Model View
T-ANIMPA-004-004
Once you have a fully painted drawing, you can use it as a colour model and load it in the Model view. Thisdrawing can be used and loaded in any of your Harmony scenes.
Once a drawing is loaded in the Model view, you can use the Dropper

tool to select a colour from the modeland use it to paint in the Camera or Drawing view without having to pick the colour from the colour palette.

How to access the Model view
Do one of the following:l

From the top menu, select Windows > Model.

lFrom any of the other views, click the Add View

Icon

button and select Model.

SectionDescription

View Menu

The View menu contains all the tools and options thatyou can use to manage models.

Model View Toolbar

The Model View toolbar contains all the tools andoptions you can use in the Model view to navigate
through and manage models.

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Node View
T-HFND-010-002
In the Node view, you can connect effects and compositing nodes to form a network, also known as a node
system. This view is very useful for rigging puppets, creating advanced effects and having a clear view ofcomplex scenes. The organization and order of the nodes determines the flow of data during the compositing
process and how your animation elements will be composited.

How to access the Node view
Do one of the following:l

From the top menu, select Windows > Node View.

l

From any of the other views, click the Add View

Icon

button and select Node.

SectionDescription

View Menu

The View menu contains all the tools and options thatyou can use to manage the node system.

Editing Stack

The Editing Stack menu displays the names of thesymbols and their hierarchy when you are editing asymbol. You can click on the different names to go
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top/current project.

Node System

The main area of the Node view is where you can add
and organize different nodes to represent a scene.

Navigator

The Navigator view lets you pan the visible area tomove quickly through extensive node sets.
The Search toolbar lets you find and match a node in
the project. The search is not case-sensitive. Once you
have entered characters in the search field, press
Enter/Return to validate and find the pattern in thenode names. If successful, the node is selected andcentred in the view. If many instances are found, use
the Previous and Next buttons to cycle through eachnode.

Search Toolbar

When entering a group, the Group Navigation allows
you to navigate back to the top and see the hierarchyof the group in which you are.

Group Navigation

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Node Library View
T-HFND-010-003
To add effects or other types of nodes to the Node view, you must first find them in the Node Library view.

When you create a new project in Harmony, the default node system that appears in the Node view looks
similar to the one below.

Notice how layers are connected to your scene's composite. For an effect to work, it must be connected as anintermediary between a layer and its composite, as if it was made to filter the layer's drawing information
before it reaches the composite.

How to access the Node Library view
Do one of the following:1094

Harmony 16.0 Premium Reference Guidel

From the top menu, select Windows > Node Library View.

l

From any of the other views, click the Add View

Icon

button and select Node Library View.

SectionDescription

View Menu

The View menu contains all the tools and options thatyou can use to manage the Node Library.
In the Node Library View toolbar, you can change how
the nodes are displayed. You can display nodes as
icons, as a textual list or as icons with their names anda description.

Node Library View
Toolbar

Node Categories

The Node Library view is conveniently divided into
several categories retaining the related nodes.

Category

Description

3D

Nodes related to working with 3D models within
Harmony.

CombineNodes for combining images.

Deformation

Nodes needed for building a deformation chain, as
well as advanced effects such as Fold and Auto
Muscle. The Deformation category is divided into theBone and Distort categories.

Favorites

Nodes most commonly used. To add nodes to theFavorites category, select any node from any othersection and drag it onto the Favorites category.

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FilterEffect nodes, such as blurs. This category is
subdivided into the following categories: Adjust, Blur,
Colour Correct, Isolate and Stylize.

Generator

Nodes that create an image, such as a gradient orcolour.

Group

Nodes for grouping, like Group nodes and Multi-PortIn nodes.

Misc

Various nodes including External, Note, Script andVisibility.

Move

Nodes for changing elements over time, like Peg
nodes, as well as certain transformations.

OutputOutput (Export) nodes such as Crop, Display, ScaleOutput and Write nodes.
Nodes needed to construct complex particle systems.
This category includes a series of examples of particle

Particleeffects and is subdivided into the following
categories: Basic, Examples and Modifier.

Plugins

Plugin nodes.

Shading

Nodes for light shading.

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Onion Skin View
The Onion Skin view allows you to quickly configure onion skin. Using this view, you can choose the colour ofprevious and next drawings, which kind of marked drawings to display and whether to measure the span ofonion skin per frame or per drawing. When using Advanced Onion Skin, you can also use this view to pickwhich drawings are included in the Onion Skin, as well as the opacity of the drawings relative to how far they
are from the current frame.

How to access the Onion Skin view
1. Do one of the following:l

In the top-right corner of a view, click on thel

In the top menu, select Windows > Onion Skin.

Add View button and select Onion Skin.

The Onion Skin view is added to your workspace.

A lot of the controls in the Onion Skin view are only accessible when using Advanced Onion Skin.

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How to enable Advanced Onion Skin
1. Do one of the following:l

In the Tools toolbar, double-click on

Onion Skin and selectAdvanced Onion Skin.

l

In the Onion Skin view, click on the

Advanced Onion Skin button.

l

In the top-left corner of the Onion Skin view, open the

View Menu and select Advanced

Onion Skin.
The controls for the Advanced Onion Skin are now accessible in the Onion Skin view.

User
Interface

SectionDescription

View Menu

Open the Onion Skin view menu, which contains extra options for Advanced
Onion Skin—see Onion Skin View Menu on page 304

Previous Drawings Settings
Allows you to select which drawings before the current frame to include in
the Onion Skin. A drawing that is toggled on will be visible in the Onion Skin,and a drawing that is toggled up will be excluded from it. You can select a
range of drawings, or include and exclude specific drawings individually.

Previous drawings
visibility switches

TIP
You can quickly select or deselect a range of drawings by clicking andholding on one drawing, then dragging the mouse cursor over theother drawings you want to toggle.

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User
Interface

SectionDescription

Allows you to adjust the opacity scale of drawings before the current frame.
Each slider represents the opacity of one drawing.
By default, moving one of these sliders will move the other sliders so that theopacity remain on a gradated scale. In this case, you can start by adjusting
the opacity on one end, the opacity on another end and then, if you want,adjust one of the sliders in-between to make a segmented progression.

Previous drawings
opacity sliders

You can disable this behaviour by unchecking the Link Sliders option in the
View Menu in the top-left corner of the Onion Skin view. This option isenabled by default. When disabled, you can adjust the opacity of eachdrawing independently.

Previous drawings
colourAllows you to select the colour in which to display the drawings before thecurrent frame.

Onion Skin Settings

Advanced Onion
Skin

Enables Advanced Onion Skin. Advanced Onion Skin allows you to select,
on the fly, which drawings to include in your Onion Skin, even if thosedrawings are not consecutive drawings, as well as the opacity scales for thedrawings before and after the current frame.
The controls for selecting which drawings to display in the Onion Skin as
well as their opacity sliders are only accessible when Advanced Onion Skin isenabled. Otherwise, when using regular Onion Skin, the opacity of drawings
in the Onion Skin is determined by the Onion Skin settings in the Preferences

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User
Interface

SectionDescription

dialog. The amount of drawings to include in the Onion Skin is set using theOnion Skin Add / Reduce One Previous Drawng and Onion Skin Add /Reduce One Next Drawing commands, available in the Camera and Drawing
toolbars as well as in View > Onion Skin in the top menu.

Onion skin opacity
sliderAllows you to set the overall opacity of all the drawings in the Onion Skin.

Allows you to select whether the drawings to include in the Onion Skin are
selected by frame or by drawing.
l

By Frames: Selects the drawings to display in the Onion Skin by theirframe number relative to the current frame. For example, if the Onion
Skin is set to include 2 drawings before and after the current frame, itwill include the drawings up to two frames before and up to twoframes after the current frame, even if those drawings are the same as
the one in the current frame. This is more useful for cut-out animation
as it allows you to position a drawing relative to its position in
adjacent frames.

NOTE
This option only works in the Camera view.

Include by frames
or by drawingsl

By Drawings: Selects the drawings to display in the Onion Skin by
the amount of different drawings before and after the current
frame. For example, if the Onion Skin is set to include 2 drawings
before and after the current frame, this will display the nearest two
different drawings before and after the drawing in the current framein the Onion Skin, even if those drawings are further than 2 frames
away from the current frame. This is more useful for frame-by-frame
animation.

NOTE
When this option is enabled, the handles allowing you toadjust the extent of the Onion Skin in the Timeline view are
not available.

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User
Interface

SectionDescription

Next Drawings Settings
Allows you to select which drawings after the current frame to include in theOnion Skin. A drawing that is toggled on will be visible in the Onion Skin,and a drawing that is toggled up will be excluded from it. You can select a
range of drawings, or include and exclude specific drawings individually.

Next drawings
visibility switches

TIP
You can quickly select or deselect a range of drawings by clicking andholding on one drawing, then dragging the mouse cursor over theother drawings you want to toggle.

Allows you to adjust the opacity scale of drawings after the current frame.
Each slider represents the opacity of one drawing.
By default, moving one of these sliders will move the other sliders so that theopacity remain on a gradated scale. In this case, you can start by adjusting
the opacity on one end, the opacity on another end and then, if you want,adjust one of the sliders in-between to make a segmented progression.

Next drawings
opacity sliders

You can disable this behaviour by unchecking the Link Sliders option in the
View Menu in the top-left corner of the Onion Skin view. This option isenabled by default. When disabled, you can adjust the opacity of eachdrawing independently.

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User
Interface

SectionDescription

Next drawings
colourAllows you to select the colour in which to display the drawings after thecurrent frame.

Marked Drawings Settings
Show Keydrawings inOnion Skin

Only displays drawings marked as key drawings in the Onion Skin.

Show Breakdown
drawings in Onion
Skin

Only displays drawings marked as breakdowns in the Onion Skin.

Show In-between
drawings in Onion
Skin

Only displays drawings with no marker in the Onion Skin. Drawings with nomarker are considered in-betweens.

Show RetakeKey
drawings in Onion
Skin

Only displays drawings marked as retake key drawings in the Onion Skin.

Show
RetakeBD drawings
in Onion Skin

Only displays drawings marked as retake breakdowns in the Onion Skin.

Show
RetakeIB drawings
in Onion Skin

Only displays drawings marked as retake in-betweens in the Onion Skin.

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Perspective View
T-HFND-008-016
The Perspective view is used during scene setup. It allows you to see a multiplane scene’s orientation. The
Perspective view is similar to a 3D display, as it lets you rotate the scene through all possible angles tounderstand the spacing between the elements. You can also position and rotate your layers and the camera
inside the 3D display to achieve some 3D setup and camera moves.

How to access the Perspective view
Do one of the following:l

From the top menu, select Windows > Perspective.

l

From any of the other views, click the Add View

Icon

button and select Perspective.

SectionDescription

View Menu

The View menu contains all the tools and options thatyou can use to work in the Perspective view.

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Chapter 6: Views

Editing Stack

The Editing Stack menu displays the names of thesymbols and their hierarchy when you are editing asymbol. You can click on the different names to go
back up to the different parent symbols or the
top/current project.

X Control

The red circle rotates the view on its X axis.

Y Control

The green circle rotates the view on its Y axis.

Z Control

The blue circle rotates the view on its Z axis.

GridThis is a perspective (3D) grid reference.

Axis Reference Arrows

The axis reference arrows let you maintain yourorientation when navigating in the Perspective view.

Show/Hide Camera

Shows or hides camera frame in the Perspective view.

Reset View

Resets the pan, rotation, and zoom of the Perspective
view.

Reset Rotation

Resets the rotation of the Perspective view.

This field displays the current zoom level in the
Perspective view. You can use the Zoom level dropdown menu to select a specific zoom level from thelist. Zoom levels from 2.5% to 6400% are available;
you can also select Fit To View to automatically use azoom level that lets you see all your scene layers andinformation in the Perspective view at once.

Zoom Menu

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Layer Name

This field displays the currently selected layer anddrawing name.

Tool Name

This field displays the currently selected tool.

Frame NumberThis field displays the currently selected frame of youranimation.
This field displays the currently selected colour in the

Colour Swatch

palette.

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Script Editor View
The Scripting view allows you to edit scripts to run in Harmony directly from the application. It displays a list ofavailable scripts, from which you can select an existing script, edit it, test it and save it. The Script Editor will
highlight the syntax of your script for easy reading.

How to access the Script Editor view
Do one of the following:l

From the top menu, select Windows > Script Editor.

l

From any of the other views, click the Add View

button and select Script Editor.

Parameter

Description

ScriptEditormenu

The menu for this view—see Script Editor View Menu on page 312.

ScriptEditortoolbar

The toolbar for this view—see Script Editor Toolbar on page 1031.

The list of script files available as well as their location and their read and write permissions.
Selecting a script in this list will open it in the editor.
Script list

The file list has three columns: File, Location and Permissions.
l

The File column indicates the filename of each script.

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NOTE
The << Sandbox >> item at the top of the list does not correspond to an actual script
file. It is a temporary container to type and test code, and its content cannot be saved.

l

The Location of the script can be one of the following:lApplication Folder: Scripts that are packaged and installed with Harmony. By default,
you cannot edit these scripts until you select them and click on Make Editable, atwhich point you are prompted to copy the script to a location from which you can
edit them.
Scripts in the Application Resources folder are in the following location:
l

l

l

l

l

Windows: C:\Program Files(x86)\Toon Boom Animation\Toon Boom Harmony 16.0
Premium\resources\scripts
macOS (Stand Alone): /Applications/Toon Boom Harmony 16.0
Premium/tba/resources/scripts
macOS (Server): /Applications/Toon Boom Harmony 16.0 Premium
Network/tba/resources/scripts
GNU/Linux:/usr/local/ToonBoomAnimation/harmonyPremium_16.0/resources/scripts

User: Scripts that are saved in your user preferences. Those scripts can be edited andexecuted from any scene, provided that you are logged in as the same user.
In Harmony Stand Alone, scripts in the User folder are in the following location:lllWindows: C:\Users\[user_name]\AppData\Roaming\Toon Boom
Animation\Toon BoomHarmonyPremium\1600-scripts
macOS: /Users/[user_name]/Library/Preferences/Toon Boom
Animation/Toon BoomHarmonyPremium/1600-scripts
GNU/Linux: /home/[user_name]/Toon Boom Animation/Toon
BoomHarmonyPremium/1600-scripts

In Harmony Server, scripts in the User folder are in the following location:/USA_DB/users/[username]/HarmonyPremium/1600-scriptsll

Scene: Scripts in the scripts sub-folder of the currently open scene. These scripts
can only be edited and executed when the current scene is open.
Job (Harmony Server only): When using Harmony Server, these are the scripts savedin the directory of the current scene's jon. These scripts can be edited and executedby any user when any scene that is part of this job is open.
Scripts in the Job folder can be found in the following location:/USA_DB/jobs/[job name]lEnvironment (Harmony Server only): When using Harmony Server, these are scripts
saved in the directory of the current scene's environment. These scripts can be edited

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and executed by any user when any scene that is part of this environment is open.
Scripts in the Environment folder can be found in the following location:/USA_DB/environments/[environment name]lGlobal (Harmony Server only): Scripts in the Harmony database's scripts
directory. These scripts can be edited by any user when any scene in the database is
open.
Scripts in the Global folder can be found in the following location:/USA_DB/scriptslSystem Variable: Scripts inside the directory set in the TOONBOOM_GLOBAL_SCRIPT_
LOCATION environment variable, if this variable is set. These scripts can be edited andexecuted by anyone on your workstation.

NOTE
When two or more scripts with the same file name exist in different locations,Harmony will give priority to a single one of these scripts. The script given priority willbe the one listed in the Script Editor and the one executed if it is associated to a
toolbar button.
Which script is prioritized is determined by the order of priority of script locations.
From highest priority to lowest priority, the order goes as follows:

User > Scene > System Variable > Job > Environment > Global> Application Resources
An exception to this rule is if you have a script with the same name in both the scenefolder and your user preferences. In this case, both versions of the script will be listed
and you will be able to edit both.

l

The Permissions of the script can be one of the following:lRead Only: You cannot edit the script in the Script Editor and save your changes.

NOTES
l

l

l

If the script's location is the Application Resources folder, it will
always be Read Only to prevent you from making changes to scripts
packaged with Harmony. However, you can click on the Make
Editable button below the script editor to make a copy of the script
in your user preferences folder, after which you can make changes tothis copy.
If the script is in any other location and is Read Only, then it is likelythat a network administrator made the script or the folder containing
the script read-only to prevent other users from making unwantedchanges to it.

Read/Write: You can edit the script in the Script Editor and save your changes.

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A text field in which you can edit the selected script.

NOTE

Editor

If the selected script is in the Application Resources folder, you will not be able to edit it until
you click on the Make Editable button.

SearchtoolbarCancelRestore to
Default

Allows you to type in a keyword and search for this keyword within the script. You can use the
Next button to go to the next instance of the keyword and thePrevious button to go to theprevious instance.
If you have made any changes to your script that you have not yet saved, this discards thosechanges and reloads the saved version.
If the selected script is a script that was packaged with Harmony, and which you copied to your User
folder, to the Scene folder or to the Job, Environment or Global folder to make changes to it, you canclick on this button to delete this copy of this script and resume using the original version of thescript that is packaged with Harmony instead.

IMPORTANTThis will permanently delete your version of the script and any changes you have made to it.

VerifyVerifies that the script has no syntax error.
If the currently selected script is in the Application Resources folder, you cannot edit it. By clicking
on this button, the script can be copied to a location where you can edit it.
When you click on this button, you are prompted to choose whether to copy in either of theselocations:l

Make
Editable

User: Saves the script to a directory in your user preferences directory. You will be able to run
and edit the script from any scene as long as you are logged in as the same user.

NOTE
If you are using Harmony Stand Alone, the script will be saved to the preferences foryour account on your computer. if you are using Harmony Server, the script will besaved to the preferences for your Harmony database user.

llGlobal: If you are using Harmony Server, select this option to save the script to the Harmony
database's global script directory. Anyone who is logged in to the database will be able toedit and run this script.
Environment: If you are using Harmony Server, select this option to save the script to the1109

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current scene's environment. Anyone will be able to edit and run the script as long as they
are working on a scene inside this environment.
lll

Job: If you are using Harmony Server, select this option to save the script to the current
scene's job. Anyone will be able to edit and run the script as long as they are working on ascene inside this job.
Scene: Save the script to the scene's scripts sub-folder. Anyone will be able to edit and run
the script when working on this specific scene.
System Variable: Save the script to the directory in the TOONBOOM_GLOBAL_SCRIPT_
LOCATION environment variable. This option is only available if this environment variable is
set.

NOTES
l

l

This button will be greyed out if the script is in any location otherthan Application Resources and is read only.
For more information on these locations, refer to Script list on page 1106.

Saves the modifications you made to the script.
Save

This button replaces the Make Editable button after you have used the Make Editable button to copy
the script to a location from which you can edit it.

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Side View
T-HFND-008-015
The Side view is used mainly for multiplane scenes and to position elements in 3D space. It allows you to see ascene’s stage from the side. This lets the camera cone and spacing between the elements to be seen.

How to access the Side view
Do one of the following:l

From the top menu, select Windows > Side.

l

From any of the other views, click the Add View

Icon

button and select Side.

SectionDescription

View Menu

The View menu contains all the tools and options thatyou can use to work in the Side view.

Thumbnails

A thumbnail of each drawing layer in the scene. The
order of the thumbnail images is based on eachelement’s FB position in the scene space. You can see
a representation of the FB position of each layer in the1111

Chapter 6: Views

camera cone.

Camera Cone

The camera cone represents the camera’s position andfield-of-view (FOV).

Axis Reference Arrows

The axis reference arrows let you maintain yourorientation when navigating in the view.

Show/Hide Camera

Shows or hides camera frame in the Perspective view.

Reset View

Resets the pan, rotation, and zoom of the Perspective
view.
This field displays the current zoom level in the
Perspective view. You can use the Zoom level dropdown menu to select a specific zoom level from thelist. Zoom levels from 2.5% to 6400% are available;
you can also select Fit To View to automatically use azoom level that lets you see all your scene layers andinformation in the Perspective view at once.

Zoom Menu

Layer Name

This field displays the currently selected layer anddrawing name.

Tool Name

This field displays the currently selected tool.

Frame NumberThis field displays the currently selected frame of youranimation.

Colour Swatch

This field displays the currently selected colour in thepalette.

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Timeline View
T-HFND-006-002
To set your animation timing, you will mostly work with the Timeline and Xsheet views. It's extremely useful to
become familiar with the Timeline view, how it works, and its interface.
The Timeline view is the main view used when adjusting the timing of drawings, adding keyframes andordering layers. The Timeline view displays layers, effects, sounds, keyframe values, scene length, layer names,
drawings, keyframes, timing, and frames.

The Timeline view allows you to read your timing from left to right. It represents the scene’s elements in theirsimplest form. You can also see the layers and their names, as well as the drawing’s exposure. The drawing
name is displayed when you place your pointer over the drawing’s exposure.

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How to access the Timeline view
Do one of the following:l

From the top menu, select Windows > Timeline.

l

From any of the other views, click the Add View

Icon

button and select Timeline.

SectionDescription

View Menu

The View menu contains all the tools and options that you can use to
manage models.
The Enable/Disable All button lets you enable or disable layers. Disabling alayer makes the scene behave as if it didn't exist, including when rendering
the scene. For example:l

A disabled drawing layer will be invisible.

l

A disabled sound layer will be mute.

l

A disabled peg layer will not affect the position of its child layers.

To disable a layer, click the layer's Enable/Disable button or press D.

Enable/Disable Layer

To enable a layer, click the layer's Enable/Disable button or press A.

NOTE
Next to sound layers, the Enable/Disable layer button will look like
this:

.

TIP
You can enable or disable all layers by clicking on the Enable ordisable all layers
button in the top row.

Enable/Disable
Solo Mode

Solo mode allows you to only view specific layers in the Camera view andhide all others. When solo mode is enabled on one layer, only this layer will1114

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be visible. If solo mode is enabled on several layers, and only these layers will
be visible. If solo mode is not enabled on any layer, all enabled layers will bevisible.
You can also use solo mode on sound tracks. If solo mode is enabled on any
sound tracks, only those sound tracks will play during playback.

TIP
When some layers are in solo mode, you can disable or re-enablesolo mode on all layers that have it enabled by clicking on the Toggle
solo mode on or off
button in the top row.

For when the Onion Skin option is enabled, this allows you to enable ordisable Onion Skin on specific layers.

Add to/Remove fromOnion Skin

TIP
To activate the general Onion Skin preview, in the Tools toolbar, click
the Onion Skin button

Lock/Unlock Layer

The Lock/Unlock Layer button lets you prevent the selection or editing of alayer in the Camera view. To select some of the layers without selecting
others, in the Timeline view, lock the layers you do not want to select. Whena layer is locked, its name is displayed in red.

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In the top menu, there is a series of locking options. Select Animation > Lock> select one of the following:l

Lock: Locks the currently selected element.

l

Unlock: Unlocks the currently selected element.

lLock All: Locks all the elements in the Camera view.

l

Unlock All: Unlocks all the elements in the Camera view.

lLock All Others: Locks all the elements in the Camera view except thecurrently selected one.

Each drawing layer has a little colour swatch that has two functionalities:lSingle-clicking a layer's colour swatch toggles Outline mode on oroff. Outline mode makes the layer display as nothing but the outlines
of its vector shapes in the Camera view, allowing you to see thedrawing's shape without it blocking the view of layers behind it.

Toggle Outline Mode /Change Track ColourlShow/HideThumbnails

Double-clicking the layer's colour swatch opens a colour picker
dialog that allows you to change the layer's track colour. The trackcolour displays in the layer's track in the Timeline view, allowing you
to give special visibility to specific layers. It also determines thecolour of the layer's outlines if it's in outline mode.

Expands the layer to display a thumbnail of the drawing in the current frame,
as well as for each drawing in the timeline.

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NOTE
By default, the timeline's zoom level does not allow enoughhorizontal space to fully display the thumbnails of drawings exposedfor one or two frames only. To see the thumbnails for drawings withshort exposure, you must increase the timeline's zoom level—see

Timeline Zoom on page 1122.

When a drawing layer is in Show Thumbnails mode:ll

An exposure indicator appears at the right of each exposed drawing
in the timeline, indicating the amount of frames the drawing spansover.
An Opacity parameter appears to the left of the layer, allowing you to
set the layer's opacity level.

TIP
You can show or hide thumbnails for all drawing layers by clicking on
the Show/Hide All Thumbnails

button in the top row.

Allows you to set the opacity level of the layer. Click and drag the value leftor right to decrease or increase the layer's opacity.
Opacity

NOTEThis parameter only displays for drawing layers that are in Show
Thumbnails mode.

Active Drawing Layer
Indicator

This icon appears next to the active drawing layer, which is the layer you
draw on when using drawing tools.

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NOTE
The active drawing layer is not always the selected layer. For
example, if you select a drawing layer, then a peg layer, the peg
layer will be the selected layer, but the active drawing layer willremain the last drawing layer you selected, until you select anotherdrawing layer.

The Add Layers button lets you add new layers to the Timeline view. When
Add Layer

you click the Add Layers button, a menu appears displaying the mostcommonly used layer types so that you can quickly add them to your scene.
If you need to add other types of layers, you must use the Node view and theNode library.

DeleteThe Delete Layers button lets you delete the currently selected layers in theTimeline view.

Add Drawing Layer

The Add Drawing Layer button lets you automatically add a new drawing
layer to the Timeline view. By default, the layer is named Drawing.
The Add Peg button lets you add a peg layer to the timeline. If several layers
are selected, a peg is added and parented to each layer.

Add Peg

The Expand/Collapse button is used to display the children layers of a parent
layer. Once a layer is parented to another layer, it is indented to the right andthe Collapse/Expand Children button appears on the parent layer allowing
you to show or hide the child layer.
Expand/Collapse

Show/Hide Functions

The Show/Hide Functions button lets you display the functions embedded ineach layer. The functions are the different coordinates and values used torecord a layer’s parameters at each frame. This information is stored on thefunction curves using keyframes.
If the layer can be connected to another layer, for example to use a drawing

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layer as a matte, expanding a layer's functions will also list its possible
connections. You can connect layers by dragging and dropping a layer onto
another layer's connection.

Adds a keyframe at the current frame of the selected function or removes the
keyframe at the current frame of the selected function, if there is one already.
Add/Remove
Keyframe

NOTE
This button only displays for function layers.

Moves the timeline cursor to the previous keyframe on the selected function.
Previous Keyframe

NOTE
This button only displays for function layers.

Moves the timeline cursor to the next keyframe on the selected function.
Next Keyframe

NOTE
This button only displays for function layers.

Displays the Function menu, which allows you to create a new function for
the function layer, or to link it to an existing shared function.
Function Menu

NOTE
This button only displays for functions layers, in the Parameterscolumn—see Show/Hide Parameters on page 1121.

Function Keyframe

A frame where the value for one or more of the layer's functions is preset.
The position of each layers in key poses for digital animation is recorded infunction keyframes. You can grab and move function keyframes as well as
copy, cut, paste and delete them.

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TIP
If you have a keyframe and a drawing selected simultaneously, andyou wish to delete the keyframe without deleting the drawing's
exposure by doing one of the following:l

In the Timeline toolbar, click on the Delete Keyframe
button.

l

Press F7.

l

From the top menu, select Animation > Delete Keyframe

NOTE
If a collapsed layer has children that have function keyframes, youwill see a white squareinstead.

The Split button lets you split the Timeline view in two sections, allowing
you to see two different portions of the Timeline view. This can be useful if
you need to often switch between two specific points of a lengthy scene.

Split

Drawing Exposure

View Modes

In the Timeline view, when a drawing is exposed, it is represented by a grey
block that extends from the first frame it is exposed to the last frame it is
exposed.

Lets you choose between different view modes allowing you to decide whichlayers are listed in the Timeline view. This can be useful if you're working ona scene with a lot of layers, and you only want layers you will be working on
to appear in the Timeline view so as to declutter it. The following view modes
are available:lNormal View Mode

will show all the layers that are connected toyour scene's display node.
lSelection Only Mode
will hide all the layers that are not currently
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view.
l

View Tagged Layers

will only show layers which you havetagged.

TIP
You can tag a layer by doing one of the following:l

Right click on the layer and select Tag > Timeline Tag.

lOpen the Timeline view menu

and select Edit > Tag> Timeline Tag.

Shows or hides the Parameters column, right of the Layers column. The
Parameters column displays information on the layer at the current frame,depending on the type of layer it is:lll

If the layer is a drawing, it displays the name of the drawing at thecurrent frame.
If the layer is a function, it displays the value of the function at thecurrent frame.
If the layer is a sound track, it displays the sound track's volume.

Show/HideParameters

Using the mouse, you can drag the parameter left and right to change its
value. This is especially useful for quickly changing a drawing's exposure at
the current frame.

Show/Hide Additional
Links

Shows or hides the Additional Links column. The Additional Links column
displays layers that are connected under the layer, but for other purposes
than being the parent of those layers. For example, if a layer is used as thematte of an effect, the effect will be displayed in that layer's Additional Links.

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If more than one layers are in a layer's Additional Links, only the first of theselayers will be displayed, followed by the amount of extra linked layers thereare.
By clicking on the Additional Links, you can open a menu listing the linked
layers, and click on one of these layers to navigate to it.
In the following example, the BOOM_Animation layer is used as the matte of
Cutter_1 and Cutter_2:

Timeline Zoom

Reduces or increases the width of frames in the Timeline view. Move theslider right to increase the width or left to reduce it. You can also press 2 tozoom in and 1 to zoom out when the Timeline view is focused on.
If you want to reset the Timeline view's zoom, click on the Timeline Zoon
icon left of the slider.

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Tool Properties View
T-HFND-004-002
The 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 updates.
For example, if you choose the Select tool, the Tool Properties view will display the options and operations
related to it, such as Snap to Contour, Apply to All Drawings, Flip Horizontal, and Flatten.

NOTE
To learn more about the options appearing in the Tool Properties view, see Tools Properties on
page 824.

How to access the Tool Properties view
Do one of the following:l

From the top menu, select Windows > Tool Properties.

l

From any of the other views, click the Add View

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button and select Tool Properties.

Chapter 6: Views

Top View
T-HFND-008-014
The Top view is used mainly for multiplane scenes and to position elements in 3D space. It allows you to see thescene’s stage from above. This lets the camera cone and the spacing between the elements be seen.

How to access the Top view
Do one of the following:l

From the top menu, select Windows > Top.

l

From any of the other views, click the Add View

Icon

button and select Top.

SectionDescription

View Menu

The View menu contains all the tools and options thatyou can use to work in the Side view.

Thumbnails

A thumbnail of each drawing layer in the scene. The
order of the thumbnail images is based on eachelement’s FB position in the scene space. You can see
a representation of the FB position of each layer in thecamera cone.

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Camera Cone

The camera cone represents the camera’s position andfield-of-view (FOV).

Axis Reference Arrows

The axis reference arrows let you maintain yourorientation when navigating in the view.

Show/Hide Camera

Shows or hides camera frame in the Perspective view.

Resets the pan, rotation, and zoom of the Perspective

Reset View

view.
This field displays the current zoom level in the
Perspective view. You can use the Zoom level dropdown menu to select a specific zoom level from thelist. Zoom levels from 2.5% to 6400% are available;
you can also select Fit To View to automatically use azoom level that lets you see all your scene layers andinformation in the Perspective view at once.

Zoom Menu

Layer Name

This field displays the currently selected layer anddrawing name.

Tool Name

This field displays the currently selected tool.

Frame NumberThis field displays the currently selected frame of youranimation.

Colour Swatch

This field displays the currently selected colour in thepalette.

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Xsheet View
T-HFND-006-003
The Xsheet view lets you read the timing vertically by displaying it in a grid, with each drawing layer
represented by a column, each frame of your scene represented by a row, and each exposed drawing displayedby its name in the cells. It is meant to work like a traditional animation exposure sheet.
Using the functions panel, you can also view the functions and keyframes of the motion paths for the selectedcolumn, with the value of those functions for each frame listed in the cells.
Contrary to the Timeline view, the Xsheet view does not display pegs, effects or layer hierarchy. Hence, it is
optimized for traditional and paperless animation, whereas the Timeline view is optimized for digital or cut-out
animation.

How to access the Xsheet view
Do one of the following:l

From the top menu, select Windows > Xsheet.

l

From any of the other views, click the Add View

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Icon

SectionDescription

View Menu

The View menu contains all the tools and options thatyou can use to manage columns and timing.

View Toolbar

The view toolbar contains all the tools and options
you can use in the Xsheet view to manage columns
and timing.
The Xsheet view has three sections. By default, only
the main section is visible. It displays the drawing
layers, also known as drawing columns.

Xsheet Main Section

When using advanced compositing and animation
techniques, unconnected functions (motion paths)
also appear in the main section. Unconnectedfunctions mean that some motion paths are notattached to any particular layer.
When you reconnect functions to a layer, they are stillvisible in the main section.

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The Functions section is used for more advanced
techniques. This section displays the functions(paths) related to the selected layer in the Timeline
view. By default, the Functions section is hidden.
In the Xsheet view, click the Expand button located on
the right side of the main section. Click on the same
button to collapse it. You can also use the Show
Column List button in the Xsheet View toolbar. If you
select a drawing column in the main section of the
Xsheet view, the function columns will not be
displayed. You must select the layer from the Timeline
view.

Functions Section

The Column List section allows you to show and hidecolumns in the Xsheet view. When you hide a layer inthe Xsheet view, it is also disabled in the Timelineview.

Column List Section

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You can use the Column List to hide individualcolumns or hide an entire column type (drawing orfunction) from the Xsheet view. By default, theFunctions section is hidden.
In the Xsheet view, click the Expand button on theright side of the main section to show the Functions
section. Click on the same button to collapse it. You
can also use the Show Column List

button in the

Xsheet toolbar.
Go to the Xsheet view menu and select View > Show
Column List. Click the Expand button on the right sideof the Functions section to display the Column List
section.

Each column available in the Xsheet view has a header
displaying the column’s name. The column’s name isthe same as the corresponding timeline layer. If you
rename one or the other, they will both be renamed.
A quick access menu is available when you right-click.
This menu contains the command affecting an entire
column such as renaming, changing the default
colour, or deleting a column.

Column Header

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source drawings for that column.

In Harmony, the column header shows the layer’s
name and the name of the drawing folder to which it
is linked. If the name of the layer is the same as thedrawing folder, the drawing folder’s name will not be
displayed. For example; when you link a Timingcolumn to a certain element (and thereby the
Element’s folder). To modify the name of the element
folder independently from the column and layer name,you must select the Advanced Element Mode option
preference in the Advanced tab of the Preferences
dialog box.

A drawing selected in dark red indicates that thedrawing is currently displayed in the Drawing and
Camera views. The current drawing selection is not
linked to the drawing displayed in the Camera view
since drawings from each visible layer are displayed at
once.

Current Drawing

The darker frame appearing in the Xsheet view
represents the current frame.

Current FrameIn the drawing columns, you can see the drawing
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drawing is exposed over more than one cell, a vertical
black line is displayed to indicate the continuity of the
exposure. When there is no drawing in a cell, the cell
will be blank.

On the left side of the Xsheet view, the frame numbers
are shown indicating where you are. These readvertically instead of being displayed horizontally as
they are in the Timeline view.
l

To go to a particular frame, click the frame
number.

Frame NumberslTo select an entire range of frames, click anddrag a selection downwards.

At the bottom-right of the Xsheet view, you can see
the current frame number, as well as the column
containing the drawing currently displayed in the
Drawing view.
Current Frame Display

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The functions columns are displayed in the Functions
section of the Xsheet view. They represent the motion
and rotation you applied to a drawing layer. Only thefunction columns related to the selected layer are
displayed.
A function column can also be related to an effect.
Selecting the effect layer shows you thecorresponding function column in the Xsheet view.
The function columns display the position value or
effect value on each cell. If there is a keyframe on a
Functions Column

cell, a black square is displayed. Holding the samevalue for several frames displays a vertical black line.

You can quickly increase or decrease the exposure of
the selected cell by clicking on the up and downarrows in the Increase/Decrease Exposure field.

Increase/Decrease
Exposure

The Overwrite/Insert button allows you to decide theway the values are inserted into the Xsheet.

Overwrite/Insert Modes

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