Toon Boom Harmony 11.1
Getting Started Guide

Toon Boom Harmony 11.1 Getting Started Guide

Legal Notices
Toon Boom Animation Inc.
4200 Saint-Laurent, Suite 1020
Montreal, Quebec, Canada
H2W 2R2
Tel: +1 514 278 8666
Fax: +1 514 278 2666
toonboom.com
Disclaimer
The content of this guide is covered by a specific limited warranty and exclusions and limit of liability under theapplicable License Agreement as supplemented by the special terms and conditions for Adobe®Flash® File
Format (SWF). For details, refer to the License Agreement and to those special terms and conditions.
The content of this guide is the property of Toon Boom Animation Inc. and is copyrighted.
Any reproduction in whole or in part is strictly prohibited.
Trademarks
Toon Boom® is a registered trademark and Harmony™ is a trademark of Toon Boom Animation Inc.
Publication Date
7/6/2018
Copyright © 2014 Toon Boom Animation Inc. All rights reserved.

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Toon Boom Harmony 11.1 Getting Started Guide (Network)

Contents
Toon Boom Harmony 11.1 Getting Started Guide

1

Legal Notices

2

Contents

3

Chapter 1: Introduction

5

Chapter 2: Interface

7

Adding a View

7

Tool Properties View

9Interface Navigation

9

Chapter 3: How to Draw

13

Chapter 4: How to Create a Traditional Animation

15

Cleaning Up

21

Chapter 5: How to Paint

25

Closing Gaps

28

Chapter 6: How to Morph Drawings

31

Chapter 7: How to Import Bitmap Images

35

Chapter 8: How to Build a Cut-out Character

43

Drawing the Pieces

43

Parenting Layers

47

Master Peg

51

Chapter 9: How to Use Bone Deform

53

Rigging

53

Adjusting the Deformation Chain

55

Display the Deformer Controls

58

Animation

59

Chapter 10: How to Animate a Cut-out Character

63

Chapter 11: How to Create Templates

71

Creating a Template from the Network View

73

Chapter 12: How to Set Up a Scene

77

Positioning the Camera

77

Positioning Objects

79

Repositioning the Pivot

81

Chapter 13: How to Animate Objects and the Camera

83

Animating a Layer

83

Animating the Camera

86

Chapter 14: How to Create a Multiplane

89

Positioning Elements in the Top and Side Views

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Toon Boom Harmony 11.1 Getting Started Guide

Contents

Chapter 15: How to Set Up Objects in 3D Space

93

Chapter 16: How to Import Sound and Add Lip-Sync

97

Lip-Sync

97

Automatic Lip-Sync Detection

98

Chapter 17: How to Add Effects to a Scene

101

About Effects

101

Adding Effects

103

Module Library View Toolbar

104

Module Tabs

105

Tone Effect106

Animating an Effect Over Time108

Chapter 18: How to Export a Movie

113

Glossary

114

Index

124

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Toon Boom Harmony 11.1 Getting Started Guide (Network)

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

Interface on page 7•

How to Draw on page 13•

How to Create a Traditional Animation on page 15•

How to Paint on page 25•

How to Morph Drawings on page 31•

How to Import Bitmap Images on page 35•

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

How to Use Bone Deform on page 53•

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

How to Create Templates on page 71•

How to Set Up a Scene on page 77•

How to Create a Multiplane on page 89•

How to Set Up Objects in 3D Space on page 93•

How to Animate Objects and the Camera on page 83•

How to Import Sound and Add Lip-Sync on page 97•

How to Add Effects to a Scene on page 101•

How to Export a Movie on page 113

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Toon Boom Harmony 11.1 Getting Started Guide (Network)6

Toon Boom Harmony 11.1 Getting Started Guide (Network)

Chapter 2: Interface
It’s important that you become familiar with the following elements of the user interface as this will help you to start
using Harmony. You can learn more about the highlights described here, and how to use them in a production
context, throughout this guide.
When you start Harmony for the first time, the default workspace is displayed. It contains all of the main elements
you need to use.

1. Menus
2. Tools toolbar
3. Camera view
4. Timeline view
5. Tool Properties view
6. Network view
7. Colour view

Adding a View
How to add a view
1. Select the view you want to add from Windows > the desired view.
‣

You can also use the Window drop-down menu button in each view. Click the Add View button and selecta view from the list.You can open several instances of the same view except for the Timeline, Tool
Properties, Colour and Drawing views.

7Chapter 2: Interface

By default, the view appears tabbed.

How to dock a floating window in the workspace
1. Drag the window’s tab onto one of the workspace’s views. You can drop the view onto the other existingtabs to tab the view with the other ones. You can also drop the view onto either side of an existing view toinsert the floating one beside it. When you get close to one of the edges, a black rectangle will appear,
indicating where the view will be inserted.

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Toon Boom Harmony 11.1 Getting Started Guide (Network)

Tool Properties View

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

Interface Navigation
Harmony supports zoom in, zoom out, rotate, pan and reset view for easy interface navigation for the views.
Command

ActionAccess Methods
View > Zoom In

Zoom In

Zooms into the view.

9

Press 2 or roll the mousewheel up.

Chapter 2: Interface

In the Timeline view, press
Ctrl (Windows/Linux) or ⌘(Mac OS X) and roll themouse wheel up.
View > Zoom Out
Press 1 or roll the mousewheel down.
Zoom Out

Zooms out of the view.

Zoom In or Out

Zooms in or out of the view.

Roll the middle mouse button
up or down.

Pan

Moving parallel to the view.

Hold down the Spacebar anddrag the mouse in the
direction in which you wantto pan the view.

Recenter view

Recenters the view on your mouse
cursor.

Press N

Reset Pan

Resets the view’s pan to its default
position.

In the Timeline view, press
Ctrl (Windows/Linux) or ⌘(Mac OS X) and roll themouse wheel down

View > Reset Pan
Press Shift + N
View > Reset View

Reset View

Resets the view to its default
position.

Reset Rotation

Resets the view’s rotation to its
default position.

Reset Zoom

Resets the view’s zoom to its default
position.

Press Shift + M

View > Reset Rotation
Press Shift + X
View > Reset Zoom

Enlarges the selected view to fullscreen. The full screen process isdone in three stages.

Toggle Full ScreenFirst, the selected view enlarges tothe maximum width or height, but
keeps the tool views such as Colour
or Tool Properties view.
Second, the view enlarges to fullscreen.

View > Toggle Full Screen
Press Ctrl + F(Windows/Linux) or ⌘ + F(Mac OS X)

Third, the view returns to its originalsize.
Rotate 90 CW

Rotates the Camera view 90 degrees
View > Rotate View CWclockwise, like an animation table.

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Toon Boom Harmony 11.1 Getting Started Guide (Network)

Rotate 90 CCW

Toggle Quick Close-up

Rotates the Camera view 90 degrees
counter-clockwise, like an animation View > Rotate View CCW
table.
Use the Magnifier tool to quickly
center on the mouse position andzoom in to a pre-defined value suchas 4X. Then you can zoom out again.
Hold the shift key and press Z tozoom in and back out again.
Replacing the Reset Zoom bypressing Shift +.
The area where you zoom in or out isdependent on the cursor location in
the Camera view. If you zoom in andthem move the cursor to a different
location when you zoom out themouse will be centered on thatlocation.

If you are using a tablet or track pad that supports touch, then you can also use the standard two-finger gestures forzoom, rotate, and pan of the canvas in the Camera and Drawing views.

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Toon Boom Harmony 11.1 Getting Started Guide (Network)

Chapter 3: How to Draw
As soon as Harmony is started, you can start to draw straight away using the default drawing layer.
How to draw
1. In the Tools toolbar, select the Brush

tool or press Alt + B.

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

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

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Chapter 3: How to Draw

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

If you are working in Database mode, see Locking Drawings to learn how to lock and unlock drawings.

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Toon Boom Harmony 11.1 Getting Started Guide (Network)

Chapter 4: How to Create a Traditional Animation

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

tool or press Alt + B.

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

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Chapter 4: How to Create a Traditional Animation

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

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

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

16

button.

Toon Boom Harmony 11.1 Getting Started Guide (Network)‣

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

‣

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

9. In the Tools toolbar, click the Onion Skinbutton. The Onion Skin feature displays your previous and next
drawings as visual references to help you draw your new pose.
10. In the Timeline view, click and drag the blue onion skin markers to extend the number of previous and next
visible drawings.

11. In the Timeline or Xsheet view, select the cell where your next key drawing will appear.

12. In the Camera or Drawing view, draw your second key drawing.

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Chapter 4: How to Create a Traditional Animation

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

14. In the Xsheet view, select a cell between the two key drawings.

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Toon Boom Harmony 11.1 Getting Started Guide (Network)

15. From the Timeline View toolbar, click‣to create an empty drawing or press Alt + Shift + R.

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

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

19Chapter 4: How to Create a Traditional Animation

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

18. In the Timeline or Xsheet view, select a new cell and repeat the previous steps for each new drawing.

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Toon Boom Harmony 11.1 Getting Started Guide (Network)

19. In the Timeline view, disable the layers you do not want to show during playback by disabling the check box.
20. In the Playback toolbar, click the Loopbutton if you want the playback to loop.

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

Cleaning Up

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

21

button.

Chapter 4: How to Create a Traditional Animation

2. In the Name field, name your new layer.
3. Set the Line Art and Colour Art options to Vector to get a vector layer or to Bitmap to have a bitmap layer.
4. Click OK.
5. In the Timeline view, click the Lockicon of the layer containing your rough animation to prevent thelayer from being selected in the Camera view.

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

tool.

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

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Toon Boom Harmony 11.1 Getting Started Guide (Network)

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

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

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

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Chapter 4: How to Create a Traditional Animation

14. In the Camera view, trace your next drawing.

15. Repeat the previous steps for each drawing.

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Toon Boom Harmony 11.1 Getting Started Guide (Network)

Chapter 5: How to Paint
Harmony has some very powerful colouring features when it comes to painting. To paint your drawings, you will use
different colour swatches, unlike some paint programs where you modify one swatch each time you want to paintwith a different colour.

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

When you modify the colour of an existing swatch, it automatically updates all the zones painted with this swatch
throughout the entire project. The colour swatch has a unique ID number that associates it with the painted zones.
This way, you can change the look of your character at any time without having to repaint it!
In animation, specific colours are used to paint each particular character. In order to maintain absolute consistency,
a colour palette is created for each character, prop and effect throughout the production. This is referred to as amaster palette 1.
1A master palette is a group of colours attributed to a character or a prop. The palette is used throughout the entire

production to maintain consistency in the look and to ensure that the same colours are used throughout the
production. Also known as palette.
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Chapter 5: How to Paint

Master palettes contain a colour swatch for each zone to colour with a precise RGBA colour value.
Using a master colour palette has many benefits, including:•

Each character consistently retains their dedicated colours.

•

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

•

Standardization and colour consistency throughout the production•

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

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

tool or press Alt + I.

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

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

‣

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

1A palette or master palette is a group of colours attributed to a character or a prop. The palette is used throughout

the entire Toon Boom Studio project to maintain a consistency in the look and avoid the colour changing during
the animation. Also referred to as a master palette.
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Toon Boom Harmony 11.1 Getting Started Guide (Network)

The colour palette will only appear in the Colour view when you select a drawing element.

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

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Chapter 5: How to Paint

Closing Gaps

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

In the Tools toolbar, select the Close Gap

tool.

‣

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

‣

Press Alt + C.

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

button if you want the stroke you draw to be

3. You can display invisible lines by selecting View > Show > Show Strokes or press K. If you do notdisplay the strokes, a message box will appear.

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Toon Boom Harmony 11.1 Getting Started Guide (Network)

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

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Toon Boom Harmony 11.1 Getting Started Guide (Network)

Chapter 6: How to Morph Drawings

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

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

4. Do one of the following:‣

In the Tools toolbar, select the Rectangle‣

Press Alt + 7.

tool.

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

Hold down the Shift key to draw a square.

‣

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

7. Paint your rectangle using the Paint tool.

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Chapter 6: How to Morph Drawings

8. In the Xsheet or Timeline view, select the last cell.

9. Do one of the following:‣

In the Tools toolbar, select the Ellipse‣

Press Alt + =.

tool.

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

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

12. Do one of the following:‣

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

‣

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

Press Alt + M.

Arrows appear between the two key drawings to show that computer generated in-betweens have beencreated.

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Toon Boom Harmony 11.1 Getting Started Guide (Network)

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

How to delete an entire morphing sequence
1. In the Xsheet or Timeline view, right-click on a cell between two keyframes.
2. Do one of the following:‣

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

‣

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

The entire sequence between the two keyframes is removed.

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Toon Boom Harmony 11.1 Getting Started Guide (Network)

Chapter 7: How to Import Bitmap Images
A bitmap image 1 is an image composed of pixels that are both size and resolution dependent. In Harmony, you canimport bitmap images and vectorize them, making the images editable. Then you can use a variety of drawing tools
to edit the image. Or you can always keep the original bitmap image as is.
Also, you can choose to import bitmap images on bitmap or vector layers depending on your project.

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

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

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

‣

In the File toolbar, click the Import Images‣

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

button.

The Import Images dialog box opens.

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

1An image composed of pixels with a single resolution (size). If it is enlarged too much, it will lose definition andpixels will begin to appear. This is known as pixelation.
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Chapter 7: How to Import Bitmap Images

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

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

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

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

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

Fit

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

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Toon Boom Harmony 11.1 Getting Started Guide (Network)

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

Pan

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

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Chapter 7: How to Import Bitmap Images

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

Project Resolution

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

Description

Premultiplied with White

Individual pixels at the edge of an image are blended withwhite.

Premultiplied with Black

Semi-transparent pixels in the original image are blended
with black.

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 the alpha value. It calculates the real colour
value faster. When the RGB values are multiplied with thealpha value, that is, if you have a pixel of value R=247,

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Toon Boom Harmony 11.1 Getting Started Guide (Network)

G=188, B=29 and the alpha is 50% or the image has a 50%
transparency, then the actual RGB values that are output
would be half of the amounts listed above.
7. Click OK.
How to import a bitmap image as a Toon Boom bitmap drawing
1. In the Files section of the Import Images dialog box, click Browse to find and select one or more images on
your computer.
2. In the Import Options section, select the Import asToon Boom Bitmap Drawing option.
3. Decide if the bitmap image will go on a new layer or an existing layer. To add the bitmap image to a new layer,
go to step 4. To add the bitmap image to an existing layer, go to step 5.
4. In the Layer section, select the Create Layer option, and one of the following options to add the bitmap
image to a new layer:‣

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

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

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

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

The following three Alignment Rules options are available:
Parameter

Description

Vertical Fit

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

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Chapter 7: How to Import Bitmap Images

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

Horizontal Fit

Actual Size

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

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

Parameter

Description

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Toon Boom Harmony 11.1 Getting Started Guide (Network)

Premultiplied with White

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

Premultiplied with Black

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

Straight

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

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

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

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

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

Parameter

Description

Black and White

Vectorizes drawings as a solid black line; creates a 100% vector-based drawing.

Grey

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

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Toon Boom Harmony 11.1 Getting Started Guide (Network)

Chapter 8: How to Build a Cut-out Character

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

Drawing the Pieces
The main breakdown technique shown here is to trace your model, completing the hidden lines and filling the gaps
How to break down a character
1. In the Timeline view, add a new drawing layer for each body part to separate. You can press Ctrl + R
1In cut-out animation, the breakdown is the action of breaking a character into pieces to create a puppet witharticulations. To breakdown a character, the artist will cut parts, such as hands and arms, from the character's
model and paste them in separate layers. Next, the joints will be fixed and the pivots set. In additional animation, a
breakdown is an animation pose generally found between two key poses. The key poses are the main poses in an
animation and the breakdowns are secondary poses, ones that help to describe the motion and the rotation curve.
43Chapter 8: How to Build a Cut-out Character(Windows/Linux) or ⌘ + R (Mac OS X).

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

3. In the Tools toolbar, select a drawing tool.
4. In the Colour view, select a colour swatch.

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Toon Boom Harmony 11.1 Getting Started Guide (Network)

5. In the Camera or Drawing view, draw the new part.

If you are working in the Drawing view, click the Light Table
button in the Drawing View toolbar to display
the other layers as washed out colours. You can also press Shift + L.
6. In the Tool Properties view, you can set the Pencil tool width to 0 to create an invisible hairline if you want toclose a shape without drawing an actual stroke.

‣

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

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Chapter 8: How to Build a Cut-out Character

7. In the Tools toolbar, select the Paint

or Paint Unpainted

8. In the Colour view, select the corresponding colour.
9. In the Camera or Drawing view, paint your drawing.

46

tool to colour your drawing.

Toon Boom Harmony 11.1 Getting Started Guide (Network)

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

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

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

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

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

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Chapter 8: How to Build a Cut-out Character

How to create a hierarchy in the Timeline view

‣ Drag the child piece (hand) and drop it ON the parent piece (forearm). Then, you can drag the parent(forearm) piece onto another parent piece (upper arm).

How to create a hierarchy in the Network view‣

Without Pegs: From the parent part, drag a new cable connection out of the module's output port(bottom) and connect it to the child part module's input port (top).

48

Toon Boom Harmony 11.1 Getting Started Guide (Network)‣

With Pegs: From the parent part's peg, drag a new cable connection out of the module's output port(bottom) and connect it to the child part's peg input port (top).

Here is a basic rig with pegs example:

49

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Toon Boom Harmony 11.1 Getting Started Guide (Network)

Master Peg

When you animate your character, you will probably need to resize and reposition it to fit your scene. When you needto scale down or move your character, it is a good idea to hook (attach) the whole puppet to a trajectory.
Attaching your puppet to a peg 1 will allow you to scale it and reposition it without having to do this to the different
parts and pieces. Only one layer will contain the position information, which makes your animation easier to modify
and control.
How to add a master peg
1. In the Timeline view, select the top layer to parent a peg to it. You need to select a layer to be able to add apeg to your scene. Unless you use the Display All mode from the Display toolbar, you will get an error
message if you try to add a peg without any selection.
2. In the Timeline view, click on the Add Peg

button.

A new peg is added to the timeline as a parent of the selected layer.

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

animation, in which you are doing a more advanced puppet rigging, you can use peg layers. Peg layers are trajectory
layers that do not contain drawings. They are motion paths that you can use to add path articulations. For the latter,
you can also use the Inverse Kinematics tool.
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Chapter 8: How to Build a Cut-out Character

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

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Chapter 9: How to Use Bone Deform
Harmony provides you with the deformation technology to deform bitmap and vector drawings over a period of time.
These deformers can be linked to create a hierarchy of deformation. You can deform a character made out of one, ormany, drawing or image layers and make it move as if it were a cut-out puppet. It also allows you to take an area in asingle bitmap image and create animation by distortion.

Rigging
Using the Rigging tool, you can quickly create a basic Bone and Articulation or Curve rig. Before you can create a
Basic Deformation rig, you must set up the performance preferences which are necessary to allow the system toprocess the deformation effect efficiently.
How to create a basic deformation rig
1. In the Preferences dialog box, under the Deformation tab, deselect the Automatically Create New
Deformer Structure for each Pose/Drawing option. This will result in a simpler Network rigging structure.
But remember that this option must be re-enabled before rigging a multipose (front, quarter, side and back)character.
2. From the Deformation toolbar, select the Rigging
3. In the Rigging Tool Properties, enable the Automatic

tool.
Mode.

4. In the Network, Camera or Timeline view, select the element on which you want to add a deformation.

5. In the Camera view, create a Bone or Curve rig.
How to create a Bone rig
1. Place the cursor at the far end of your element, click once and release. For example, on the shoulder.

2. Click again at the location where you want your first bone to finish and your second bone to start. An
articulation will automatically be inserted between each bone you create.

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Chapter 9: How to Use Bone Deform

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

How to create a Curve rig
1. Click at the far end of your element, for example, the shoulder and drag the cursor to extend the control
handle and release just as you would do when using the Polyline tool.

2. Click again at the location where you want the curve to end and drag the cursor to extend the second
control handle.

3. Repeat this process until you have finished building the Curve chain.
This will automatically create a Deformation group connected to the top node of the selected element. This group
includes all the necessary deformation modules as well as the Bones, Curves and Articulations you created.
Note that this Network structure is the result of a simple rigging which was created without the AutomaticallyCreate New Deformer Structure for each Pose/Drawing preference.

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Toon Boom Harmony 11.1 Getting Started Guide (Network)

Adjusting the Deformation Chain
Once you have a deformation chain created, you can optimize its positioning to fit the element it will deform. Thistask is done in the Setup
mode.
How to set up a bone and articulation deformation chain
1. In the Network view, select the Deformation group you want to set up.

2. In the Deformation toolbar, click the Show Selected Deformers and Hide All Others
button to display the
deformer controls in the Camera view. This also hides all the deformer controls that were displayed.
3. In the Deformation toolbar, click the Setup Modebutton.

The chain turns from green to red. A green chain indicates the Setup mode is disabled. If so, click the button
again to enable it.

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Chapter 9: How to Use Bone Deform

4. In the Tools toolbar, select the Transform

tool.

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

Use the Pivot rotation handle to change the angle of the chain.

‣

Use the Pivot centre control point to reposition the entire chain.

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Toon Boom Harmony 11.1 Getting Started Guide (Network)‣

Use the Articulation control point, the square at the bottom, to reposition the articulation. This will
elongate, shorten or change the direction of the first bone.

‣

Use the Articulation, top diamond-shaped, control point to change the size of the articulation. For quality
purposes, it is recommended to have an articulation which fits the diameter of the part it controls.

‣(Optional) In the Deformation toolbar, deselect the Show Simplified Manipulators
button to display all
the manipulators. You can choose to work with the simplified deformers, but if you need more control, you
can also access the full deformers. You will notice two extra square control points appearing in the middleof the articulation circle. Drag these up and down to modify the steepness (bias) of the articulation.

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6. Repeat until all the articulations and bones of the chain are correctly aligned to the element it is linked to.
7. With the Deformation group still selected, click the Copy Resting Position to Current
make sure to set the current resting position as the current frame one.

button. This will

8. In the Deformation toolbar, click the Setup Modebutton to turn off the mode. Then test yourmodifications using the Transformtool. For optimal results, make sure the size of the articulation isabout the same size as the drawing.

Display the Deformer Controls
Before you can manipulate the deformer outside of the Setup mode, you must enable the Deformation Controls.
If you have just created the bone rig, the controls will still be showing. However, when you close your project, thedeformers are turned off. By enabling the Deformation Controls, the controls will display when you reopen a
project so can you see the ones you need while you are animating.
You can also select all the modules from Network view and select View > Show > Controls from the top menu.
How to display the selected deformation controls
1. In the Network view, select the Deformation Group containing the deformation chain you want to display.
2. Do one of the following:‣

In the Camera View toolbar, click the Show Control‣

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

‣

Press Shift + F11.

button.

How to display the selected deformation controls and hide all the others
1. In the Network view, select the Deformation Group containing the deformation chain you want to display.
2. In the Deformation toolbar, click the Show Selected Deformers and Hide All Others

button.

The selected deformation controls appear in the Camera view and all the others are hidden.
How to display all the deformer controls at the same time
1. In the Top level of the Network view, select Edit > Select All from the top menu to select all the modules
or press Ctrl + A (Windows/Linux) or ⌘ + A (Mac OS X).

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Toon Boom Harmony 11.1 Getting Started Guide (Network)

2. In the Camera View toolbar, click the Show Control

button or press Shift + F11.

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

In the Camera View toolbar, click the Hide All Controls‣

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

‣

Press Shift + C.

button.

Animation
The Bone deformer operates in the same way as a human limb and is composed of a pivot as the starting point, andbones and articulations.
How to animate a Bone and Articulation deformer
1. In the Timeline view, go the frame on which you want to create your first animation pose.
2. In the Deformation toolbar, deselect the Setup
Mode . If you leave Setup Mode on, you will modify theresting position of the deformer chain instead of animating it. When Setup Mode is disabled, the default colourof the deformation control is light green. If you made changes to your rig in Setup mode, you can select the
deform group and click Copy Resting Position to Current
button, located in the Deformation toolbar. This
resets the rig outside the Setup mode to match what the rig looks like in Setup mode.
3. If you want to create animation keyframes, enable the Animate
4. In the Tools toolbar, select the Transformmode in the Tools toolbar.

tool.

5. From the Camera view, select the piece to animate.
6. In the Deformation toolbar, click the Show Selected Deformers and Hide All Others
deformer of the selected piece.

button to display the

7. In the Camera view, do the following:‣

Click on the centre of the Deformation-Root pivot and drag it around to reposition the entire limb.

‣

Use the first bone or the square pivot handle to rotate the entire limb.

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Chapter 9: How to Use Bone Deform‣

Use the square control point located at the extremity of a bone to stretch or shorten its length.

‣

Use a bone next to an articulation to rotate it. You can also hold down the Alt key to lock all the controls
and movement, and only allow the rotation of the articulation.

‣

Click and drag the articulation’s diamond-shaped control point to modify its radius.

8. In the Timeline view, go the frame on which you want to set your next key pose.
9. Repeat the previous steps to animate your character.
You can also manipulate the deformer by typing values directly in the Layer Properties of the deformation effectmodules.

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Toon Boom Harmony 11.1 Getting Started Guide (Network)

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Toon Boom Harmony 11.1 Getting Started Guide (Network)

Chapter 10: How to Animate a Cut-out Character

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

tool or press Shift + T.

2. In the Tools toolbar, enable the Animate

mode so everything you move will be keyframed automatically.

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

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Chapter 10: How to Animate a Cut-out Character

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

6. In the Camera view, select the parts to animate.

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

A new keyframe appears in the Timeline view.

64Toon Boom Harmony 11.1 Getting Started Guide (Network)

8. To ensure that nothing moves on the new pose, in the Timeline view, select the frame corresponding to thepose, right-click and select Add Keyframe or press F6.
9. In the Tools toolbar, enable the Onion Skinfeature.

10.In the Timeline view, go to the frame where you want to set the second keyframe.

11. Repeat step 6.
12. In the Camera view, animate your character.

13. Repeat this process for all the poses.
If you created a layer hierarchy when you built your puppet, you can use the keyboard shortcuts to travel up anddown the parent-child chain. You can also navigate between the children of the same parent.
How to select the parent or child layer
1. In the Tools toolbar, select the Transform

tool.

2. In the Transform Tool Properties view, make sure the Peg Selection
3. In the Camera or Timeline view, select a layer attached to a hierarchy.

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Chapter 10: How to Animate a Cut-out Character

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

These keyboard shortcuts ignore any effect module encountered in the Network or Timeline view. Only drawing
and peg modules are considered. If you want to navigate the hierarchy including the effect modules, you cancreate a custom keyboard shortcut in the Preferences dialog box for the Select Parent Skipping Effects and SelectChild Skipping Effects commands on the General tab.

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How to navigate among the brothers of the same parent
1. In the Network view, select a child of a parent and do the following:‣

To select the previous brother in the family, press /.

‣To select the next brother in the family, press ?.

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

Only the first keyframe selected on a given layer will be considered when using the Set Ease for Multiple Parameter
function. If many keyframes are selected on the same layer, the ease values will be applied only to the first one andthe rest will be ignored.

2. In the Timeline view, right-click and select Set Ease For Multiple Parameters. In the Timeline View toolbar,
you can click the Set Ease For Multiple Parameters
button. If the button is not in the Timeline View
menu, you can add it through the Toolbar Manager. Right-click on the toolbar and select Customize.
The Set Ease For Multiple Parameters dialog box opens.

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

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

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

‣

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

‣

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

‣

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

‣

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

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

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

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

‣

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

6. Once done, click one of the following buttons:

68Toon Boom Harmony 11.1 Getting Started Guide (Network)‣

Apply: Applies the easing parameters to the selected keyframes.

‣

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

‣

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

‣

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

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Toon Boom Harmony 11.1 Getting Started Guide (Network)

Chapter 11: How to Create Templates
You can create a template from a layer or from cells. You can store anything available in the Timeline view as atemplate.
When creating a template from the Timeline view, it will lose the extra connections, effects and groupings from the
Network view.
Creating a template by selecting a layer will incorporate the layer and all the drawings that were created in it, even if
they're not exposed in the Timeline view. Selecting cells will only save those specific drawings in the template.
How to create a template from the Timeline view
1. In the Timeline view, select some cells or layers.
2. In the Library view, select a folder to store the template.
3. If a library folder is locked, right-click and select Right to Modify.
4. Drag the selection to the Stage Library folder or any other library folder.

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

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Chapter 11: How to Create Templates

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

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Toon Boom Harmony 11.1 Getting Started Guide (Network)

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

Creating a Template from the Network View
The Timeline and Network views display different information about a scene.
A main character's template, also known as a master template, is created from the Network view. This templatecontains all the connections, effects, composites, modules, pegs, advanced groupings, function columns, scene
lengths, drawings, timings, and so on. The template is saved in the Library view and must be imported back into thescene for use, either into the Network view or the left side of the Timeline view.

If you are creating a template from a character rig master template, you should collapse everything inside a masterpeg and put a keyframe on the first frame before creating the template.

How to create a template from the Network view
1. In the Library view, select the folder in which you want to store the template.
2. If the library folder is locked, right-click and select Right to Modify.
3. In the Network view, select the modules for creating the template and group them. It is very important togroup your cut-out character rig before storing it in the Library.

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Chapter 11: How to Create Templates

4. From the top menu, select Edit > Group > Group Selected Layers or press Ctrl + G (Windows/Linux) or⌘ + G (Mac OS X).

5. In the Network view, click on the group module's yellow button to rename it.
The Layer Properties window opens.

74Toon Boom Harmony 11.1 Getting Started Guide (Network)

6. In the Network view, select the group module and copy and paste it inside the template folder in the Libraryview or press Ctrl + C and Ctrl + V (Windows/Linux) or ⌘ + C and ⌘ + V (Mac OS X).

7. In the Rename dialog box, rename the new template.

To rename a template, right-click on it and select Rename.
8. Click OK.

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Toon Boom Harmony 11.1 Getting Started Guide (Network)

Chapter 12: How to Set Up a Scene
Setting up your scene can be compared to building a set for a television show. This is the point when you position
each scene element such as the camera frame, the background elements and the characters.

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

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

‣

From the top menu, select Insert > Camera.

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

How to add a Camera module in the Network view
1. Display the Network view.
2. In the Module Library view, select a Camera module from the Favorites, Move or All Modules tab.

3. Drag the Camera module into the Network view.

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

mode.

2. Do one of the following:‣

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

‣In the Advanced Animation toolbar, click the Translate‣

Press Alt + 2.

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Chapter 12: How to Set Up a Scene

3. In the Camera view, click on the camera frame to select it. You can also select the camera layer from theTimeline or Network view.
The selected camera frame is highlighted in purple.

4. Drag the camera frame to a new position.

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

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

‣

In the Advanced Animation toolbar, select the Rotate‣

Pres Alt + 3.

tool.

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

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

mode.

2. In the Tools toolbar, select the Transform

tool or press Shift + T.

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

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

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

mode.

2. In the Tools toolbar, select the Transform

tool or press Shift + T.

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

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

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

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

mode.

2. In the Tools toolbar, select the Transform

tool or press Shift + T.

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

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

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

mode.

2. In the Tools toolbar, select the Transform

tool or press Shift + T.

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

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

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

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

3. Drag the pivot point to a new position.

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

81

tool.

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Chapter 13: How to Animate Objects and the Camera
When it comes to animating objects, you will do this on layers by creating motion paths. You can also animate thecamera which is just like any other object you can animate.

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

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

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

•

Skew

•

X and Y Scales•

Euler Angle or Quaternion Angle (when 3D option is enabled)•

Z Scale (when 3D option is enabled)

Each parameter has its own function curve where you can add keyframes and control the easing.

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If you are not familiar with graphs and function curves, Harmony has a series of easy-to-use tools for visuallycontrolling trajectories in the Camera and Timeline view.

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

tool or press Shift + T.

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

is deselected.

mode. This will create keyframes at the current frame when

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

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

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

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

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

A second keyframe is created on the Timeline view.

8. Play backyour animation.

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

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

While making camera moves, you can use the Top, Side, and Camera views.
How to open the Top and Side views‣

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

‣

From any existing window already open in your project, click the Add View
corner and select Top or Side.

button at the top-right

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

From the top menu, select Insert > Camera.

‣

From the Timeline view layers toolbar, click the Add Layers‣

From the Module Library view, select a Camera module and drag it to the Network view.

button and select Camera.

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

3. From the Timeline View Layer toolbar, click the Add Peg

button.

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

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If the new Peg layer did not appear directly above the camera, you may have clicked elsewhere in the scene,
which deactivated the layer on which you want to add the Peg layer.
‣

Select the Camera layer and drag and drop it under the new Peg layer. Or delete the misplaced Peg layer,
select the Camera layer and click the Add Peg
button again.

‣

From the Module Library view, you can select a Peg module and drag it to the Network view. Then you
can connect the peg’s output port to the camera’s input port.

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

mode.

2. In the Tools toolbar, select the Transform

tool or press Shift + T.

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

Right-click and select Insert Keyframe.

‣

In the Timeline View toolbar, click the Add Keyframe

button.

A keyframe appears in that cell. Any frames preceding this keyframe cell will hold the same camera position
as in this keyframe.

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5. In the Top, Side or Camera view, select the camera (the large V-shaped cone) and move it to the desired
position. In the Camera view, the camera is represented by a thin frame. You need to click directly on oneof the edges.

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

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

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Chapter 14: How to Create a Multiplane

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

89Chapter 14: How to Create a Multiplane

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

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Positioning Elements in the Top and Side Views

Before distributing layers along the Z-axis using the Top and Side views, deselect the No Z Dragging option by
selecting Animation > No Z Dragging. This option is disabled by default.
How to position an element in the Top and Side views
1. To maintain the visual scale in the Camera view as you move your element, in the Advanced Animation
toolbar, select the Maintain Size
tool or press Alt + 6.
2. In the Side view, select one of the layers in the thumbnails section of the Top or Side view. You can also
select a layer from the Timeline view.
The selected layer is highlighted in the Top, Side and Camera views.

91Chapter 14: How to Create a Multiplane

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

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

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

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

‣

Select a layer from the Timeline view.

option istool and select a layer from the thumbnails

The selected layer is highlighted in the camera cone.

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

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Chapter 15: How to Set Up Objects in 3D Space
Once your drawings and symbols are assembled, it is time to position them. This section explains how this is doneusing the example of a simple room.
To position your layers, the following elements are required:•

Camera view•

Top view•

Side view•

Perspective view•

Library view•

Timeline view•

3D Transformation tools•

Layer Properties view or dialog box

How to position layers in 3D space
1. In the Timeline view, double-click on the new layer to open the Layer Properties dialog box.
2. In the Transformation tab, select the Enable 3D option.

3. In the Rotation section, select the Euler Angles option.

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4. In the (x) Axis field, type 90 to flip the floor so it is flat on the ground.

5. To position the height of the floor, type values in the Position section of the Layer Properties, use the 3D
Translatetool or 3D Transformtool.

6. Repeat the process for the other pieces to import.
7. If you have parallel walls, once you have positioned one, select the Wall layer in the Timeline view.
8. From the top menu, select Edit > Duplicate to duplicate the layer.

If the drawing is contained within a symbol, the symbol will not be duplicated, only the layer containing the symbol.
This way, you are still using the same drawing.

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9. Once the layer is duplicated, use the Layer Properties window to enter the positioning values or use the 3D
transformation tools.
10.When using the transformation tools, use the Camera, Top, or Side view to position the elements instead of
the Perspective view to position your layers precisely.

11. If your walls are touching each other, you should make them intersect by extending one end of the wall
through the other wall. This prevents seeing a small gap between them.

95Chapter 15: How to Set Up Objects in 3D SpaceNow have a complete 3D room.

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Chapter 16: How to Import Sound and Add Lip-Sync
If you decide to add sound to your movie, you must first prepare the sound outside of Harmony. Once this is done,
you must add a sound element in Harmony to the organize the sound files in your animation. Sound will play in themovie until it reaches the end of the file or a stop frame that you have created in the Sound Element Editor.
You can import WAV, AIFF or MP3 sound files.
How to import a sound file
1. Do one of the following:‣

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

‣

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

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

‣

From the Timeline view menu, select Import > Sounds.

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

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

To solve this problem, Harmony provides a lip-sync feature which analyzes the contents of a sound element andgenerates a mouth chart (see below) based on the eight animation phonemes (A, B, C, D, E, F, G, and X, which isused to represent silence).
The mouth shapes used by Harmony are based on the conventional mouth chart used in the animation industry.

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

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

A: m, b, p, h•

B: s, d, j, i, k, t•

C: e, a•

D: A, E

•

E: o

•

F: u, oo•

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

Automatic Lip-Sync Detection
How to generate a sound detection for lip-sync using the Layer Properties view
1. In the Timeline or Xsheet view, select your sound layer and the options for that layer will appear in the98

Toon Boom Harmony 11.1 Getting Started Guide (Network)

Layer Properties view.

2. In the Layer Properties, click Detect.
A progress bar appears while Harmony analyzes the selected sound clips and assigns a lip-sync letter toeach sound cell.
Harmony can automatically map drawings in an element to the mouth chart you have generated for a sound. Thiscan save time when you are lip-synching a voice track.
In the Lip-Sync Mapping dialog box, you can identify each lip drawing of a character. Harmony then automaticallylabels all of the cells in the character's element with the appropriate name.
How to automatically map lip-sync drawings to a mouth layer
1. In the Timeline or Xsheet view, select your sound layer and the options for that layer will appear in the Layer
Properties view.

2. In the Layer Properties, click Map.
The Lip-Sync Mapping dialog box opens.

99Chapter 16: How to Import Sound and Add Lip-Sync

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

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

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Chapter 17: How to Add Effects to a Scene

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

About Effects
An effect always needs a drawing connection and sometimes a matte or shape connection. A matte provides
drawing information that determines the area on which the effect will be applied on the drawing. The details andcolours within the matte drawing do not matter, as the system will only use the shape and transparencies in it. A
matte is also known as mask.
The matte principle can be demonstrated with the Tone effect.

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The drawing layer is connected to the right port of the effect and the matte (mask) on the left. The Tone effect thenapplies darker colours where the matte overlaps the image, blurs the tone edge, and finally clips out the extra tonezone outside the drawing before outputting a final drawing with a tone.

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

Adding Effects
If you need to add new effects and other modules to the Network view, you will need to get them from the Module
Library.

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When you create a new project in Harmony, the default network that appears in the Network view looks similar tothe one below.

Module Library View Toolbar
In the Module Library View toolbar, you can change how the effects are displayed.
•

View as Icons•

View as List•

View as Icons with Names104

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Module Tabs
The Module Library is conveniently broken up into several sections or tabs:•

3D: Includes the modules related to working with 3D models within Harmony.

•

Deformation: Includes the modules needed for building a deformation chain, as well as advanced effects
such as Fold and Auto Muscle.

•

Favorites: Includes the most common modules. To add extra modules to the Favorites tab, select any
module from any other section and drag it onto the Favorites tab.

•

Filter: Effect modules, such as blurs.

•

Group: Modules for grouping, like Group modules and Multi-Port modules.

•

IO: Includes Display, Drawing, Write and Note modules.

•

Move: Modules for changing elements over time, like Peg modules, as well as certain transformations.

•

Particle: Includes all the modules necessary to construct complex particle systems.

•

Particle-Examples: Includes a series of examples of particle effects.

•

Plug-ins: Includes plug-in modules.

•

All Modules: Lists all of the modules available.

To bring a module into the Network view, drag it from the Module Library and drop it in the Network view. Once in the
Network view, you can click on the input or output port of a module and drag out a cable. You can then connect thiscable to the output port or input port of another module.

If you want to connect a module between two connected modules, you can use the Alt key as you drag the newmodule over the existing cable connection. Using the same Alt key, you can also disconnect a module.

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If you want to remove a module, select and press Delete to remove it from the Network view.

Tone Effect

The Tone effect lets you add a dark-coloured region to your drawing and simulate the shaded area away from alight source. To produce the tone effect, create a drawing to control where the tone will appear. The Tone effectuses a matte to determine the shape and position of the tone on your drawing and can be blurred at the edges tocreate a softer effect.

For information on all effects, refer to the Online Help. The Tone Effect is shown here as an example.

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Use the Tone editor to control the type and amount of blur, as well as the colour of the tone.

Tone Effect Properties
Parameter

Description

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 willremain unchanged regardless of depth or scale changes. It is recommended
that this option be disabled when multiple drawings are composited andattached this effect.

Blur Type

Radial: The edges of the matte are blurred evenly around points that make107

Chapter 17: How to Add Effects to a Scene

up the edge of the matte.
Directional: The matte is blurred in the direction you select.
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 selected the Directional Blur type, you can set the direction of the blurby entering a value from 0 to 360 in this field.
0: Blurs the image to the west.

Directional Angle

90: Blurs the image to the south.
180: Blurs the image to the east.
270: Blurs the image to the north.
The distance where the blur fades from the edge of the image. Select a value
between 0 and 1.

Directional Falloff Rate

0: Makes the blur fade out slowly, distributing the blur evenly from the edgeof the character to the farthest edge of the blur.
1: Makes the blur fade out quickly. The blur is heaviest closer to the edge ofthe image.

Invert Matte

Inverts the matte used to create the tone.

Use Matte Colour

Uses the matte shape colour to create the tone.

Multiplicative

Multiplies the tone colours with the background.

ColourRed

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.

Animating an Effect Over Time
In Harmony, to animate an effect over time, create a function curve by adding keyframes to the parameters you
want to animate. To do this, you will use the Layer Properties view and the Timeline view. You can fine tune youranimation using the Function view.
How to animate an effect over time
1. In the Timeline view, add the effect and connect the layers to it.

2. Select the Effect layer.

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3. To create the function curve:‣

In the Layer Properties view, click on the Function
curve.

button you want to animate to create a function

OR‣

You can also expand the effect layer's parameters in the Timeline view by clicking on the Expand
Function button and add a keyframe using the F6 key to the parameter you want to animate.

4. In the Timeline view, click on the Show Data View

button.

5. In the Timeline view, go to the frame where you want to start animating the effect.

6. In the Data view, click on the Add Keyframe

button.

7. In the Value field scroll to the keyframe value or type the value in the field.

‣

If your keyframes are stop-motion keyframes, in the Timeline view, select the new keyframes. Right-clickon the selection and select Set Motion Keyframe.

8. Repeat this process for each keyframe to be added.
When compositing your scene, it will often happen that you want to animate the parameters of an effect over time.
You may want to have an object fading in or out by changing the transparency level over time or increasing the colour
contrast on one of your drawings over a certain frame range.
To animate an effect over time, create a function curve by adding keyframes to the parameters you want to animate.
To do this, you will use these views: Layer Properties, Network and Timeline. You can fine tune your animation
using the Function view.

109Chapter 17: How to Add Effects to a Scene

How to animate an effect over time
1. In the Network view, drag an effect module from the Module Library view and to the Network view.

2. Plug the effect between the drawing element on which you want to apply the effect and a composite
module. You can do this by manually unplugging and plugging, or by holding down Alt as you drag it
through a connection.

The effect should also appear in the Timeline view.

3. To animate the value of the parameter, you must create a function curve and add keyframes on it. For
example, you can set the Blur-Radial effect to have no blur on the first frame and become very blurry by
the end of the scene by animating its Radius parameter. Do one of the following to create the function
curve:‣In the Layer Properties view, click the Function
curve.

110

button you want to animate to create a function

Toon Boom Harmony 11.1 Getting Started Guide (Network)‣

Expand the effect layer's parameters in the Timeline view by clicking the Expand Function
press F6 to add a keyframe to the parameter you want to animate.

4. In the Timeline view, click the Show Data View

button andbutton.

5. In the Timeline view, go to the frame on which you want to start animating the effect.

6. In the Data view, click the Add Keyframe

button.

7. In the Value field, scroll to the keyframe value or type the value in the field.

‣

If your keyframes are stop-motion keyframes, in the Timeline view, select the new keyframes. Right-click
and select Set Motion Keyframe.

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

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Chapter 18: How to Export a Movie
How to export a QuickTime Movie
1. From the top menu, select File > Export > Movie.
The Export to QuickTime Movie dialog box opens.

2. Click Browse and select a folder in which to save your movie and give it an appropriate file name for theexport.
3. Click OK.

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Glossary

Glossaryalpha channel

The image's channel carrying the transparency information. An image alreadyhas three channels: red, green and blue (RGB). The alpha channel is the
fourth channel (RGBA). The matte, or the transparency information, is stored
in this fourth channel. An image without an alpha channel is always opaque.

animatic

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

animation

A simulation of movement created by displaying a series of pictures orframes.

anime

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

arc

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

aspect ratio

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

auto-feed

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

automatic lip-sync detection

Automatically mapping drawings in an element to the mouth chart generated
for a sound. This can save time when lip-syncing a voice track.
An imaginary line around which an object rotates.
For 2D graphics, there are two axes:•

X: Horizontal•

Y: Verticalaxis
For 3D graphics, there are three axes:

background•

X: Horizontal•

Y: Vertical•

Z: Depth

The part of a scene that is farthest to the rear. The background is the artwork,or decor, against which the animation takes place.
A method of defining curved lines invented by French mathematician Pierre
Bézier. A Bézier curve is a mathematical or parametric curve. Bézier curves
use at least three points to define a curve.

BézierIn Toon Boom, a function can be hooked to a Bézier curve and vary alongwith the curve value information. Bézier curves are also very useful in vector
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indefinitely.
bitmapAn image composed of pixels with a single resolution (size). If it is enlarged
too much, it will lose definition and pixels will begin to appear. This is known
as pixelation.
In cut-out animation, breakdown is the action of breaking a character into
pieces to create a puppet with articulations. To break down a character, theartist cuts part, such as hands and arms, from the character's model andpastes them in separate layers. Next, the joints are fixed and the pivots set.

breakdown
In traditional animation, a breakdown is an animation pose generally foundbetween two key poses. The key poses are the main poses in an animationand the breakdowns are secondary poses, ones that help to describe themotion and the rotation curve.
camera shake

Camera shake occurs in a scene when the camera moves slightly andquickly in several directions. This gives the impression of an impact, vibrationor, for example, bumps on the road.

captionIn a storyboard, a caption is a text field containing dialogue, effects, sound, or
slugging information.

cel

In traditional animation, a cel, also known as a celluloid, is a transparent
sheet on which the animation is inked and painted before being sent to thecamera.The picture's outline is drawn on the front of the cel and then coloured
along the back.
In Toon Boom, a cel is an individual space encountered in an Xsheet'scolumn, from which you can expose a drawing or a function`s coordinate.

character design

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

clean up

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

CMYK

Cyan, Magenta, Yellow, Black. Refers to the process used by printers todefine colour on the printed page.

colour card

A Colour Card is a solid colour card that is the same size as the camera. The
Colour Card can be used to fill the background with a solid colour when there
is no background image included.

colour model

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

colour wheel

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

compositing

Compositing is the action of incorporating all of a scene's elements to create
the final result prior to rendering. For example, the compositing artist will
import all the animation sequences, background, overlays and underlays inthe scene and position them correctly. The artist will then set the camera

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Glossary

frame and animate it, if needed. Finally, the animator will create all thecomputer-generated effects for the project.
cross dissolve

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

cut

A direct transition between two scenes. When a cut is used, there are notransition effects inserted to pass from one scene to the next. The first sceneends and the second one starts immediately.

cut-out animation

The action of animating characters made of several pieces by moving themaround frame by frame. Cut-out animation can either be computer generated
or done traditionally using paper.

cycle

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

dialogue

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

dope sheet

Used by animators, directors and other members of a crew to track thesequence and timing of images, dialogue, sound effects, sound tracks andcamera moves. Also known as an exposure sheet or Xsheet.

dopingTo assig a particular drawing to a range of frames.

DPI

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

ease/velocity

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

ease-in

Gradual acceleration in the action. Another common term for ease-in is slowin.

ease-out

Gradual deceleration in the action. Another common term for ease-out isslow-out.

establishing shot

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

exposure

In animation, an exposure is the number of cels on which a drawing appears
in the scene. For a drawing to appear longer, the exposure must be extended
over a greater number of cels.
The exposure sheet or Xsheet, is a sheet with several vertical columns andhorizontal frames used to indicate a scene's timing.

exposure sheet (Xsheet)

Each column represents a scene's layer. In each column, the drawing's
numbers are indicated and repeated over the particular amount of frames theyneed to appear.

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The exposure sheet is used by animators, directors and other members of acrew to track the sequence and timing of images, dialogue, sound effects,
sound tracks and camera moves. Also known as a dope sheet.

fade in/fade out

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

fast-inDramatic acceleration at the start of the action.

fast-out

Dramatic acceleration at the end of the action.

field

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

field chart

A guide containing all the field units that animation and layout artists use todetermine a scene size or camera motion.

film-1.33

Use this resolution setting for the widescreen film format that conforms to thestandard 4:3 pixel aspect ratio.

film-1.66

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

flipping

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

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

forward kinematics

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

frame

A frame is a single photographic image in a movie. In traditional animation,
the North American standard generally contains 24 frames per second, while
in Europe the standard is 25 frames per second.
This is the measurement of the frequency (rate) at which an imaging device
produces unique consecutive images, called frames. The term applies
equally to computer graphics, video cameras, film cameras, and motion
capture systems.

frame rate

Frame rate is most often expressed in frames per second (FPS) and in
progressive-scan monitors as hertz (Hz).
The frame rate is the speed at which the frames are played. They are
generally calculated by frame per second. For example, a scene could beplayed back at 12, 24, 25, 30 or 60 frames per second or any other number

117

Glossaryfunctions

A function is a computer generated motion, trajectory or path that elements,
other trajectories and effects parameters can be attached to. The function
can be controlled by adding keyframes and control points on the function
curve.

gamut

The range of colours that a particular device can represent.

HDTV

High Definition Television delivers a higher quality image than standard
television does because it has a greater number of lines of resolution. To takeadvantage of the superior quality and make full use of your resolution setting,your output device must be compatible with HDTV technology.

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

HSV

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

in-between

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

ink and paint

The ink and paint process is the action of painting the empty zones andcolouring the lines on the final animation drawings, while following a colour
model.

interpolation

In animation, the interpolation is the computer generated motion createdbetween two keyframes. You have the choice to create interpolation, or not,between your keyframes.

jump cut

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

key pose

Important positions in the action defining the starting and ending points of anysmooth transition. Keys, or key poses, are the main drawings in an animation
sequence describing the motion. For example, if an arm is waving, the keys
will be of the arm at one extremity of the wave motion and the other extremity.
By flipping those drawings, the animator can see the skeleton of the motion
without having all of the drawings.
One or more keyboard keys which, when used, cause an operation to be
performed. Keyboard shortcuts are used throughout the Toon Boom softwareand form an integral part of the workflow. It is, in most cases, possible tocustomize the shortcuts in the Preferences dialog of the software.

keyboard shortcuts

The shortcuts are written as follows in the Toon Boom user documentation:
Each key in a sequence is shown inside square brackets as in: [Ctrl]+[A].
The brackets "[ ]" separate the key from the plus sign (+). Neither thebrackets, nor the plus sign are part of the sequence. To use a shortcut, press
the key and the character simultaneously.

keyframe

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

layer

In animation, a layer is an individual column, level or character. A scene's

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Toon Boom Harmony 11.1 Getting Started Guide (Network)

layers are superposed to form the final image.

layout

The layout process is the communication step between the storyboard andthe animation. The layout and posing process is the action of putting thestoryboard on model, that is drawing the character following the design in themodel pack, so that the animator can start his work. The layout artist willdraw the background, create the camera and field guide matching the scene
and the camera motion. Lastly, he will draw on model the main action poses.

layout and posing

The action of putting on model, that is, at the right scale, the storyboard forthe animator to start his work.

library

A library is a storage area containing templates and assets that can be reusedin any project or scenes.

light table

The Light Table feature allows you to see the other layers in transparency
while you are working on a particular one in the Drawing view.

line of action

Direction that the action will follow. Also known as the Path of Action

lip-sync

The lip-sync is the character`s mouth synchronization with the dialogue
sound track. Frame by frame, the mouth will be adjusted to fit the sound to
give the illusion of the character is speaking.

low resolution

This format is ideal for videos destined for the web, where size and fast
download of a video file might take precedence over quality. A low-resolution
image is one that lacks fine detail.

manual lip-sync detection

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

master palette

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

model/colour model

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

motion keyframe

In Toon Boom, the motion keyframe is a keyframe with computer-generated
interpolation.

mouth chart

Adding a lip-sync to a project can really enhance its quality and storytelling.
However, it can be difficult to shape a character's mouth so that it matches
the sound at the precise frame. To solve this problem, Toon Boom provides a
lip-sync feature which analyses the contents of a sound element andgenerates a mouth chart based on the eight animation phonemes (A, B, C, D,
E, F, G, and X, which is used to represent silence).

multiplane

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

NTSC

The standard analogue television broadcasting system used in North

119

Glossary

America. NTSC conforms to North American standards on how rectangularpixels are displayed for computer and television screens.
nudge

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

onion skin

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

overlay

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

PAL

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

palette/master palette

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

palette style

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

pan

To move the camera across the scene in any direction.

panel

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

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

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

path of action

Direction that the action will follow. Also known as the Line of Action.

peg

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

phoneme

Unit of sound in a language.

pivot

A pivot is the point around which a peg or a drawing rotates.
Smallest element of an image displayed on a monitor or TV screen.

pixel

pose-to-pose animation

Pixel, short for Picture Element, is a single point in a graphic image. It is asmall sample of an image, a dot, a square, or a very small section made outof smooth filtering. If you zoom in close enough on a digital image, you will
see the pixels, which look like small squares of different colours andintensity.
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Toon Boom Harmony 11.1 Getting Started Guide (Network)

action poses, called key poses, and then placing the secondary poses
between the keys. The secondary poses are called breakdown. Finally, theanimator fills the gaps with the in-between drawings to achieve a smoothanimation.

rendering

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

resolution

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

RGB

Red, Green, Blue: method of defining colour by specifying amounts of thesethree colour components.

rigging

The rigging process is the action of attaching the cut-out puppet parts one tothe other.

rotary table

The Rotary Table is equivalent to the animation disk/table and allows one torotate the workspace to be more comfortable while drawing.

rotoscoping

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

roughs

The roughs are the skeleton sketch of an animation or a design. Roughs
mainly consist of sketch lines and shapes, though they can also contain
design details.

safety area

In animation and movie parlance, the safety area is the zone at the centre of
the scene's frame, one safe from being cropped by the TV frame. As a TV
frame cuts a margin off the original frame size, maintaining a safety area
ensures that the scene's main action will remain clearly visible once the filmis screened on television.

scene

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

scriptThe script is the original text containing all the movie or show information. In
animation, the script contains all of the location descriptions, dialogues, timeand more. A project starts with a script.

sequence

In animation, a sequence is a series of scenes or shots forming a distinct partof the story or movie, usually connected by unity of location or time.

shot

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

slow-in

Gradual acceleration in the action. Another common term for slow-in is easein.

slow-out

Gradual deceleration in the action. Another common term for slow-out isease-out.

slugging

In Storyboard Pro, slugging refers to indicating the start and stop times of121

Glossarydialogue and relevant actions.
sound scrubbing

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

stop-motion keyframe

A stop-motion keyframe is a keyframe with no computer generated
interpolation.

storyboard

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

straight-ahead

A technique in which an entire sequence is drawn from the first position to thelast, in order. There is very little planning in this methodology, and where thecharacter ends up and how it gets there can be a surprise for both theaudience and the animator. While this approach is a lot more spontaneousand creative, it can create inaccurate results.

strokes

Strokes are invisible vector lines forming the drawing zones. They can be
adjusted with Bézier handles.

tablet/pen

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

template

In Toon Boom, a template is an asset stored in the library, one that can bereused in any project. A template can be a drawing, a series of keyframes, asound file, a panel, a cut-out character, an effect, a trajectory, an animation,or anything else used in the software.

thumbnails

A thumbnail is a very small image used as a reference or indicator.

timecode

Timecode is timing information printed on a movie clip to indicate what scene,
hour, minute and second is currently displayed on the screen.

timeline

The timeline is a horizontal representation of the scene`s elements, timing
and keyframes.

trace and paint

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

track breakdown

The soundtrack for animated film is broken down into individual sounds
documenting the precise frame-by-frame position of each sound.

traditional animation

The traditional animation process is the action of drawing on paper all of theanimation sequences, before either scanning them or inking them on cels.

trajectory

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

transition

A transition is an effect placed between two scenes as they pass from one tothe other. Common transition effects are cross-dissolve and wipe.

underlay

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

aspect ratio

The aspect ratio describes the shape of the grid unit. A square grid unit would
have the ratio 1:1, whereas a grid unit of aspect ratio 4:3 is a unit with one

122Toon Boom Harmony 11.1 Getting Started Guide (Network)side 1.33 times as big as the other side.

vector

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

velocity/ease

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

walk cycle

To avoid making innumerable drawings, animators routinely make a walkcycle for their character. This comprises a series of drawings ``on the spot``that describe the walk for that character. The illusion of movement is created
via the use of background pans.

workspace

In Toon Boom, the workspace is made up of the views, toolbars, and menus.
The Xsheet or exposure sheet, is a sheet with several vertical columns andhorizontal frames used to indicate a scene's timing.

Xsheet (exposure sheet)

Each column represents a scene's layer. In each column, the drawing
numbers are indicated and spread over the specific amount of frames theyneed to appear.
The exposure sheet is used by animators, directors and other members of acrew to track the sequence and timing of images, dialogue, sound effects,
sound tracks and camera moves. Also known as a Dope Sheet.

zone

An area which can be painted with colour.

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Index

importing as bitmap drawing 39

clean upimporting in original format 35_defined 115

bone deform 53

tracing 21

positioning layers 93

basic rig 53

cleaning up 21

setting up objects 93

Bone rig 53

clockwise

3D

addingviews 7alpha channel

closing
gaps 28
CMYK_defined 115

creating 53

colour card

breakdown_defined 115_defined 115

effects over time 108

colour modelcharacter 43

layers 83_defined 119

drawing pieces 43

objects 83

parenting layers 47

defined 115
colour wheel

camera_defined 114

defined 115

adding and parenting to peg 86

animecompositing

animating 83, 86-87_defined 114
arc

Close Gap tool 28

Bone rig

camera 83, 86-87

animation

rigging 53

animating bone and articulation
deformer 59_defined 114
animatingrotating 10

Bone deform_defined 114
animatic

Curve rig 54

positioning, scene setup 77

defined 115
counterclockwise

camera shake_defined 114

aspect ratio_defined 115

auto-feed_defined 114
axis_defined 114
background_defined 114
Bezier_defined 114
bitmap images_defined 115

cross dissolve

caption_defined 114
defined 122

rotating 11

defined 116_defined 115

Curve rigcelcreating 54_defined 115

customizing

celluloid

views 7

See cel. 115
character building
breaking down 43
cut-out 43
drawing pieces 43
parenting layers 47
character design_defined 115

cut
defined 116
cut-out animation
animating cut-out character 63
character building 43
creating 63
defined 116

converting to vector drawing 41

drawing pieces 43

importing 35

navigating among brothers 67

124

Index •selecting layers 65
cycle
defined 116
deformation
adjusting deformation chain 55
basic rig 53
bone deform 53
Bone rig 53
chain, setting up bone andarticulation 55
Curve rig 54

effects

frame rate

about 101
adding 101, 103

full screen 10

animating over time 108

functions

Tone 106_defined 118

elements

gamut

positioning in Top and Side
views 91
establishing shot
defined 116
exportingmovie 113

rigging 53

QuickTime 113

defined 116
docking
floating window 8
dope sheet
defined 116
dopingdefined 116
DPIdefined 116
drawing
how to 13
pieces, character building 43
drawings
morphing 31
painting 26
ease
defined 116
setting on multiple parameters 67
ease-indefined 116
ease-out
defined 116_defined 118
gaps
closing 28
HDTV_defined 118

displaying deformer controls 58

dialogue_defined 117

exposureHold_defined 118
how to_defined 116
exposure sheet_defined 116, 123
fade-in

add lip-sync 97
animate objects and camera 83
create a multiplane 89
create a template 71_defined 117
fade-out

draw 13
import bitmap images 35_defined 117
field

import sound 97
morph 31

_defined 117
field chart

paint 25
use a bone deform 53_defined 117
film-1.33

HSV_defined 118_defined 117
film-1.66

importingbitmap image as bitmap drawing 39_defined 117
flipping

bitmap image in original format 35
bitmap images 35_defined 117
follow-through_defined 117
forward kinematics_defined 117
frame

converting to vector drawing 41
sound file 97
templates 72
in-between_defined 118
ink and paint_defined 117

125_defined 118

Toon Boom Harmony 11.1 Getting Started Guide (Network)

interface 7
docking a floating window 8
navigating 9
interpolation_defined 118
jump cut_defined 118
key pose_defined 118
keyboard shortcuts_defined 118
keyframes_defined 118
layers_defined 118
animating 83

auto detection, defined 114

recentering view 10

mouth shapes 98

resetting pan 10

lip-sync detection
manual, defined 119
Llibrary view

resetting rotation 10
resetting views 10
resetting zoom 10

importing templates 72
low resolution_defined 119
manual lip-sync detection_defined 119
master palette_defined 119-120
master peg 51
adding 51
model

rotating clockwise 10
rotating counterclockwise 11
zooming in 9
zooming in or out 10
zooming out 10
Network viewnavigating among brothers 67
NTSC_defined 119
nudge_defined 119_defined 120

panning with Transform tool 79

model sheet See character design

parenting 47

Module Library view

animating 83

toolbar 104

positioning 79

positioning in 3D space 93
rotating with Transform tool 79

Module Library view toolbar 104

selecting parent or child layer 65

morphing

skewing with Transform tool 80
layoutdeleting 33
drawings 31
motion keyframelayout and posing_defined 119

library_defined 119
creating templates 71, 73
light table_defined 119
line of action_defined 119
lip-sync 97

setting up in 3D space 93
onion skinng_defined 119_defined 119

objects

mouth_defined 120
overlay_defined 120
painting 25
drawings 26

chart 119

PAL

shapes 98
multiplane_defined 120
palettes_defined 119_defined 120

creating 89style, defined 120

positioning elements 91
navigating

panel_defined 120

centering screen on mouse 11

panning 10_defined 119

full screen 10_defined 120

adding 97

interface 9layer using Transform tool 79

auto detection 98

panning 10

resetting 10

126

Index •paperless animation_defined 120
parentinglayers 47
passing position_defined 120
path of action_defined 120
pegs_defined 120
adding master 51
master 51
pen_defined 122
phoneme_defined 120
pivot_defined 120
repositioning 81
repositioning permanently 81
pixel_defined 120
pixelation See bitmap image
pose-to-pose_defined 120
QuickTime
exporting 113
recenteringview 10rendering_defined 121
resettingresolution

skewing layer with Transform tool 80_defined 121
RGB

scenes_defined 121_defined 121
rigging 53

script_defined 121_defined 121
adding master peg 51
basic deformation rig 53
Bone rig 53
chain, setting up bone andarticulation 55
Curve rig 54
displaying deformer controls 58
parenting layers 47
rotary tablescrubbing_defined 122
sequences_defined 121
shot_defined 121
Side view
opening 86
positioning elements 91
skewing_defined 121
rotating

layer with Transform tool 80
slow-inlayer with Transform tool 79
resetting rotation 10
rotating clockwise 10
rotating counterclockwise 11
rotoscoping_defined 121
slow_out_defined 121
slugging_defined 121_defined 121
roughssound
importing 97_defined 121
safe area

importing sound file 97
lip-sync 97_defined 121
scaling

scrubbing_defined 122

layer with Transform tool 80
scene setup 77
panning layer using Transform
tool 79
positioning camera 77

pan 10positioning objects 79

rotation 10

repositioning pivot 81

views 10repositioning pivot permanently 81

zoom 10rotating layer with Transform tool 79
scaling layer with Transform tool 80

127

stop-motion keyframe_defined 122
storyboard_defined 122
straight-ahead_defined 122
strokes_defined 122

Toon Boom Harmony 11.1 Getting Started Guide (Network)

tablet_defined 122
templates_defined 122
creating 71
creating from Network view 73
importing 72
thumbnails_defined 122
timecode_defined 122
timeline_defined 122

rotating layer 79
scaling layer 80
skewing layer 80
transition_defined 122
underlay_defined 122
vector_defined 123
velocity
defined 116, 123
views
adding 7

Tone effect 106

docking a floating window 8

Tool Properties view 9

recentering 10

toolbars

resetting 10

Module Library view 104
tools
Close Gap 28
Top view
opening 86
positioning elements 91
trace and paint_defined 122
tracing 21

Tool Properties 9
walk cycle_defined 123
workspace_defined 123
Xsheet view
_defined 123
zone_defined 123

track breakdown

zooming_defined 122

in 9

tradigital_defined 120
traditional animation 15

in or out 10
out 10resetting zoom 10_defined 122
painting 25-26
tracing animation 21
trajectory_defined 122
Transform tool
panning layer 79

128