Toon Boom
Harmony22 Premium

Reference Guide

TOON BOOM ANIMATION INC.

+1 514 278 8666

4200 St.Laurent Blvd, Suite 1020
Montreal, Quebec, Canada
H2W 2R2

contact@toonboom.com
toonboom.com

Harmony 22 Premium Reference Guide

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

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

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

Publication Date
09-23-2022
Copyright © 2022 Toon Boom Animation Inc., a Corus Entertainment Inc. company. All rights reserved.

1

Table of Contents

Table of Contents
Table of Contents

2

Introduction

17

Chapter 1: Dialog Boxes

18

Add Column Dialog Box

22

Add Draw ing Layer Dialog Box

25

Add Frames Dialog Box

27

Add Prefix or Suffix Dialog Box

29

Add Synced Draw ing Layer Dialog Box

30

Advanced Save Dialog Box

32

Attribute Information Dialog Box

37

Auto-Matte Dialog Box

40

Close Gaps Dialog Box

41

Column Properties Dialog Box

42

Column Types Dialog Box

44

Configure Line Art to Colour Art Dialog Box

45

Convert to Synced Draw ing Layer Dialog Box

47

Create Cycle Dialog Box

48

Create Draw ing from Draw ing Selection Dialog Box

49

Create Function Step On Dialog Box

50

Create Palette Dialog Box

53

Create Palette from Selection Dialog Box

54

Database Selector Dialog Box

56

Deformer On Deformer W izard Dialog Box

58

Edit Default Paste Preset Dialog Box

61

Edit Exposure Paste Preset Dialog Box

63

Element Manager Dialog Box

65

Envelope Creator Dialog Box

67

Export Layout Image Dialog Box

72

Export OpenGL Frames Dialog Box

762

Harmony 22 Premium Reference Guide

Export Soundtracks Dialog Box

89

Export to Animated GIF Dialog Box

91

Export to Easel JS Dialog Box

94

Export to Flash Movie Dialog Box

97

Export to Video Dialog Box

99

Export to Sprite Sheet Dialog Box

104

Expression Dialog Box

108

Extend Exposure Dialog Box

110

Fill Cells Randomly Dialog Box

111

Fill Exposure Using Render Changes Dialog Box

112

Fill Selection Dialog Box

115

Function W izard Dialog Box

116

Master Controller Grid W izard Dialog Box

123

Hold Timing

130

Import 3D Models Dialog Box

133

Import Images Dialog Box

135

Loop Node142

Manage Local Cache Dialog Box

145

Manage Pre-Render Cache Dialog Box

147

Manage Tool Presets Dialog Box

149

Marker Dialog Box

151

Mini Playback Dialog Box

153

Movie Options Dialog Box (macOS)

154

QuickTime Movie Settings Dialog Box (W indow s)

159

New Scene Dialog Box

164

New Tool Preset Dialog Box

166

Onion Skin and Light Table Transparency Dialog Box

168

Palette Brow ser Dialog Box

169

Palette Operations Dialog Box

172

Paste Preset Dialog Box

174

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Paste Special Dialog Box176

Pen Pressure Feel Dialog Box

181

Pose Copier Dialog Box

184

Preferences Dialog Box

186

Recolour Draw ings Dialog Box

190

Remove Dirt Dialog Box

192

Remove Frames Dialog Box

193

Remove Hair Dialog Box

195

Render 3D Model Dialog Box

196

Render W rite Nodes Dialog Box

201

Rigid Point Deform Node

205

Save Dialog Box

207

Scene Settings Dialog Box

209

Scripts Manager Dialog Box

222

Select Colour Dialog Box

224

Selection Presets Dialog Box

226

Sequence Fill Dialog Box

229

Set Ease for Multiple Parameters Dialog Box

231

Set Ease on Keyframes Dialog Box

233

Master Controller Slider W izard Dialog Box

235

Master Controller Stack W izard Dialog Box

238

Show Hidden Columns Dialog Box

247

OpenQuickTime Sound Options Dialog Box (GNU/Linux)

249

QuickTime Sound Settings Dialog Box (W indow s)

254

QuickTime Standard Video Compression Settings Dialog Box (W indow s)

261

Tint Offset/Blend Dialog Box

270

Timing Node271

Toolbar Manager Dialog Box

273

Unroll W izard Dialog Box

274

Vectorization Parameters Dialog Box

277

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Versions Dialog Box

286

OpenQuickTime Video Options Dialog Box (GNU/Linux)287

W indow s Media Video Settings Dialog Box (W indow s)

292

Xsheet Column W idth Dialog Box

296

Chapter 2: Menus

298

Main Menus

300

Animation Menu

301

Draw ing Menu

311

Edit Menu

320

File Menu

324

Help Menu

328

Insert Menu

330

Play Menu

332

Scene Menu

334

View Menu

336

W indow s Menu

343

View Menus

345

3D Graph View Menu

346

Camera View Menu

348

Colour View Menu

365

Draw ing View Menu

368

Function View Menu

381

Library View Menu

383

Reference View Menu

385

Node View Menu

387

Node Library View Menu

392

Onion Skin View Menu

393

Perspective View Menu

395

Script Editor View Menu

401

Side View Menu

406

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Timeline View Menu

411

Top View Menu

416

Xsheet View Menu

421

Chapter 3: Nodes / Layers

430

3D Nodes437

3D Kinematic Output Node

438

Flatten Node

441

Render Maya Batch Node443

Subnode Animation Node448

Z Buffer Smoothing Node452

Combine Nodes

454

Blending Node455

Composite Node461

Composite-Generic Node466

Cutter Node472

Highlight Node

474

Image Sw itch Node478

Matte-Composite Node480

Tone Node483

Transformation Sw itch Node487

Constraint Nodes

489

Constraint Sw itch Node491

Dynamic Spring Node494

Multi-Points Constraint Node499

Static Transformation Node502

Three-Points Constraint Node505

Transformation Gate Node508

Transformation Limit Node510

Tw o-Points Constraint Node516

Deformation Nodes

522

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Articulation Node524

Auto Fold Node527

Auto Muscle Node529

Bone Nodes

533

Curve Node537

Deformation Composite Node

541

Deformation Root Node544

Deformation Scale Node

545

Deformation Sw itch Node

550

Deformation Uniform Scale Node552

Deformation W ave Node554

Fold Node557

Game Bone Node561

Glue Node563

Kinematic Output Node565

Mesh W arp Node566

Offset Node570

Point Kinematic Output Node572

Connections

573

Refract

578

Stick Node580

Turbulence Node582

W eighted-Curve Node586

Properties

587

W eighted Deform Node588

W eighted-Line Node592

Properties

593

W eighted-Point Node594

Properties

595

Filter Nodes

596

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Anti-Flicker Node598

Auto-Patch Node600

Bloom Node602

Blur-Box Node606

Blur-Directional Node609

Connection

610

Layer Properties

611

Blur-Gaussian Node613

Blur-Radial Node616

Blur-Radial-Zoom Node618

Blur-Variable Node622

Brightness Contrast Node624

Channel Selector Node626

Channel Sw ap Node628

Chroma-Keying Node630

Colour Banding Node636

Colour Art Node639

Colour Curves Node Properties

641

Colour Fade Node647

Palette Overrides

648

Individual Colour Overrides

650

Colour Levels Node654

Colour-Override Node657

Colour-Scale Node662

Colour Selector Node664

Contrast Node667

Dither Node669

Focus Node671

Focus Multiplier Node674

Gamma Node676

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Glow Node679

Grain Node

683

Greyscale Node685

Hue-Saturation Node687

Increase Opacity Node694

Layer Selector Node697

Line Art Node

700

Luminance Threshold Node702

Matte-Blur Node705

Matte-Resize Node708

Median Node710

Motion Blur Node713

Motion-Blur-Legacy Node717

Negate Node

720

Overlay Layer Node722

Pixelate Node724

Remove Transparency Node726

RGB Difference Keyer Node728

Shadow Node733

Transparency Node736

Underlay Layer Node738

Generator Nodes

741

Animated Matte Generator Node742

Burn-In Node753

Colour-Card Node757

Element / Draw ing Node760

Connection

761

Field Chart Node778

Gradient Node783

Grid Node789

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Lens Flare Node792

Turbulent Noise Node795

Group Nodes

799

Group Node

800

Multi-Port-In Node801

Multi-Port-Out Node802

Miscellaneous Nodes

803

External Node804

Master Controller Node807

Note Node813

OpenGL Bypass Node814

OpenGL-Cache-Lock Node816

Pre-Render Cache Node819

Connection

820

Render Preview Node824

Script Node825

Visibility Node828

Move Nodes

829

Apply Image Transformation Node830

Apply Peg Transformation Node833

Camera Node837

OrthoLock Node839

Peg Node

841

Shake Node843

Transform-Loop Node847

Quadmap Node

850

Quake Node853

Output Nodes

856

Crop Node857

Display Node

860

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Multi-Layer W rite Node861

Scale Output Node865

W rite Node867

Particle Nodes

881

3D Region

883

Baker

885

Baker Composite

888

Bounce889

Explosion

891

Gravity

893

Image Fracture

895

Kill

901

Move Particles

903

Orbit

905

Planar Region

908

Random912

Region Composite

913

Repulse914

Rotation Velocity

915

Sink

918

Size

919

Sprite Emitter

921

System Composite

931

Velocity

932

Visualizer

935

Vortex937

W ind-Friction

939

Shading Nodes940

Ambient Occlusion Node941

Cast Shadow Node

945

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Light Position Node952

Light Shader Node954

Light Shader Properties - Surface Light Tab

958

Normal Map Node959

Normal Map Converter Node963

Shape Curve Node965

Shape Line Node968

Shape Render Node970

Surface Map Node973

Layer Properties

974

Surface Normal Node977

Tone Shader Node979

Tone Share Properties - Surface Light tab

982

Volume Object Node983

Plugin Nodes

985

Sparkle986

Selection Preset Note Node989

Sound Layer

990

Chapter 4: Tools Properties

992

Brush Tool Properties

994

Centerline Editor Tool Properties

1017

Close Gap Tool Properties

1019

Colour Eyedropper Tool Properties

1020

Contour Editor Tool Properties

1021

Cutter Tool Properties

1026

Draw ing Pivot Tool Properties

1031

Edit Gradient/Texture Tool Properties

1034

Ellipse Tool Properties

1035

Envelope Tool Properties

1045

Eraser Tool Properties

1048

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Ink Tool Properties

1070

Inverse Kinematics Tool Properties

1072

Line Tool Properties

1075

Morphing Tool Properties

1087

Node Caching Toolbar

1091

Paint Tool Properties

1092

Pencil Tool Properties

1099

Pencil Editor Tool Properties

1110

Perspective Tool Properties

1115

Polyline Tool Properties

1118

Rectangle Tool Properties

1126

Reposition All Draw ings Tool Properties

1136

Rigging Tool Properties

1138

Select Tool Properties

1141

Shift and Trace Tool Properties

1154

Smooth Editor Tool Properties

1157

Stamp Tool Properties

1159

Stroke Tool Properties

1167

Text Tool Properties

1169

Transform Tool Properties

1172

Zoom Tool Properties

1176

Chapter 5: Toolbars

1178

W orkspace Toolbars

1180

Advanced Animation Toolbar

1181

Art Layer Toolbar

1183

Control Point Toolbar

1185

Coordinate Toolbar

1187

Deformation Toolbar

1188

Display Toolbar

1193

Easy Flipping Toolbar

1194

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Table of Contents

Edit Toolbar

1195

File Toolbar

1196

Flip Toolbar

1198

Game Toolbar

1199

Mark Draw ing Toolbar

1200

Master Controller Toolbar

1201

Mini Playback Toolbar

1203

Node Caching Toolbar

1204

Onion Skin Toolbar

1205

Pen Settings Toolbar

1207

Playback Toolbar

1210

Scripting Toolbar

1213

Shift and Trace Toolbar

1214

Tool Presets Toolbar

1216

Tools Toolbar

1217

W orkspace Toolbar

1223

View Toolbars

1224

3D Graph View Toolbar

1225

Animated Matte Generator Toolbar

1226

Script Editor Toolbar

1229

Timeline View Toolbar

1233

Xsheet View Toolbar

1238

Chapter 6: Views

1240

3D Graph View

1242

Animated Matte Generator View

1244

Camera View

1251

Colour View

1261

Coordinates and Control Points View

1269

Draw ing View

1272

Draw ing Substitutions View

1275

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Function View

1277

Guides View

1280

Integrated Help View

1284

Layer Properties View

1285

Library View

1287

Master Controller View

1290

Message Log View

1292

Metadata Editor View

1293

Reference View

1295

Node View

1297

Node Library View

1299

Onion Skin View

1302

Perspective View

1309

Script Editor View

1312

Side View

1317

Timeline View

1319

Tool Properties View

1329

Top View

1330

Xsheet View

1332

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16Harmony 22 Premium Reference Guide

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

17

Chapter 1: Dialog Boxes

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

Add Column Dialog Box

22

Add Draw ing Layer Dialog Box

25

Add Frames Dialog Box

27

Add Prefix or Suffix Dialog Box

29

Add Synced Draw ing Layer Dialog Box

30

Advanced Save Dialog Box

32

Attribute Information Dialog Box

37

Auto-Matte Dialog Box

40

Close Gaps Dialog Box

41

Column Properties Dialog Box

42

Column Types Dialog Box

44

Configure Line Art to Colour Art Dialog Box

45

Convert to Synced Draw ing Layer Dialog Box

47

Create Cycle Dialog Box

48

Create Draw ing from Draw ing Selection Dialog Box

49

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Create Function Step On Dialog Box

50

Create Palette Dialog Box

53

Create Palette from Selection Dialog Box

54

Database Selector Dialog Box

56

Deformer On Deformer W izard Dialog Box

58

Edit Default Paste Preset Dialog Box

61

Edit Exposure Paste Preset Dialog Box

63

Element Manager Dialog Box

65

Envelope Creator Dialog Box

67

Export Layout Image Dialog Box

72

Export OpenGL Frames Dialog Box

76

Export Soundtracks Dialog Box

89

Export to Animated GIF Dialog Box

91

Export to Easel JS Dialog Box

94

Export to Flash Movie Dialog Box

97

Export to Video Dialog Box

99

Export to Sprite Sheet Dialog Box

104

Expression Dialog Box

108

Extend Exposure Dialog Box

110

Fill Cells Randomly Dialog Box

111

Fill Exposure Using Render Changes Dialog Box

112

Fill Selection Dialog Box

115

Function W izard Dialog Box

116

Master Controller Grid W izard Dialog Box

123

Hold Timing

130

Import 3D Models Dialog Box

133

Import Images Dialog Box

135

Loop Node142

Manage Local Cache Dialog Box

145

Manage Pre-Render Cache Dialog Box

147

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Chapter 1: Dialog Boxes

Manage Tool Presets Dialog Box

149

Marker Dialog Box

151

Mini Playback Dialog Box

153

Movie Options Dialog Box (macOS)

154

QuickTime Movie Settings Dialog Box (W indow s)

159

New Scene Dialog Box

164

New Tool Preset Dialog Box

166

Onion Skin and Light Table Transparency Dialog Box

168

Palette Brow ser Dialog Box

169

Palette Operations Dialog Box

172

Paste Preset Dialog Box

174

Paste Special Dialog Box176

Pen Pressure Feel Dialog Box

181

Pose Copier Dialog Box

184

Preferences Dialog Box

186

Recolour Draw ings Dialog Box

190

Remove Dirt Dialog Box

192

Remove Frames Dialog Box

193

Remove Hair Dialog Box

195

Render 3D Model Dialog Box

196

Render W rite Nodes Dialog Box

201

Rigid Point Deform Node

205

Save Dialog Box

207

Scene Settings Dialog Box

209

Scripts Manager Dialog Box

222

Select Colour Dialog Box

224

Selection Presets Dialog Box

226

Sequence Fill Dialog Box

229

Set Ease for Multiple Parameters Dialog Box

231

Set Ease on Keyframes Dialog Box

233

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Master Controller Slider W izard Dialog Box

235

Master Controller Stack W izard Dialog Box

238

Show Hidden Columns Dialog Box

247

OpenQuickTime Sound Options Dialog Box (GNU/Linux)

249

QuickTime Sound Settings Dialog Box (W indow s)

254

QuickTime Standard Video Compression Settings Dialog Box (W indow s)

261

Tint Offset/Blend Dialog Box

270

Timing Node271

Toolbar Manager Dialog Box

273

Unroll W izard Dialog Box

274

Vectorization Parameters Dialog Box

277

Versions Dialog Box

286

OpenQuickTime Video Options Dialog Box (GNU/Linux)287

W indow s Media Video Settings Dialog Box (W indow s)

292

Xsheet Column W idth Dialog Box

296

21

Chapter 1: Dialog Boxes

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

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

In the Xsheet menu, right-click a column and select Add Columns.

lClick the Add Columns

lPress Shift + C.

button.

NOTEThe Add Column dialog box contains additional parameters for w orking w ith elements w hichw ill only display if you set advanced preferences. To do this, press Ctrl + U (W indow s/Linux)or ⌘ + U (macOS) to open the Preferences dialog box. Select the Advanced tab, then selectthe Advanced Element Mode option and click OK.

Parameter

Description

22Harmony 22 Premium Reference Guide

Name

Lets you give the new column a meaningful name.

Type

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

Draw ing Layer Options

Line Art

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

Colour Art

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

Element

Create New Element

Creates an independent column w ith its ow n draw ing folder.

Vector

Select this option if you w ant the layer to contain vector draw ings. Deselect thisoption if you w ant the layer to contain bitmap images. Most of the time, theVector option w ill be enabled.

Bitmap Format

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

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

Field Chart

W hen importing traditional animation, lets you indicate the size of paper on w hichthe animation or background w as draw n. If you are not using perforated
animation paper, leave the 12 field default value as is.

Reuse Existing
Element

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

FolderLets you select the folder to w hich you w ant to link your new column.

Use Existing Element

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

23Chapter 1: Dialog Boxes

Name

Add and Close

Add

Lets you select the column to w hich you w ant to link your new column.

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

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

Close

Closes the dialog box.

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Harmony 22 Premium Reference Guide

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

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

In the Timeline view , click the Add Draw ing Layerl

From the top menu, select Insert > Drawing.

l

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

button.

Parameter

Description

Name

Lets you give the new layer a meaningful name.

Overlay Art

Creates a vector or bitmap draw ing layer in the Overlay Art layer.

Line Art

Creates a vector or bitmap draw ing layer in the Line Art layer.

Colour Art

Creates a vector or bitmap draw ing layer in the Colour Art layer.

Underlay Art

Creates a vector or bitmap draw ing layer in the Underlay Art layer.

Extend Exposure for Scene
Duration

Automatically create and empty draw ing exposure on each layer and expose
them for the duration of the scene.

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Chapter 1: Dialog Boxes

Add and Close

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

Add

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

Close

Closes the dialog box.

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Add Frames Dialog Box
The Add Frames dialog box allow s you to add a given amount of frames at a specific point in your scene. The
new frames are added to every layer in your scene and w ill offset all the keyframes and draw ings after theinsertion point.

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

2. Do one of the follow ing:l

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

l

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

l

In the Xsheet toolbar, click the

Add Frames button to add frames after your selection.

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

The Add Frames dialog box appears.

Parameter

Description

Number of frames to add

The amount of frames to add.

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Chapter 1: Dialog Boxes

Parameter

Description

Ripple Scene Markers

If checked, scene markers after the insertion point w ill be offset forw ard to remain
synchronized w ith the keyframes and draw ings in your scene. If unchecked, scene
markers w ill remain in place w hile everything else after the insertion point isoffset.

If checked, draw ings that are exposed just before the insertion point w ill be
exposed throughout the added rames. If unchecked, no draw ing w ill be exposedin the added frames.
Extend Draw ing Exposure

NOTE
This option has no effect w hen adding frames at the start of the scene.

28Harmony 22 Premium Reference Guide

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

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

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

button. If the Scripting toolbar is not

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

button is not visible in the Scripting toolbar.

The Add Prefix or Suffix dialog box opens.

Parameter

Description

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

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

Insert Text

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

Remove Text

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

29Chapter 1: Dialog Boxes

Add Synced Drawing Layer Dialog Box
The Add Synced Draw ing Layer dialog box lets you add a draw ing layer to your project that w ill automaticallybe synced w ith the currently selected layer.
Depending on w hether the Support Overlay and Underlay Arts option w as selected in the Advanced tab of thePreferences panel, the Add Synced Draw ing Layer dialog box may look one of tw o w ays.

How to access the Add Synced Drawing Layer dialog box
1. In the Timeline view , right-click on the draw ing layer you w ould like to sync w ith another layer.
2. From the right-click menu, select Add Synced Drawing Layer.

Parameter

Description

Name

Lets you give the new layer a meaningful name.

Overlay Art

Creates a vector or bitmap draw ing layer in the Overlay Art layer.

Line Art

Creates a vector or bitmap draw ing layer in the Line Art layer.

Colour Art

Creates a vector or bitmap draw ing layer in the Colour Art layer.

Underlay Art

Creates a vector or bitmap draw ing layer in the Underlay Art layer.

Add and Close

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

Add

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

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Harmony 22 Premium Reference Guide

Close

Closes the dialog box.

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Chapter 1: Dialog Boxes

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

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

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File Tab

Parameter

Description‣

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

Save

‣

Deselect the Save option if you only w ant to save specific components ofyour scene listed in the Draw ings, Palettes or Palette Lists tabs. This w ill
disable all option in the File tab.

This Version (number)

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

New Version (number)

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

Overw rite Existing Version

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

Description

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

Mark as Current

Lets you set this scene version as the current one. This version w ill be
automatically selected as the default current version w hen the scene is selectedin the Database Selector dialog box

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Chapter 1: Dialog Boxes

Drawings (Harmony Server only)
The Draw ings tab lists the modified draw ings.

Parameter

Description

Draw ing list

Lets you select the modified draw ings to save, and deselect the ones you do not
w ant to save.

Select All

Selects all modified draw ings in list.

Deselect All

Deselects all modified draw ings in the list.

Palettes Tab
The Palette tab lists the modified colour palettes.

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Parameter

Description

Colour Palette list

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

Show Recovered

Displays the recovered palettes in the list of modified palettes.

Select All

Selects all modified colour palettes in the palette list.

Deselect All

Deselects all modified colour palettes in the palette list.

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

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Chapter 1: Dialog Boxes

Parameter

Description

Palette Lists

Lets you select the modified palette list to save, and deselect the ones you do not
w ant to save.

Show Recovered

Displays the recovered palettes in the list of modified palettes.

Select All

Selects all modified palette lists in the list.

Deselect All

Deselects all modified palette lists in the list.

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

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

Menu button and select View > Show

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

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

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Show AttributeChapter 1: Dialog Boxes

4. Click on theShow Attribute Information button next to the attribute w hich you w ant to accessthrough scripting.
The Attribute Information dialog appears and displays information on the attribute, as w ell as asample script to access the attribute.

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Parameter

Description

Node Path

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

Attribute Display Name

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

Attribute Keyw ord

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

Attribute TypeThe type of the attribute.

Get Value in Script

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

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Chapter 1: Dialog Boxes

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

How to access the Auto Matte dialog box
1. In the Camera or Draw ing view , select the draw ing you w ant to create a matte for.
2. Do one of the follow ing:l

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

l

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

Parameter

Description

Settings

Apply to all Draw ings

Creates a matte for all the draw ings included in layer.

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

Source Art

Lets you select the layer from w hich you w ant the matte created: Line Art,Colour
Art, Underlay or Overlay.

Destination Art

Lets you select the layer on w hich you w ant the matte to be created: Line
Art,Colour Art, Underlay or Overlay.

Clear Destination Art First

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

Copy Strokes in Destination

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

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Close Gaps Dialog Box
The Close Gaps dialog box lets you close up draw ing areas that not are closed. This may sometimes happen
w hen painting. You can close small gaps in a draw ing by creating small, invisible strokes betw een the tw oclosest points to close the colour zone. You do not need to trace directly over the gap. You can draw it a few
millimeters aw ay. The tw o closest points automatically close the gap.

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

button in the Tool Properties view .

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

Parameter

Description

Size

Lets you set the size of the gap you w ant to be closed.

Apply to all draw ings

Closes all gaps in the draw ing of the selected layer.

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Chapter 1: Dialog Boxes

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

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

Parameter

Description

Name

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

Element

Name

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

Vector

Select this option if the new element is a vector draw ing or if you w ant to enable
the parameters on the selected element in the Elements list.

Bitmap Format

Lets you select the file format of the bitmap layer.

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

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Field Chart

If you're importing traditional animation, select the size of the paper on w hich theanimation w as draw n.

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Chapter 1: Dialog Boxes

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

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

Parameter

Description

Column Types

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

Save as Default

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

Restore Default

Returns the settings to their defaults.

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

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

Parameter

Description

Use rendered version of thedraw ing

Renders the draw ing and vectorize it to calculate the position of the centrelinethat w ill produce the colour art stroke.

Maximum Resolution for
rendered image

The size of the rendered image.

Threshold for renderedimage

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

Fitting error for rendered
Beziers

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

Source layer

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

Destination layer

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

Clear Destination Art Layer

Deletes the content before the colour art is added. This is useful w hen you

45Chapter 1: Dialog Boxes

First

already have artw ork on the destination layer.

Perform Line Art to Colour
Art Operation Immediately

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

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Convert to Synced Drawing Layer Dialog Box
The Sync Layer feature allow s for draw ings to be separated on different layers, but to have the same timing.

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

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Chapter 1: Dialog Boxes

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

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

2. In the Timeline toolbar, click the Create Cycle

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

Parameter

Description

Number of Cycles

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

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

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

Parameter

Description

Layer Name

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

Cut Artw ork From Source

Lets you cut the selected artw ork from the model.

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Chapter 1: Dialog Boxes

Create Function Step On Dialog Box
The Create Function Step On dialog box lets you hold the same value over a selected number of frames for
multiple parameters (pos x, scale y, etc.). This w orks w ell w hen you are animating draw ings on 2s or 3s, forexample, and you w ant to hold the same value for a function over those tw o or three frames.

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

Go to the top menu and select W indows > Toolbars > Scripting.

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

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

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

button to open the Scripts Manager

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

button becomes active.

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

button.
button is added to the Scripting toolbar.

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

button.

The Create Function Step On dialog box appears.

Parameter

Description

Settings

Every Number of Frames

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

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Chapter 1: Dialog Boxes

Selection

First Frame

Enter in the frame number of w here you w ould like the stepped holds tostart. The playhead location determines the low est value you can enterfor the first frame. You need to move the playhead to frame one if you
w ould like to set frame one as the low est possible starting value.

Last Frame

Enter in the frame number of w here you w ould like the stepped holds to
stop.

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

NOTE
If you have the Advanced Palette Lists preference enabled, the dialog w ill also have a palettebrow ser, w hich allow s you to decide w here the palette is stored and w hether to add it to the sceneor the element's palette list—see Palette Brow ser Dialog Box on page 169.

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

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

lFrom the Colour view menu, select Palettes > New

Parameter

Description

New Palette Name

Allow s you to type in the name of the palette to create.

Allow s you choose the palette type to create:

Palette TypelColour: A colour palette can contain colours, gradients and bitmap textures.

l

Pencil Texture: A pencil texture palette can contain textures to apply astransparency filters to pencil lines, in combination to their line colour, to create
various styles of pencil lines.

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Chapter 1: Dialog Boxes

Create Palette from Selection Dialog Box
The Create Palette from Selection dialog box allow s you to create a palette that contains all the colours usedby all the draw ings in the selected draw ing layers.

This can be useful, for example, if the colour design for a character model or rig, a background or another kindof asset w as made using several different palettes, and you need to consolidate all of the colours used by theasset into its ow n dedicated palette.

NOTES
l

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

l

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

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

View Menu and select Palettes > New

Palette from Selected Drawings.

Parameter

Description

New Palette Name

Allow s you to type in the name of the palette to create.

Allow s you choose one of the type of palette to create:lColour: Creates a palette containing all the colours, gradients and bitmap
textures used in the selected draw ing layers.

l

Pencil Texture: Creates a palette containing all the pencil textures used in theselected draw ing layers.

Palette Type

Generate New Colour
IDs and Recolour
Selected Draw ings

By default, the Create Palette from Selection dialog box generates the palette bycopying the colour sw atches used in the selected draw ings from their original palette
into a new palette, along w ith their colour ID. This means that the colour sw atches in thegenerated palette w ill use the same colour IDs as the ones in the original palettes.

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Harmony 22 Premium Reference Guide

If you select this option, Harmony w ill generate a palette w ith new colour IDs, and w ill
replace the old colour IDs in your artw ork w ith the new ones. This w ill usually have no
visible effect, and w ill prevent the sw atches in the new palette from having the same
colour IDs as the sw atches you originally used to colour your artw or. W hen tw o palettes
have a sw atch w ith the same colour ID, Harmony uses the sw atch from the top-mostpalette in the palette list.

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

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Chapter 1: Dialog Boxes

Database Selector Dialog Box
The Database Selector dialog box lets you connect to your studio's central database w hen w orking on
Harmony Server.

NOTE
W hen you connect to the database, you cannot create new scenes directly from Harmony. The
available scenes must have been already created using the Control Center module.

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

Parameter

Description

Environments

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

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Jobs

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

ScenesLets you select the scene.

Get rights to modify thescene

Allow s you to modify the selected version of the scene as w ell as to manage andoverw rite other versions. Other users w ill not be able to open a different versionof the scene until you close the scene.

Allow s you to modify the currently selected scene version only. Unless the Get
Get rights to modify thescene version

Get rights to modify all scene
assetsrights to modify the scene option is also checked, you w ill not be able to change
other versions of the scene. This allow s other users to modify different versions of
the scene w hile you are w orking on the selected version.

Automatically gets the rights to modify all of the scene's assets, locking otherusers from making changes to them until you close the scene. This means thatyou w ill have the rights to modify all the scene's versions, draw ings, palettes, its
palette list, but not its library folder. If this option is unchecked, draw ings andpalettes w ill be locked unless you unlock them manually. This can allow anotheruser to w ork on the scene's draw ings and palettes in Paint w hile you are w orking
on the scene's timing or staging in Harmony.

Dow nloads the scene's draw ings to your computer before opening the scene.
Harmony w ill then load the draw ings from your computer during the session,
instead of loading them from their original location over the netw ork. This cansignificantly increase performance, especially w ith resource-heavy scenes.

Cache scene assets locally

W hen you save your scene, the updated draw ings w ill be uploaded automaticallyto the database, so you do not have to re-upload them manually.

NOTE
If this option is checked, it may take a w hile to dow nload all of the scene's
assets w hen opening a particularly heavy scene.

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

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Chapter 1: Dialog Boxes

Deformer On Deformer W izard Dialog Box
The Deformer on Deformer W izard dialog box allow s you to create a Curve deformer over an Envelope
deformer, so that the Curve deformer deforms the Envelope deformer, w hich in turn deforms the draw ing it is
attached to.
Simply creating a Curve deformer over or under an Envelope deformer does not achieve the expected results,
as both deformers end up acting as a single chain that both deform the draw ing, and manipulating one
deformer does not offset the other deformer’s points. This usually results in a deformation system that is
unw ieldy and w hich doesn’t produce a good image.
W ith the Deformer on Deformer W izard, it is possible to create a functional Curve deformer over an existing
Envelope deformer. The Deformer on Deformer W izard accomplishes this by converting the Curve deformer
into a Master Controller. This Master Controller, w hile looking like a regular Curve deformer, w ill actually
deform the Envelope deformation chain it is rigged to, rather than the draw ing itself. The Envelope
deformation chain w ill in turn deform the draw ing.
This allow s you to combine the ability of an Envelope deformer to make tw eaks to the outer shape of adraw ing w ith the ability of a Curve deformer to easily animate the centreline of a draw ing.

Before you use the Deformer on Deformer W izard, you must already have created the Envelope deformer forthe draw ing using the

Rigging tool. Then, you must select the group containing the Envelope deformer in

the Node View and open the Deformer on Deformer W izard.

The Deformer on Deformer W izard only has tw o buttons: Cancel and Done. This is because it w orks byobserving w hile you build the Curve deformer over the Envelope deformer. As you create Curve deformation
points, it generates the nodes and connections required to create a Deformer on Deformer system. W hen
you’re done building the Curve deformer, you can click on Done to finalize the conversion of the Curve58

Harmony 22 Premium Reference Guide

deformer into a Deformer on Deformer system. Then, your Curve deformer w ill be able to deform the Envelope
deformer your rigged it to.
So, in summary, to use the Deformer on Deformer W izard, you must follow these steps:
1. Create your draw ing.
2. Create the Envelope deformation chain for your draw ing, as you normally w ould, using the

Rigging

tool.
3. Select the Envelope deformation chain your created.
4. Open the Deformer on Deformer W izard.
5. W hile the W izard is open, create a Curve deformation chain using the

Rigging tool. You can move

the W izard aside and keep w orking on your scene w hile it is open.
6. Once you created your Curve deformer, click on Done in the w izard.
And that’s it. Your Curve deformer w ill be converted to a Deformer on Deformer system, w hich w ill be able tow ork w ith the Envelope deformer you created prior.

How to access the Deformer on Deformer W izard
1. Add the Master Controller toolbar to your w orkspace by doing one of the follow ing:lRight-click on an existing toolbar and select Master Controller.

l

In the top menu, select W indows > Toolbars > Master Controller.

The Master Controller toolbar appears.

2. In the Node View or the Timeline view , select the group for the Envelope deformer over w hich you
w ant to create a Curve deformer.

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Chapter 1: Dialog Boxes

3. In the Master Controller toolbar, click the

Deformer on Deformer button.

The Deformer on Deformer W izard appears. The

Rigging tool is also automatically selected in

the Deformation toolbar.

ButtonDescription

CancelCancels the creation of a Deformer on Deformer. This undoes changes to the Node View that w ere
made w hile using the w izard.

Done

Once you are done creating the Curve deformer, click on Done to finalize the Deformer on
Deformer system. After this, the Curve deformer you created w ill be converted to a Master
Controller that is able to deform the Envelope deformer you created prior.

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

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

Parameter

Description

Draw ings

Never create drawing files: W hen adding exposures to a draw ing layer, draw ing
files w ill not be created.

Add/Remove
Exposure

Only create drawing files when they do not exist: W hen adding exposures to adraw ing layer, new draw ings w ill be created only w hen draw ings w ith the same
name do not already exist in the destination.

Always create drawing files: W hen adding exposures to a draw ing layer, newdraw ings w ill alw ays be created. If draw ing files w ith the same name alreadyexist, Harmony w ill create a new name for the draw ing.

Enforce Key Exposure

If there are key exposures that exist on copied draw ings, they are preserved w hen
pasting. No key exposures are added. This is the default behavior w hen pasting.

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Chapter 1: Dialog Boxes

Fill Gap w ith Previous
Draw ing

Fills selected area in the Xsheet or Timeline view w ith the previous draw ing.

Fill to Next Key
Exposure

Fills selected area till the next key exposure.

Keyframes

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

Velocity: Copies the properties of the selected velocity keyframe to the newframe.

Add/Remove
Keyframes

Rotation: Copies the properties of the selected rotation keyframe to the newframe.

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

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

Force Keyframes at Function's Beginning and End: Adds a keyframe to thebeginning and end of the pasted function, reproducing the source function.

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

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

Parameter

Description

Draw ings

Never create drawing files: W hen adding exposures to a draw ing layer, draw ing
files w ill not be created.

Add/Remove
Exposure

Only create drawing files when do they do not exist: W hen adding exposures
to a draw ing layer, new draw ings w ill be created only w hen draw ings w ith thesame name do not already exist in the destination.

Always create drawing files: W hen adding exposures to a draw ing layer, newdraw ings w ill alw ays be created. If draw ing files w ith the same name alreadyexist, Harmony w ill create a new name for the draw ing.

Enforce Key Exposure

Creates a key exposure on the same draw ing.

Fill Gap w ith Previous
Draw ing

Fills selected area in the Xsheet or Timeline view w ith the previous draw ing.

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Chapter 1: Dialog Boxes

Fill to Next Key Exposure

Fills selected area till the next key exposure.

Keyframes

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

Velocity: Copies the properties of the selected velocity keyframe to the newframe.

Rotation: Copies the properties of the selected rotation keyframe to the newframe.
Add/Remove Keyframes
Scale: Copies the properties of the selected scale keyframe to the new frame.

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

Force Keyframes at Function's Beginning and End: Adds a keyframe to thebeginning and end of the pasted function, reproducing the source function.

Reset to Default

Return all values to their defaults.

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Element Manager Dialog Box
The Element Manager w indow lets you Opens the Element Manager w indow w here you can add, delete or
modify elements (draw ing folders) in your scene. If you have draw ing folders that are not linked to a column inyour scene, use the Element Manager to delete them if needed. See xref Reference > W indow s > Element
Manager.

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

Description

Elements

Delete Elements

Deletes the selected elements.

Delete Elements andDirectories

Deletes the selected layer and its directories (draw ing folder).

Add/Modify Element

Name

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

Vector

Select this option if the new element is a vector draw ing or if you w ant toenable the parameters on the selected element in the Elements list.

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Chapter 1: Dialog Boxes

Bitmap Format

Lets you select the file format of the bitmap layer.

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

Field Chart

If you're importing traditional animation, select the size of the paper on w hichthe animation w as draw n.

Add

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

ModifyApplies the parameter changes made to the selected element.

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Envelope Creator Dialog Box
The Envelope Creator Dialog box allow s you to procedurally generate a curve or envelope deformation chain
based on the artw ork in the current layer. The deformation chain can be made to w rap around the outer shapeof the artw ork or to go through its centre line. It w ill be created as a parent of the current layer, allow ing you to
use it to deform and animate the artw ork in the layer instantly after creating it.

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

Parameters
Parameter

Description

The amount of deformation points to create in the deformation chain. The higher the amountof points, the more faithful to the outer shape of your artw ork the deformation chain w ill be,
but the harder it w ill be to animate.

Deformation
Points67

Chapter 1: Dialog Boxes

Parameter

Description

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

The scale at w hich the Envelope Creator analyzes the draw ing's details. A low er setting w illcause the shape of the envelope to match the contours of the draw ing more closely, but may
cause the Envelope Creator to hang w hen generating an envelope and to generate points forsmall dents and bumps in the contour of the artw ork. A higher setting w ill allow the
Envelope Creator to ignore subtle details in the contour w hich w ould not be useful for the
deformation chain.
Discretizer
Spacing

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

Concave
Smoothing

Smooth Passes

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

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Harmony 22 Premium Reference Guide

Parameter

Description

Expands the outer shape of the envelope. This ensures that the contours of the artw ork are
inside the envelope instead of meshing w ith it.

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

69Chapter 1: Dialog Boxes

Options
Parameter

Description

Envelope Mode

By default, the Envelope Creator w ill generate a Curve type deformation chain. This meansthat the first point in the chain is not used to deform the artw ork, but rather, to offset the
deformation chain and move the draw ing. W ith Envelope mode enabled, the first point in the
deformation chain has the same purposes as all the other points, w hich is to deform thedraw ing.

Use All Corners

W hen enabled, this ignores the Deformation Points parameter and creates a deformation point
for each corner the Envelope Creator detects in the shape of the artw ork.

W hen enabled, this creates a deformation chain that goes through the centre line of theartw ork, instead of going around the outer contour of the artw ork.

Create Single
Center Line

Lays out the deformation nodes in the node view so that they resemble the shape of thedeformation chain, allow ing you to visually identify w hich deformation node corresponds tow hich deformation point in the chain.

Shape Nodes in
Node View

Optimize
HandlesW hen the envelope has very w ide angle corners, the Bezier handles for these points may bealmost aligned, but not exactly. W ith this option enabled, Bezier handles that are almostaligned w ill be automatically aligned.

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Parameter

Description

NOTE
W hen tw o Bezier handles for a point are aligned, the point does not act as a corner, butrather as a control point for the curve of the shape. Rotating a handle that is aligned w ith
the opposite handle also rotates the opposite handle, making sure that the point does not
become a corner. You can rotate one of the handles independently from the other byholding the Alt key.

Buttons
Parameter

Description

CreateEnvelope

Automatically generates a deformation chain around the artw ork in the current layer, using theparameters in this dialog box. The deformation chain w ill be placed as a parent of the current
layer.

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Chapter 1: Dialog Boxes

Export Layout Image Dialog Box
The Export Layout Image dialog box allow s you to export your draw ings as bitmap images matching the scene
resolution size, taking camera motions into account, to paint them in an external bitmap editing softw are.

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

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

The Export Layout Image dialog box opens.

Parameter

Description

Destination Path

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

File Pattern

Automatically puts the name of the scene and/or the frame number in the name of72

Harmony 22 Premium Reference Guide

the file you create.

Image Size

The size of the .psd image file that w ill be exported. The resulting image w ill be
72 dpi as the standard television resolution and its size in pixel w ill fit your scene
resolution settings. i.e HDTV, NTSC, PAL, etc. Note that if you have a camera
movement going over the normal camera frame limit, for example a pan, theimage w ill be bigger.

Image Format: Drop list w ith all formats listed alphabetically.

Options

l

BMP

l

DPX

l

DTEX

l

EXR

l

JPG

l

OPT

l

PAL

l

PDF

l

PNG

l

PSD

l

SCAN

l

SGI

l

TGA

l

TIF

l

TVG

l

VAR

l

YUV

Colours: Drop list w ith colour modes. Available modes depend on the selected
file type.
l

GreyscalelColourlColour + Alpha

Depth (bits/channel): Drop list w ith bit depth value and a label next to it"bits/channel". Available bit depth depends on the selected file type.
l

8

l

10

73

Chapter 1: Dialog Boxes

l

12

l

16

Compression: Drop list that appears for EXR and TIF formats only.
l

Zip (per scanline)l

Zip (16 scanlines)

Inverted Channels: A checkbox that appears for DPX only in 10, 12, 16 bit
depths.
Export Camera Frame: Prints the first and last camera frame of each scene into
the exported layout images. If exporting in .psd format, the camera frames w ill be
printed on a separate layer.
Add a Camera Frame for Each Keyframe: If a scene contains a camera movement
w ith more than tw o keyframes, this prints each camera keyframe into the layout.

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

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

Scale Image: Ensures that w hen a camera close-up is included in a scene, theexported image is larger so that the closest camera frame is at least the size of74

Harmony 22 Premium Reference Guide

the chosen image size. This w ay, the layout does not appear pixelated w hen
zooming in on the closest camera frame. If disabled, the size of the exported
images w ill be based off the chosen Base Image Size and Expand Render Area
options.
Maximum Size: If the Scale Image Up to Smallest Camera Frame option isenabled, this ensures images do not get scaled up too much. If enabled, images
w ill be limited to 4096 pixels in w idth and height by default.

Vector Options
If you export one or more vector-based draw ing layers in your layout image, youhave the option to export only the draw ing layers you w ant. Enable or disable thefollow ing options to export or prevent the export of the corresponding art layers.
Overlay: Exports the art in the Overlay layer of the draw ings to be exported to
the layout image.
Line Art: Exports the art in the Line layer of the draw ings to be exported to thelayout image.
Colour Art: Exports the art in the Colour layer of the draw ings to be exported to
the layout image.
Underlay: Exports the art in the Underlay layer of the draw ings to be exported to
the layout image.

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Chapter 1: Dialog Boxes

Export OpenGL Frames Dialog Box
The Export OpenGL Frames dialog box allow s you to export your scene as a sequence of images as they
appear in the OpenGL View mode of the Camera view . This means they are exported w ithout effects,
antialiasing and proper compositing. This allow s you to quickly preview the animation in your scene w ithout
having to w ait through the full rendering process.

How to access the Export to OpenGL Frames dialog box
1. In the top menu, select File > Export > OpenGL Frames.

Parameter

Description

Output

The directory in w hich to export the frames or movie file.
Location

You can click Browse... to open a dialog allow ing you to navigate your file systemand select a directory.

The name of the file to export.
Filename

If you are exporting frames, the file name of each frame w ill start w ith this value,
follow ed by the number of the frame.

76Harmony 22 Premium Reference Guide

Parameter

Description

FormatImage Sequence

Select this option to create an image sequence.

Movie

Exports the frames into a movie file.

FramesExports each frame as an individual image file.

SuffixAllow s you to select the number of digits in the number used to identify each frame.

FormatSpecification

TGA

Full colour

Description

Truevision TGA/TARGA (*.tga)

Draw ing TypeTGA1Greyscale

TGA3

Full colour

TGA4

Full colour w ith
transparency

SGI

Full colour / 8 bits
per channel

SGI1

Greyscale / 8 bits
per channel

SGI3

Full colour / 8 bits
per channel

SGI4

Full colour w ith
transparency / 8
bits per channel

SGIDP

Full colour / 16 bits
per channel

A standard image format w ith losslesscompression and support fortransparency.
TGA files use more disk space thanPNG files, but rendering in TGA isfaster.

Silicon Graphics Image (*.sgi)

77

A highly capable format w ith losslesscompression as w ell as support for
double precision and transparency.

Chapter 1: Dialog Boxes

Parameter

Description

FormatSpecification

SGIDP3Full colour / 16 bits
per channel

SGIDP4

Full colour w ith
transparency / 16
bits per channel

PSD

Full colour / 8 bits
per channel

PSD1

Greyscale / 8 bits
per channel

PSD3

Full colour / 8 bits
per channel

PSD4

Full colour w ith
transparency / 8
bits per channel

PSDDP

Full colour / 16 bits
per channel

Description

Photoshop Document (*.psd)
An Adobe Photoshop proprietary
format used for image editing.
PSD files exported by Harmony
contain a single background layer w ith
the rasterized image.

NOTE
PSD files exported from
Harmony are tagged w ith
their colour space

PSDDP1Greyscale / 16 bits
per channel

information in their
metadata, except for PSD
files exported in greyscale.

PSDDP3Full colour / 16 bits
per channel

PSDDP4

Full colour w ith
transparency / 16
bits per channel

Y'UV frame (*.yuv)
A legacy format optimized for NTSC
television. The image information is
encoded in the Y'UV color space,w hich means Luma (Y') and

YUV

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Harmony 22 Premium Reference Guide

Parameter

Description

FormatSpecification

Description

Chrominance (UV).

NOTE
YUV images must be
exported in NTSC
resolution (720 x 540), or
they w ill not be legible.

PAL frame (*.pal)
A legacy format optimized for PAL
television.

PAL

NOTE
PAL images must be
exported in PAL resolution(768 x 576), or they w ill
not be legible.

Toon Boom Scan Files (*.scan)
A Toon Boom proprietary format usedby Scan to store scanned image
information along w ith its registration(peg), resolution and field chart
metadata. SCAN files are in gresycale.

SCAN

Portable Network Graphics (*.png)

PNG

Full colour / 8 bits
per channel

A highly portable image format w ithhigh lossless compression as w ell as
support for transparency and doubleprecision. PNG is typically used for
W eb applications, graphical userinterfaces and image sharing.
Rendering in PNG takes more timethan rendering in TGA or in
uncompressed image formats, but
saves a lot of disk space.

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Chapter 1: Dialog Boxes

Parameter

Description

FormatSpecification

PNG4

Full colour w ith
transparency / 8
bits per channel

PNGDP

Full colour / 16 bits
per channel

Description

NOTE
PNG files exported from
Harmony are tagged w ith
their colour space

PNGDP3Full colour / 16 bits
per channel

PNGDP4

Full colour w ith
transparency / 16
bits per channel

information in their
metadata.

Jpeg (*.jpg)
A very compact image format w ith
lossy compression. It is typically used
for W eb pages and photo sharing.
Because it does not preserve image
quality, it is recommended to neverrender in Jpeg format unless you areexporting stills for a W eb page or are
making quick render tests.

JPG

BMP

Full colour

Bitmap (*.bmp)

BMP4

Full colour w ith
transparency

A standard uncompressed image
format commonly used on Microsoft
operating systems.

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Parameter

Description

FormatSpecification

OPT

Full colour

OPT1

Greyscale

OPT3

Full colour

OPT4

Full colour w ith
transparency

Description

Toon Boom Optimized image (*.opt)
A legacy Toon Boom proprietary
format that stores bitmap image dataw ith lossless compression. It supports
transparency.

Toon Boom Variable Header image(*.var)VAR

A legacy Toon Boom proprietary
format that stores greyscale bitmap
image data w ith lossless compression.

Tagged Image File Format (*.tiff)
An image format w ith many
compression and encoding settings. It
is often used for image exchange invisual arts and publishing.

TIF

TIFF images exported by Harmony areuncompressed, encoded on a per-pixel(interleaved) basis in PC byte order.

DPX

8 bits per channel /Full color / RGB
channel order

DPX3_88 bits per channel /Full color / RGB
channel order

DPX3_1010 bits per channel/ Full color / RGB
channel order

DPX3_12

12 bits per channel/ Full color / RGB

Digital Picture Exchange (*.dpx)

81

A professional photo format that
supports various different approaches
to storing colour information, w hichcan be used for storing, exchanging
and editing raw information recordedby cameras. It is commonly used in film
production.

Chapter 1: Dialog Boxes

Parameter

Description

FormatSpecification

Description

channel order

DPX3_16

16 bits per channel/ Full color / RGB
channel order

DPX3_10_
INVERTED_CHANNELS

10 bits per channel/ Full color / BGR
channel order

DPX3_12_
INVERTED_CHANNELS

12 bits per channel/ Full color / BGR
channel order

DPX3_16_
INVERTED_CHANNELS

16 bits per channel/ Full color / BGR
channel order

OpenEXR (*.exr)

EXR

16 lines Zip
compression

82

A highly capable deep image format.
Each pixel in an EXR file is exported
w ith its Z-depth information.
Additionally, if a pixel is semitransparent, the color and depth
information of pixels further back isstored along w ith it. If your scene has
multiplane or 3D elements, this format
can be used for compositing youranimation w ith other graphicalelements in 3D animation softw are.

Harmony 22 Premium Reference Guide

Parameter

Description

FormatSpecification

Description

NOTES
l

OpenEXR files
exported from
Harmony are tagged
w ith the w hite point
and primaries
coordinates for theircolour space.

l

OpenEXR files are
alw ays exported by

EXR_ZIP_1LINE

1 line Zip
compression

Harmony alw ays have
1 line Zip compression
if they contain a 3D
image.

Portable Document File (*.pdf)
Typically, PDF files are used to store,archive, share and print documents.
How ever, Harmony uses the PDF
format for its capability to store bitmap
images and vector graphics.
PDF

If the w rite node is connected to avector draw ing layer or to a vector
composite, the exported PDF files w ill
contain the image as a vector graphic.
It w ill ignore bitmap layers, effects anddeformations. Otherw ise, the PDF files
w ill contain the rendered image as a
bitmap.

Deep Texture (*.dtex)
A commonly used deep image format.
Each pixel in an DTEX file is exported
w ith its Z-depth information.
Additionally, if a pixel is semitransparent, the color and depth
information of pixels further back isstored along w ith it. If your scene has
multiplane or 3D elements, this format
can be used for compositing youranimation w ith other graphical

DTEX

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Chapter 1: Dialog Boxes

Parameter

Description

FormatSpecification

Description

elements in 3D animation softw are.

NOTE
Exporting in Deep Texture
requires RenderMan to beinstalled on the machine
and the path toRenderMan properly
configured in Harmony.
For more information, see
the Setting 3D Renderer
Paths topic of the User
Guide.

Drop list w ith all formats listed alphabetically.
l

BMP

l

DPX

l

DTEX

l

EXR

l

JPG

l

OPT

l

PAL

l

PDF

l

PNG

l

PSD

l

SCAN

l

SGI

l

TGA

l

TIF

l

TVG

l

VAR

l

YUV

Image Format

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Harmony 22 Premium Reference Guide

Parameter

Description

Drop list w ith colour modes. Available modes depend on the selected file type.
l

GreyscalelColourlColour + Alpha

Colours

Drop list w ith bit depth value and a label next to it "bits/channel". Available bit depth
depends on the selected file type.
Depth(bits/channel)

l

8

l

10

l

12

l

16

Drop list that appears for EXR and TIF formats only.
l

Zip (per scanline)l

Zip (16 scanlines)

Compression

Inverted Channels

A checkbox that appears for DPX only in 10, 12, 16 bit depths.

Opens the movie settings dialog box for your selected video format, in w hich you can
set the video and audio compression settings for your video file:

Movie optionslQuickTime Movie (*.mov) on W indow s: Movie Options Dialog Box (macOS),l

QuickTime Movie (*.mov) on macOS: QuickTime Movie Settings Dialog Box(W indow s)l

W indow s Media Video (*.w mv): W indow s Media Video Settings Dialog Box(W indow s)

NOTEThis button is available on W indow s and macOS only.

Video options

Opens the video settings dialog box, w hich allow s you to set the video compression
settings for your video file—see OpenQuickTime Video Options Dialog Box(GNU/Linux).

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Chapter 1: Dialog Boxes

Parameter

Description

NOTE
This button is available on GNU/Linux only.

Opens the audio settings dialog box, w hich allow s you to set the audio compression
settings for your video file—see OpenQuickTime Sound Options Dialog Box(GNU/Linux).
Sound options

NOTE
This button is available on GNU/Linux only.

Allow s you to choose one of the follow ing movie formats:l

QuickTime ProRes Movie (*.mov): The Apple QuickTime format. This is thedefault export format and is recommended for its portability, and also
because it allow s you to choose among several video codecs.

NOTES

Movie Formatll

On W indow s, Apple QuickTime must be installed to allow
Harmony to export QuickTime movies. You can configure the exportof QuickTime movies to use any codec that is compatible w ith
QuickTime, including H.264, MPEG-4 and Animation.

l

On macOS, Harmony uses Apple AVFoundation to export
QuickTime movies, w hich allow s you to export using codecs such as
H.264, Apple ProRes 422 and Apple ProRes 4444, among others.

l

If you are looking to export a QuickTime movie w ith transparency,
be sure to choose a codec that supports encoding w ith an alphachannel.

l

On GNU/Linux, Harmony uses the OpenQuickTime library to export
QuickTime movies. This only allow s you to export videos in nonproprietary formats such as Motion-JPEG, Photo JPEG, PNG or
Uncompressed (RGB).

H.264/MPEG- 4 (*.mov) : A simple movie format that uses the H.264 codec,
w hich is supported by most w eb brow sers.

86Harmony 22 Premium Reference Guide

Parameter

Description

NOTES

l

l

Using this format does not require additional softw are. How ever, if
this is the first time you export a movie in H.264/MPEG-4 format,
you w ill be prompted to dow nload the OpenH264 library from
Cisco. Simply click Yes w hen prompted, and Harmony w ill
automatically dow nload the library, then export the movie.

lThere are no encoding options for this format.

lThis format supports resolutions of up to 4096×2304. Eachdimension must be a multiple of 16 pixels.

l

Audio exported in this format is encoded in PCM 16-bit stereo,
22.05 kHz.

W indows Media Video (*.wmv): The native format for W indow s Media
Player.

NOTESlW indow s Media Video (.wmv) files can only be exported on
W indow s.

lVideo players and editors on non-W indow s systems can generally
not open W indow s Media Video (.wmv) files.

Options

If checked, the exported images or movie w ill be opened after the export is finished:l

If you are exporting frames, they w ill be opened in the Play application.

l

If you are exporting a movie, it w ill be opened in your operating system’s
movie player.

Open in Player

Allow s you to specify a resolution to export in, relative to your scene's actual
resolution:lSame as Scene Resolution: Exports a movie in the same resolution as yourscene's resolution.

l

3/4 of Scene Resolution: Exports a movie at 75% of the scene's w idth andheight.

l

1/2 of Scene Resolution: Exports a movie at 50% of the scene's w idth andheight.

l

1/4 of Scene Resolution: Exports a movie at 25% of the scene's w idth andheight.

Resolution

87Chapter 1: Dialog Boxes

Parameter

DescriptionlCustom: Allow s you specify the preferred resolution of your exported video
file, in pixels, in the W idth and Height fields.

Allow s you to specify the range of frames in your scene to export:l

All Frames: Exports all the frames in your scene.

l

From / to: Allow s you to specify the frame range to export using the tw o
input fields to the right. The first input field is for specifying the first frame toexport, and the second one is for specifying the last frame to export. All theframes in-betw een, including the ones specified, w ill be exported.

Range
l

Current Frame: Exports the current frame only.

lSelected Frames: Allow s you to select w hich frames to export. You canenable or disable exporting a specific frame by clicking on it. You can also
toggle exporting a range of frames by clicking and dragging over that range inthe list.

OK

Exports OpenGL frames w ith the selected settings and closes the dialog box.

CancelCloses the dialog box w ithout exporting anything.

88Harmony 22 Premium Reference Guide

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

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

Parameter

Description

OutputLets you specify the location in w hich the file w ill be exported.

Export Range

All

Exports the sound over all the frames of your scene.

Frames

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

Options

Process Soundtracks
Individually

Each soundtrack from all layers is exported as individual files.

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Chapter 1: Dialog Boxes

Merge AllSoundtracks

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

Sound Settings

Rate

Lets you set the rate of the soundtrack.

Size

Lets you export the soundtrack at 8 or 16 bits.

Use

Lets you export the soundtrack as mono or stereo.

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Harmony 22 Premium Reference Guide

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

Animated GIFs are a portable format commonly used for exchanging short animations and clips on the w eb.
They can be played in any w eb brow ser and in many image view ers.
Animated GIFs are a convenient sharing format, but they are not a publishing format. They are not as
optimized for fast dow nload and playback as movie files, cannot contain audio and, most importantly, can only
contain up to 256 different colours throughout the entire animation. Hence, if your animation contains texturesor gradients, it is likely to lose quality w hen exported as an animated GIF, as Harmony w ill have to limit theamount of different colours used in the exported image.

NOTE
For steps on how to use the Export to Animated GIF dialog box, see the User Guide.

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

91Chapter 1: Dialog Boxes

Parameter

Description

OutputOutput

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

Brow seOpens a dialog allow ing you to brow se to the desired export directory and enter
the desired file name.

Display Source

Allow s you to select the display node from w hich to render your scene.

NOTE
Export from Display
Node

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

Export Range

All

Exports all the frames in your scene.

FramesAllow s you to specify a range of frames to render.

Resolution

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

Resolution list

lSame as Scene Resolution: Exports a movie in the same resolution as
your scene's resolution.

l

3/4 of Scene Resolution: Exports a movie at 75% of the scene's w idthand height.

l

1/2 of Scene Resolution: Exports a movie at 50% of the scene's w idthand height.

l

1/4 of Scene Resolution: Exports a movie at 25% of the scene's w idthand height.

l

Custom: Allow s you specify the preferred resolution of your exported
video file, in pixels, in the W idth and Height fields.

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Harmony 22 Premium Reference Guide

Parameter

Description

W idthIf you selected the Custom resolution, use this field to specify the w idth, in pixels,of the exported movie.

W idthIf you selected the Custom resolution, use this field to specify the height, in pixels,of the exported movie.

Options

Options

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

DitheringlNone: No dithering w ill be applied. Each pixel rendered is rendered w ith
the colour in the palette that is the closest to its actual colour.

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

l

Loop

Pattern: Blends pixels in regular checkered patterns to simulate thecolour w ithout created clusters of pixels.

If this option is checked, the exported GIF animation w ill loop w hen preview ed inw eb brow sers and other image view ers that support animated GIFs. Otherw ise, it
w ill only play once and stop.

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Chapter 1: Dialog Boxes

Export to Easel JS Dialog Box
The Export to Easel JS w indow lets you flatten an image sequence of your animation. Even if you have a fully
rigged puppet or a single draw ing layer w ith your animation sequence, the outcome w ill still be a flattened
output of each frame, grouped together in your sprite sheet. This allow s for more flexibility and freedom ofw ork as you have access to any tools or effect modules you w ant to use. How ever, this can result in heavier
files depending on the length, complexity and export size of your animation.

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

2. Click the Export to Easel JS

Parameter

button.

Description

Select Directory

94Harmony 22 Premium Reference Guide

Save Path

The folder path w here you w ant to save your export.

Save Name

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

Existing Clips in Folder

Displays the clips in the folder.

Scene Options

Display

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

Sprite Sheet Preferences

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

Expand Sprite Sheet

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

Fixed Sprite Sheet

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

POT: Exports to sprite sheets w ith sizes that are a pow er of 2. For example: 1024
x 1024. This is optimized for many graphics cards, but consumes more memory.
Resolution Type
NPOT: Some game engines are optimized specifically to render to non pow ers of
tw o, so that it w ill avoid those numbers. Example: 1000 x 1000.

Reuse FramesThis option w orks in tandem w ith the Threshold option. The export w ill compare
the draw ings in your project to reuse a maximum of similar draw ings and reduce
the amount of information found in the sprite sheet, making it lighter. The export
w ill omit the creation of new draw ings if the difference is less than the thresholdpercentage.

ThresholdCalculates the differences betw een multiple draw ings. A 2% threshold w ill
prevent the creation of a new draw ing if the draw ing is too similar to an existingdraw ing. For instance, w ith a 2% threshold, and my draw ing is 100 pixels big,
only 2 of those pixels need to be different from my other draw ing in order to95

Chapter 1: Dialog Boxes

create a new one. The higher the threshold, the few er similar draw ings you w ill
have.

Sprite Resolutions

Size of the render of the individual sprite, w hen it exports each draw ing out.

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

How to access the Export to Flash Movie dialog box
1. From the top menu, select File > Export > SW F.
The Export to Flash Movie (.sw f) dialog box opens.

Parameter

Description

OutputLets you specify the location in w hich the file w ill be exported.

Display Source

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

Export Range

All

Exports all the frames of your movie.

FramesExport a frame range w hich you specify

97Chapter 1: Dialog Boxes

Options

Frame Rate

Lets you enter a Frame rate (fps). By default, it w ill be set to match the fps of yourHarmony project. If you choose a low er frame rate, your export playback w ill befaster than your actual project. The reverse is also true for a higher frame rate.

Lets you select a JPEG quality:‣

100 = Full quality‣

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

‣

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

‣

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

‣

1 = Low est quality w here there is extreme loss of colour and detailand the image becomes nearly unrecognizable.

Jpeg Quality

Protect from Import

Prevents the movie from being imported into another application.

Convert Pencil Lines
to Brush Lines

Retains the thickness of pencil lines.

Compress Movie

Compresses the movie for a lighter format. The movie may lose some quality, but
the file w ill be lighter.

Lets you select the effects you do NOT w ant to be rendered in the SW F movie.

Do Not Export

NOTE
Certain Harmony effects are not listed in this section as they are notcompatible and therefore not available for SW F export. These effects w ill
not appear in the SW F render.

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

If you added burn-in information to your scene, it w ill be included in your exported file—see Burn-In Node on
page 753.

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

Parameter

Description

OutputAllow s you to choose one of the follow ing movie formats:Video FormatlQuickTime ProRes Movie (*.mov): The Apple QuickTime format. Thisis the default export format and is recommended for its portability, andalso because it allow s you to choose among several video codecs.

99Chapter 1: Dialog Boxes

NOTES

l

l

On W indow s, Apple QuickTime must be installed to allow
Harmony to export QuickTime movies. You can configure
the export of QuickTime movies to use any codec that iscompatible w ith QuickTime, including H.264, MPEG-4 andAnimation.

l

On macOS, Harmony uses Apple AVFoundation to export
QuickTime movies, w hich allow s you to export using codecs
such as H.264, Apple ProRes 422 and Apple ProRes 4444,
among others.

l

If you are looking to export a QuickTime movie w ith
transparency, be sure to choose a codec that supports
encoding w ith an alpha channel.

l

On GNU/Linux, Harmony uses the OpenQuickTime library toexport QuickTime movies. This only allow s you to export
videos in non-proprietary formats such as Motion-JPEG,
Photo JPEG, PNG or Uncompressed (RGB).

H.264/MPEG- 4 (*.mov) : A simple movie format that uses the H.264
codec, w hich is supported by most w eb brow sers.

NOTES

l

l

Using this format does not require additional softw are.
How ever, if this is the first time you export a movie in
H.264/MPEG-4 format, you w ill be prompted to dow nload
the OpenH264 library from Cisco. Simply click Yes w hen
prompted, and Harmony w ill automatically dow nload thelibrary, then export the movie.

lThere are no encoding options for this format.

lThis format supports resolutions of up to 4096×2304. Eachdimension must be a multiple of 16 pixels.

l

Audio exported in this format is encoded in PCM 16-bit
stereo, 22.05 kHz.

W indows Media Video (*.wmv): The native format for W indow s
Media Player.

NOTES

Output filel

W indow s Media Video (.wmv) files can only be exported on
W indow s.

lVideo players and editors on non-W indow s systems cangenerally not open W indow s Media Video (.wmv) files.

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

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Brow seOpens a dialog allow ing you to brow se to the desired export directory andenter the desired filename.

Display Source

Lets you select the display node from w hich to render your scene.

NOTE
Export from Display

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

Node

Export Range

All

FramesExports all the frames in your scene.

Allow s you to specify the frame range to export using the tw o input fields to
the right. The first input field is for specifying the first frame to export, and thesecond one is for specifying the last frame to export. All the frames inbetw een, including the ones specified, w ill be exported.

Resolution

Allow s you to specify a resolution to export in, relative to your scene's actual
resolution:lSame as Scene Resolution: Exports a movie in the same resolution as
your scene's resolution.

l

3/4 of Scene Resolution: Exports a movie at 75% of the scene's w idthand height.

l

1/2 of Scene Resolution: Exports a movie at 50% of the scene's w idthand height.

l

1/4 of Scene Resolution: Exports a movie at 25% of the scene's w idthand height.

l

Custom: Allow s you specify the preferred resolution of your exported
video file, in pixels, in the W idth and Height fields.

Resolution list

W idth / HeightLets you specify the w idth and height of video file you w ish to export, in pixels.
To preserve your scene's aspect ratio, changing the value of the W idth or101

Chapter 1: Dialog Boxes

Height field w ill automatically update the other field w ith a proportional value.

The colour space in w hich to render your movie. The rendered frames w ill be
converted from your scene’s w orking colour space to the selected colour
space.
The follow ing colour spaces are supported in Harmony:l

Scene W orking Colour Space: The same colour space as the one
selected in the Colour Space tab of the Scene Settings dialog.

lLinear: The same primaries and w hite point as sRGB and Rec. 709, but
w ith no gamma transfer curve applied to the colour values. This colour
space is useful for compositing intermediary images that are meant tobe rendered in sRGB or Rec. 709.

l

Display P3: A colour space commonly used for digital projection. It has
the same primaries as DCI-P3, the same w hite point as sRGB and thesame gamma transfer curve as sRGB.

l

Display P3 Linear: The same as Display P3, except w ith no gammatransfer curve. This colour space is useful for compositing intermediary
images that are meant to be rendered in Display P3.

lRec. 709: The colour space used for HDTV. It has the same primaries
and w hite point as sRGB, but has a different gamma transfer curve.

lRec. 709 2.4: The same colour space as Rec. 709 or sRGB, except w ith

Colour Spacea gamma transfer curve of 2.4 (per ITU-R BT.1886). This colour space
exists because some editing systems use a gamma transfer curve of
2.4 instead of the standard gamma curve for Rec. 709.
lRec. 2020: A colour space used for Ultra High Definition TV (UHDTV).
It has a complex gamma transfer curve and primaries that cover moreof the human-perceivable colour space than other colour spaces,
especially in the area of human-perceivable greens.

lRec. 2020 2.4: The same colour space as Rec. 2020, except w ith asimple gamma transfer curve of 2.4 (per ITU-R BT.1886). This colour
space exists because some editing systems use a gamma transfer
curve of 2.4 instead of the standard gamma curve for Rec. 2020.

lRec. 2020 Linear: The same colour space as Rec. 2020, except w ith no
gamma transfer curve. This colour space is useful for compositing
intermediary images that are meant to be rendered in Rec. 2020.

lsRGB: A colour space typically used for standard computer monitors. It
has the same primaries and w hite point as Rec. 709, but has a different
gamma transfer curve.

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Opens the movie settings dialog box for your selected video format, in w hich
you can set the video and audio compression settings for your video file:lQuickTime Movie (*.mov) on W indow s: Movie Options Dialog Box(macOS),l

QuickTime Movie (*.mov) on macOS: QuickTime Movie Settings Dialog
Box (W indow s)l

W indow s Media Video (*.w mv): W indow s Media Video Settings Dialog
Box (W indow s)

Movie Options

NOTE
This button is available on W indow s and macOS only.

Opens the video settings dialog box, w hich allow s you to set the video
compression settings for your video file—see OpenQuickTime Video Options
Dialog Box (GNU/Linux).
Video Options

NOTE
This button is available on GNU/Linux only.

Opens the audio settings dialog box, w hich allow s you to set the audio
compression settings for your video file—see OpenQuickTime Sound Options
Dialog Box (GNU/Linux).
Sound Options

NOTE
This button is available on GNU/Linux only.

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Chapter 1: Dialog Boxes

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

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

2. Click the Export to Sprite Sheets

Parameter

button.

Description

Select Directory

Asset Path

The folder path w here you w ant to save your export.

Asset Name

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

Existing Clips in Folder

Preview W indow

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

Use Scene Markers to
Export Clips

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

Project Settings

Unit Scale

Lets you change the scale w hen exporting to Unity to accommodate the size ofthe export w ithout it affecting the Harmony scene. This helps you resize assets
properly for Unity w ithout having to resize them in Harmony. The basic scale is
one Animation Field for one Unity unit.

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

Sprite Sheet Preferences

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Chapter 1: Dialog Boxes

Max W idth

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

Max Height

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

Expand Sprite Sheet

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

Fixed Sprite Sheet

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

POT: Exports to sprite sheets w ith sizes that are a pow er of 2. For example: 1024
x 1024. This is optimized for many graphics cards, but consumes more memory.
Resolution Type
NPOT: Some game engines are optimized specifically to render to non pow ers of
tw o, so that it w ill avoid those numbers. Example: 1000 x 1000.

Reuse FramesThis option w orks in tandem w ith the Threshold option. The export w ill compare
the draw ings in your project to reuse a maximum of similar draw ings and reduce
the amount of information found in the sprite sheet, making it lighter. The export
w ill omit the creation of new draw ings if the difference is less than the thresholdpercentage.

ThresholdCalculates the differences betw een multiple draw ings. A 2% threshold w ill
prevent the creation of a new draw ing if the draw ing is too similar to an existingdraw ing. For instance, w ith a 2% threshold, and my draw ing is 100 pixels big,
only 2 of those pixels need to be different from my other draw ing in order tocreate a new one. The higher the threshold, the few er similar draw ings you w ill
have.

Sprite Resolutions

Size of the render of the individual sprite, w hen it exports each draw ing out.

Delete Existing Clips

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

Bake Animation Curves

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

Clear Texture Folder

Removes any information from the texture folder w ithin the Harmony file. This
has no incidence tow ards the Unity export but contributes to a lighter Harmony
file.

Export Sprites Individually

Exports each draw ing separately instead of putting them inside a spritesheet.

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This allow s the game engine to deal w ith sprite sheets or sprite atlases at theimport.

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Chapter 1: Dialog Boxes

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

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

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

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The Expression dialog box opens.

Parameter

Description

Name

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

Description field

Area in w hich you can type in expressions.

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Chapter 1: Dialog Boxes

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

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

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

lPress F5.

The Extend Exposure dialog box opens.

Parameter

Description

Lets you enter the frame up to w hich you w ant to extend the exposure. You can
Extend to Frame

expose the draw ing in the frames and replace the draw ings that w ere originally
there or move the subsequent frames forw ard in time.

Overw rite

Lets you expose the draw ing in the frames and replace the draw ings that w ere
orginally there.

InsertLets you expose the draw ing in the frames and move the subsequent frames
forw ard in the Timeline view .

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

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

lIn the Xsheet view , click the Fill Cells Randomly

button (you may have tocustomize the toolbar to display it).
The Fill Cells Randomly dialog box opens.

Parameter

Description

Minimum Value

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

Maximum Value

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

Hold

The exposure holding value.

W hole Numbers

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

Add Key Exposure After

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

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Chapter 1: Dialog Boxes

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

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

2. From the top menu, select Scene > Default Display > desired Display node.
3. From the top menu, select Animation > Exposure Fill > Using Render Change.
W ait w hile Harmony creates a low resolution render of the images to preview .

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

Parameter

Description

Frame: Use the slider to see w hen a change is necessary. A red edge indicates
there is a large enough motion for the texture to change.

Use: Lets you use either the Red, Green, Blue, or Alpha channel, or Luminancedifference betw een frames to analyze the motion changes. The Alpha channel isselected by default as it is the most commonly used parameter.
Changes Detection Settings
Pixel Value Change Threshold: The percentage of change in a pixel to beconsidered different from one frame to another. The higher the value, the morechange is required w hen comparing tw o images in order for a new texture to be
used.

Area Change Threshold: The percentage of non-empty pixels that must change
from one frame to another to be considered different.

These settings let you change the exposure. You can also decide on how many
images you w ant to cycle.

Fill Settings

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

Number of Drawings in Cycle: Lets you set of the number of draw ings to include
in the cycle.

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Chapter 1: Dialog Boxes

First Drawing Used in Cycle: Lets you set the first draw ing used in the cycle.
Your draw ings must be named using numeric values only, or number values w ith
a prefix or suffix. It cannot only be letters.

Drawing Name Prefix: Adds a prefix before the number. For example, texture_
01, texture_02 and so on.

Drawing Name Suffix: Adds a suffix after the number. For example, 01_texture,
02_texture and so on.

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

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

1. Do one of the follow ing:l

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

l

In the Xsheet toolbar, click the Fill Selection

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

The Fill Selection dialog box opens.

Parameter

Description

Value

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

Add Key Exposure After

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

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Chapter 1: Dialog Boxes

Function W izard Dialog Box
The Function W izard dialog box allow s you to easily create Master Controller w idgets that are programmed tocontrol specific attributes in a node. It w orks by letting you select a type of w idget, a type of operation, one orseveral nodes and the node attribute to control, and generates a fully functional Master Controller node that
controls the selected attribute in the selected nodes.
The Function W izard automatically generates the script to make your Master Controller w ork, so you don’t
need to have scripting know ledge to use this w izard. How ever, it also allow s you to customize the script it
generates from w ithin the w izard. Hence, users w ho are familiar w ith Harmony scripting can easily change orexpand the capacities of the Master Controller they’re creating. They can use this w izard to create a “basic”
Master Controller and use it as a foundation to develop a much more complex Master Controller. Users w ho
are less familiar w ith scripting can also look at the script generated to learn how scripting w ith Master
Controllers w orks.

To use the Function W izard, you must first identify and select a node for w hich you w ant to create a w idget.
The resulting w idget, w hich w ill appear in the Camera View , can be configured to perform the follow ing
operations:116Harmony 22 Premium Reference Guidel

Control the value of one of a node’s numerical (scalar) attributes (e.g., horizontal position, vertical
position, etc.)l

Control the value of one of a node’s 2D (vector) attributes (e.g., position, scale, etc.)l

Toggle w hether a node is enabled or disabledlShow or hide the controls for a nodelShow or hide the deformation controls for a deformation chain

How to access the Function W izard
1. Add the Master Controller toolbar to your w orkspace by doing one of the follow ing:lRight-click on an existing toolbar and select Master Controller.

l

In the top menu, select W indows > Toolbars > Master Controller.

The Master Controller toolbar appears.

2. In the Node or Timeline view , select the nodes that you w ant to control w ith a Master Controller.
3. In the Master Controller toolbar, click the

Icon

Parameter

Function W izard button.

Description

The type of Master Controller w idget to create. The Function W izard cangenerate a w idget of the follow ing types:

Controller Typel

Checkbox: A simple controller that has tw o states: checked or
unchecked. The user can toggle its state by clicking on it.

lSlider: A controller consisting of a point that can be moved verticallyw ithin a range. It returns a value based on w here the point is
positionned w ithin that range.

lPoint2d: A controller consisting of a point that can be moved
horizontally and vertically w ithin a rectangle. It returns the position of
the point w ithin that rectangle, in x and y coordinates.

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Chapter 1: Dialog Boxes

Icon

Parameter

Description

The operation to execute on the selected nodes, on their selected attribute,w hen the user manipulates the w idget. Depending on the selected controller
types, the follow ing operations are available:l

CheckboxW idget:lToggle Attribute: Toggles one of the boolean attributes of thetarget nodes to true or false, depending on w hether the
checkbox is checked or unchecked.

lShow/Hide Node Controls: Toggles w hether the controls forthe target nodes are visible in the Camera view .

lEnable/Disable Nodes: Toggles w hether the target nodes areenabled or disabled. Disabled nodes have no effect on therendered image. For example, disabled Element nodes areinvisible, disabled Peg nodes do not offset the elements
attached under them, and disabled effect nodes output their
input image as-is, w ithout applying an effect to it.

lOperationlShow/Hide Deformers: Toggles w hether the controls for the
deformers in the target nodes are visible in the Camera view .

Point2dW idget:l

Set Value: Sets the value of an attribute for the target nodes
based on the X and Y coordinates of the 2D point w ithin its
bounding box.

NOTES
In the case of Point2d w idgets, the target attribute must
be a vector-type attribute, w hich means it must have X
and Y child attributes, so that these child attributes canbe set to the value of the X and Y coordinates of the 2D
point.
For example, a 2D point w idget can be used tomanipulate the position or the scale of a Peg or Element
node, as those attributes have X and Y child attributes.

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Icon

Parameter

Descriptionl

Set Value: Sets the value of a numerical attribute for the targets
nodes, based on the position of the point w ithin the slider.
Contrary to Point2D w idgets, the Slider w idget can manipulate
any single numerical (scalar) attribute for the target nodes.

The list of nodes that the Master Controller w ill affect. W hen you open the
Function W izard, this list is automatically filled w ith the currently selected
nodes in your scene. The list of target nodes can be edited using the buttons
just below it.

NOTES
l

Target Nodes

If multiple nodes of different types are added to the Target Nodeslist, only attributes that are common to all the target nodes can be
manipulated. As such, it is recommended to only add nodes of thesame type to the Target Nodes list.
For example, if you add both Peg and Element nodes to the Target
Nodes list, you w ill not be able to manipulate their position w ith your
Master Controller, as the position attribute for a Peg is named
POSITION, w hereas the position attribute for an Element is named
OFFSET. Hence, they are not considered the same attribute.

l

If multiple nodes are added to the Target Nodes list, the first node in
the list w ill serve as the “master” node. This means that the w idget’s
state or position w ill remain synchronized to the value of the firstnode’s target attribute.

Add Selected
Nodes

Adds the nodes that are currently selected in the scene, w hether from theTimeline view , Node View or Camera view , to the list of Target Nodes in the
Function W izard.

Locate Selected
Node

Instantly navigates, in the Node View , to the node that is currently selected in
the Target Nodes list, and selects it.

Remove Node

Remove the nodes that are selected in the Target Nodes list from the Target
Nodes list.

Slider widget parameters

119Chapter 1: Dialog Boxes

Icon

Parameter

Description

Allow s you to select w hich attribute in the target nodes that the slider w idget
w ill control. This drop-dow n w ill display all numerical (scalar) attributes
available for the selected nodes.
Attribute

NOTE
If several nodes of different types (i.e.: Peg, element, effect, composite,etc.) are in the Target Nodes list, only attributes that are common to all
the target nodes w ill be available.

The label text to display over the w idget, to make it easy to identify in the
Cameras view .
LabelThis value is also used to name the Master Controller node that w ill be created.
The Master Controller node w ill be named mc_ follow ed by the name in the
Label, w ith spaces replaced by underscores (_).

Min Value

The value returned by the slider w hen it is set to its low est position.

Max Value

The value returned by the slider w hen it is set to its highest position.

Point2d widget parameters

Allow s you to select w hich attribute in the target nodes that the slider w idget
w ill control. This drop-dow n w ill display all vector-type attributes available forthe selected nodes. Vector-type attributes are attributes that have X and Y
sub-attributes, w hich can be set to the X and Y coordinates of the 2D point as it
is manipulated.
Attribute

NOTE
If several nodes of different types (i.e.: Peg, element, effect, composite,etc.) are in the Target Nodes list, only attributes that are common to all
the target nodes w ill be available.

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Icon

Parameter

Description

The label text to display over the w idget, to make it easy to identify in the
Cameras view .
Label

XMin

This value is also used to name the Master Controller node that w ill be created.
The Master Controller node w ill be named mc_ follow ed by the name in the
Label, w ith spaces replaced by underscores (_).

The value returned by the 2D point w idget for the X coordinate w hen it is at its
leftmost position.

XMax

The value returned by the 2D point w idget for the X coordinate w hen it is at its
rightmost position.

YMin

The value returned by the 2D point w idget for the Y coordinate w hen it is at its
bottommost position.

YMax

The value returned by the 2D point w idget for the Y coordinate w hen it is at its
topmost position.

Checkbox widget parameters

Allow s you to select w hich attribute in the target nodes that the checkbox
w idget w ill toggle. This drop-dow n w ill display all boolean-type attributes
available for the selected nodes.
This drop-dow n w ill be greyed out if you selected an operation that toggles
something other than an attribute, such as Enable/Disable Nodes, Show /Hide
Node Controls and Show /Hide Deformers.
Attribute

NOTES

Label

l

This drop-dow n w ill be greyed out if the Operation parameter is set
to something other than Toggle Attribute.

l

If several nodes of different types (i.e.: Peg, element, effect,
composite, etc.) are in the Target Nodes list, only attributes that arecommon to all the target nodes w ill be available.

The label text to display over the w idget, to make it easy to identify in the121Chapter 1: Dialog Boxes

Icon

Parameter

Description

Cameras view .
This value is also used to name the Master Controller node that w ill be created.
The Master Controller node w ill be named mc_ follow ed by the name in the
Label, w ith spaces replaced by underscores (_).

Additional parameters

The function that is executed w hen the Master Controller w idget ismanipulated.

Function CodeThis script can be edited w ithin the Function W izard, and any changes you
make to the script w ill actually be carried over to the Master Controller that the
w izard w ill create. Hence, not only this field allow s you to learn w hat the code
for a basic Master Controller looks like, it can also allow you to create Master
Controllers that have more complex effects than w hat is supported by the
Function W izard.

TIP
You can also modify this code at any time after you created your Master
Controller. To make changes to this code, simply open the Layer
Properties for the Master Controller node, and then select the UI Scripttab.

Advanced

By default, several of the target node’s attributes are hidden in the Attributedrop-dow n so as to avoid cluttering it. In Advanced mode, all of the target
node’s attributes that are compatible w ith your Master Controller w idget w ill
be listed in the Attribute drop-dow n, giving you more options for w hichattribute of the target node the Master Controller w ill manipulate.

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Master Controller Grid W izard Dialog Box
T-HSCP-003-006
The Master Controller Grid W izard dialog box allow s you to create a 2D point-type Master Controller w idget
w hich can be used to position a character model based on a grid of poses.

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

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The W izard w ill start out by displaying the Load Preset dialog, in w hich you can specify the vertical andhorizontal size of your grid in the Key Poses fields.

Optionally, you can also select its centre point and the size of its cells in the Center and Cell size fields. The
coordinates used for the center position and cell size are based on a 4:3, 12 fields traditional animation grid.
You display one over your character as a reference by adding a Grid node to your scene—see Grid Node.
Then, the Grid W izard dialog w ill generate a grid w ith the specified size in the specified position and w ith thespecified cell size. Each point in the grid w ill be represented by a red dot. You must select each of these dots
and associate them w ith the frame number containing the pose you w ant the point to represent. W hen a pointis selected. it w ill turn w hite. Once a point is associated to a pose, it becomes green.

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

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How to access the Grid W izard
1. Do one of the follow ing to add the Master Controller toolbar to your w orkspace:l

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

l

In the top menu, select W indows > Toolbars > Master Controller.

The Master Controller toolbar appears.

2. In the Timeline view , select the layers and groups you w ant your Master Controller to control.

NOTE
If you select a group, all of the layers inside it w ill be added to the list of layers your
Master Controller w ill control.

3. In the Master Controller toolbar, click on the

Grid W izard button.

Grid Parameters Dialog Parameters
Parameter

Description

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

Grid Size

The numbers of columns and row s w ith w hich to create the grid of poses. The
product of these tw o amounts is the amount of poses you w ill need to provide
to the Grid W izard.

CenterThe coordinates of the centre of the grid, relative to the centre of the scene, inhorizontal and vertical fields.

Cell Size

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

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Chapter 1: Dialog Boxes

Parameter

Description

OK

Dismisses the Grid Parameters dialog box and creates the grid w ith theselected parameters in the Grid W izard dialog box, so that you can start
configuring the points in the grid.

Grid W izard Dialog Parameters
Icon

Parameter

Description

Grid

Displays the grid of poses.
Each point in the grid is represented by a coloured dot:l

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

lGreen dots are dots that are already assigned to a pose(frame number).

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

Grid View

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

Zoom In

Zooms into the grid view .

Zoom Out

Zooms out of the grid view .

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Icon

Parameter

Description

Opens the Load Preset dialog. In this dialog, you can load a gridpreset, or create a new grid.

Load Preset
To load an existing preset, select it in the Preset drop-dow n. To
create a new grid from scratch, select New in the Preset dropdow n instead.
If you click OK, the selected grid w ill be loaded into the Grid
W izard, replacing the current grid and discarding any w ork you
put on it. If you click Cancel, you can resume w orking on thecurrently loaded grid.

Save Preset

Saves the current grid and all of its properties as a grid preset.
This allow s you to quickly reload the current grid's size, its
centre point, its cell size, as w ell as each point's assigned frameand other properties into the Grid W izard later, w hen you w ant
to create another 2D point w idget. This can be very useful if you
create several character models in different scenes, w ith thesame poses at the same frames.
You can select a grid preset to use in the Grid Parameters dialog
that appears w hen you open the Grid W izard.

Monitored Attributes

The list of nodes (ie: layers, pegs, deformation points, etc.) thatw ill be affected by the Master Controller. If you expand any ofthe listed nodes, you w ill find the list of attributes (ie: position,
angle, scale, etc.)
Attribute List
The list is structured in a group/node/attributes hierarchy, w ith
Top representing the root of your scene. By expanding a group,
you w ill find all of the nodes inside that group. By expanding anode, you w ill find all of its attributes.

Add Selected Nodes

If you first select groups nodes in the Timeline or Node view , you
can click on this button to add these nodes' attributes to theMonitored Attributes list. This allow s you to add more nodes tothe list of nodes that w ill be controlled by the Master Controller.

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Chapter 1: Dialog Boxes

Icon

Parameter

Description

If you select a group, this button w ill add the group as w ell as
every node inside that group to the Monitored Attributes list.

Removes the groups, nodes or attributes that are currently
selected in the Monitored Attributes list from the Monitored
Attributes list. This allow s you to remove nodes from the list ofnodes that w ill be controlled by the Master Controller.

Remove Selected Items

If you select a group, this button w ill remove the group as w ell
as every node inside that group from the Monitored Attributes
list.
If you select specific attributes in a node, this button w ill only
remove these attributes from the Monitored Attributes list, andw ill leave the other attributes in the list. This allow s you to makethe Master Controller only control specific attributes for a nodeand ignore others.

Remove every attribute that does not change across any of theposes added to the grid. This w ill optimize the performance ofthe Master Controller as w ell as reduce the amount of storage
space it uses w ithout impacting its functionality.
Filter Static Attributes

NOTE
This option can only be used once you have filled yourentire grid w ith poses.

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

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

Pose Properties

Identifier

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

Frame

Allow s you to view and update the frame number (pose)
associated w ith the currently selected point.

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Icon

Parameter

Description

Allow s you to update the position of the selected point on thegrid, in horizontal and vertical field coordinates.
Position

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

OutputName

Allow s you to enter the name for the Master Controller nodethat w ill be created at the end of the process.

Displays the name of the corresponding states file name, basedon the Master Controller node name.
States Filename

The attribute values of the associated poses are recorded in an
external file. W hen the Master Controller node is created, thematching states file is created.

Master Controller Name

Displays the complete Master Controller node name including
the mc_ prefix.

CreateGenerate the Master Controller and its database of poses.

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Hold Timing

The Hold Timing node exists as Hold Timing (for Images) and Hold Transformation Timing (for Pegs andTransformations). This node is used to apply holds to the input transformation or images, in order to expose
certain frames for specific durations. These nodes can be used to change the exposure increments of input
images and transformations so that the output updates at the appropriate frames. This is particularly usefulfor retiming the animated content.
The Hold Timing node takes an image input and output, and w ill provide the retimed transformation andrender of that image w ith sections held given the settings of the node.
The Hold Transformation Timing node takes a transformation input and output, and w ill provide the retimed
transformation w ith sections held given the settings of the node.

How to access the Hold Timing and Hold Transformation Timing dialog box
1. In the Node View press Enter.
2. Type in the name of the node you w ant to search.
3. Select the node.
4. Click the yellow box on the left to open the dialog box.

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Hold Mode: Defines the mode in w hich the held frame transformations and renders are applied.
You can select the value from the drop-dow n list.
lDynamic: Dynamic mode w ill scan all connected modules in the in-port and w ill also
calculate the most reasonable timing based on all connected nodes’ attribute keyframes andtiming. The dynamic mode aims for a maximum exposure as defined in the hold value
attribute, and w ill divide up timed-sections based on attached keyframes and theappropriate amount of subdivisions possible in that section, w hile considering the timing of
the animation.

lHold Value: Hold Value mode w ill use the value defined in the Hold Value attribute, andw ill only update the transformation or render in increments of that value. Setting a keyframeon this attribute w ill start a new section of exposures and all subsequent exposures w ill bebased on the last keyframe. This is useful for retiming sections on tw os and adding sections
on ones by simply adding a keyframe.

lHold Between Stop- Motion Keyframes: Hold Betw een Stop-Motion Keyframes uses the
keyframes and tw eens in the Hold Keyframes attribute to define regions that w ill update
and render new images and transformations. The node w ill only output the current framefrom the input w hen a key, or tw een, is present on that frame, otherw ise it w ill hold the lastvalue it has previously output.

lBake Dynamic Holds: Bake Dynamic Holds w ill convert the dynamic mode to another mode that is
static and no longer dependent on the input nodes. W hen clicking the Bake Dynamic Holds button,
a prompt w ill request the type of mode to convert the dynamic values into. This prompt allow s theuser to select the mode into w hich the values are baked.

lHold Value: Defines the exposure increments in w hich the image or transformation is updated andoutput. This attribute is used w hen the node is in Dynamic and Hold Value mode.

lHold Keyframes: Defines the keys in w hich the image or transformation is updated and output.
This attribute is used w hen the node is in Hold Betw een Stop-Motion Keyframes mode.

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Chapter 1: Dialog BoxeslDisable Selection: This option is available in all timing nodes. It is recommended to disable thetiming node w hen modifying content, and reapply it w hen the content is complete.

lHide from Timeline: This option w ill collapse all attached content above this node in the Timeline,
preventing it from being selected or modified directly in the Timeline.

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

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

Parameter

Description

Files

Brow seLets you locate and select 3D model file formats from a location on yourcomputer or a location accessible from your computer (netw ork, server, etc.).

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

Layer

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Chapter 1: Dialog Boxes

Create Single Layer
Named

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

Create Layer(s)Based on Filenames

Creates a layer based on each unique filename prefix. For example, the filenames
a-1.obj, a-2.obj and b-1.obj w ill create layers named "a" and "b", w here "a" hastw o 3D models and "b" has one. W hen creating a single layer from these threefilenames, all three models w ill be imported to the new layer.

Imports the selected files to an existing layer in the scene. Once this option is
Add to Existing Layer

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

Conversion

Convert to FBX
formatConvert to 2D

Check this option if your file isn't already a Filmbox (.fbx) file and you w ould likeit to be. This format incorporates all associated files, such as the texture files.

Check this option if you w ant to render the 3D model into a 2D image and importit into a bitmap layer instead of as a 3D object. You w ill be prompted to select theposition and angle from w hich to render the 3D model, as w ell as to apply
geometrical transformations to it before rendering it—see Render 3D Model
Dialog Box on page 196.

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Import Images Dialog Box
T-HFND-007-011
The Import Images dialog box lets you import bitmap images and vectorize them, making the images editable.
Then you can use a variety of draw ing tools to edit the image. Or you can alw ays keep the original bitmap
image as is.
Also, you can choose to import bitmap images on bitmap or vector layers depending on your project.

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

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

l

In the File toolbar, click the Import Imagesl

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

The Import Images dialog box opens.

135

button.

Chapter 1: Dialog Boxes

Parameter

Description

Files

Brow seLets you find and select images on your computer.

Create Layers(s)Create layers for imported images.

Create Single Layer
Named

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

Create Layer(s)Based on Filenames

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

Layer

Add to Existing Layer

Imports the images into the specified layer. Note that you can only import intolayers that are compatible w ith your import options. For example, if you're
importing images as vector draw ings, you can only import them into vectordraw ing layers.

Import Options

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

Keep as Original
BitmapRetains an imported image as a bitmap. In the Alignment section, decide on thesize and placement of your image w ithin the camera frame. Depending on the
Scene Settings (the height and w idth in pixels that you chose for your project), an
image that you import may get scaled to the point w here all its individual pixels
become visible.

Import as Toon Boom
Bitmap Draw ing

Imports a draw ing into a vector layer w here you can edit the image using thedraw ing tools.

Convert to Toon
Boom Vector
Draw ing

Imports a draw ing and converts it to a Toon Boom vector draw ing.

Alignment (Keep As Original Bitmap)

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Fit:
Adjusts the image's size to fit completely w ithin the scene's field, both verticallyand horizontally, making sure the entire image is visible.
If the image's orientation is portrait, then it w ill adjust the image's height to fit thefield's height, w ithout affecting the image's aspect ratio:

If the image orientation is landscape, then it w ill adjust the image's w idth to fit thefield's w idth, w ithout affecting the image's aspect ratio:
Rules

Pan:
This has the opposite effect to the fit parameter. The image's smallest dimension
w ill be made to fit the scene frame's matching dimension, and the image's largest
dimension w ill be adjusted proportionally, making the image fill the entire scene
field, and bleed past its boundaries it if its aspect ratio does not match the field's
aspect ratio. This option can be used to import a panning background image, also
referred to as a pan.
If the image's orientation is portrait, it w ill adjust the image's w idth to fit thefield's w idth, w ithout affecting its aspect ratio:

137Chapter 1: Dialog Boxes

If the image's orientation is landscape, it w ill adjust the image's height to fit thefield's height, w ithout affecting its aspect ratio:

This has the opposite effect to the fit parameter. The image's smallest dimension
w ill be made to fit the scene frame's matching dimension, and the image's largest
dimension w ill be adjusted proportionally, making the image fill the entire scene
field, and bleed past its boundaries it if its aspect ratio does not match the field's
aspect ratio. This option can be used to import a panning background image, also
referred to as a pan.
If the image's orientation is portrait, it w ill adjust the image's w idth to fit thefield's w idth, w ithout affecting its aspect ratio:138Harmony 22 Premium Reference Guide

Project
This
hasResolution:
the opposite
Scaleseffectto thetheimage
fit parameter.
to fit the scene's
The
image's smallest
resolution,
makingdimension
each pixel
w ill
in
the
beimagemadetaketo fitone
thepixel
sceneinframe'sthescene's
matchingfield. For
dimension,and the image's
example,if the image's
largestdimension winillpixels
dimensions
be adjusted
are half
proportionally,of
the scene's resolution
making theinimage fillpixels,thenthetheentireimage'sscene
field, and bleed
dimensions
w ill past
appearits to beboundaries
halfof the scene
it if itsfield's
aspectdimensions.
ratio
does not match thefield's aspect ratio. This
option can be used to import
Alignment (Import as Toon Boom Bitmap Draw ing)a panning background image,also referred to as a pan.
If the image's orientation is
portrait, it w ill adjust theimage's w idth to fit the field's
w idth, w ithout affecting its
aspect ratio:

Horizontal Fit:
Adjusts the image's size so that its w idth matches the scene's w idth, w ithout
affecting its aspect ratio.

Rules

If the image's orientation islandscape, it w ill adjust theimage's height to fit thefield's height, w ithout
affecting its aspect ratio:

Vertical Fit:
Adjusts the image's size so that its height matches the scene's height, w ithout
affecting its aspect ratio.

This has the opposite effectto the fit parameter. The
image's smallest dimension
w ill be made to fit the scene
frame's matching dimension,and the image's largest
dimension w ill be adjusted
proportionally, making theimage fill the entire scene
field, and bleed past its
boundaries it if its aspectratio does not match thefield's aspect ratio. This

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Chapter 1: Dialog Boxes

Actual Size: Imports the image in its actual size, w ithout adjusting its size relative
to the scene's resolution. For example, if the image's dimensions in pixels are halfof the scene's resolution in pixels, then the image's dimensions w ill appear to behalf of the scene field's dimensions.

Transparency

Premultiplied with W hite: The colour values of semi-transparent pixels in theimage have been encoded so that the more transparent they are, the closer tow hite they are. W hen an image that is premultiplied w ith w hite is loaded in asoftw are that does not support transparency, it appears blended w ith a w hitebackground. Select this to make Harmony reverse this premultiplication so thatthe image blends properly w ith other visual elements in your scene.

Alpha

Premultiplied with Black:The colour values of semi-transparent pixels in theimage have been encoded so that the more transparent they are, the closer toblack they are. W hen an image that is premultiplied w ith black is loaded in asoftw are that does not support transparency, it appears blended w ith a black
background. Select this to make Harmony reverse this premultiplication so thatthe image blends properly w ith other visual elements in your scene.

Straight: The colour of semi-transparent pixels in the image is encoded
independently from their transparency. W hen an image that is not premultiplied
is loaded in a softw are that does not support transparency, semi-transparent
pixels simply appear fully opaque, making its edges appear pixelated.

Clamp Colour to Alpha:This is the same as Premultiplied with Black, exceptthat it also prevents the colour values for a given pixel from being higher thanthat pixel's alpha value. This option is only useful if you are w orking w ith images
that are supposed to be premultiplied w ith black, but w here the colour values ofpixels have been increased w ithout their alpha values being adjusted accordingly.

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Vectorization

Black and W hite

Vectorizes draw ings w ith a solid black line. This creates a 100% vector-based
draw ing and paints it w ith the Vectorized Line colour sw atch from your scene's
palette.

Grey

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

New Preset

Lets you create a new preset.

Delete Preset

Lets you delete any preset in the list.

Edit Preset

Lets you edit the vectorization parameters for the selected preset.

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Loop Node

The Loop node exists as both Loop (for Images) and Loop Transformation (for Pegs and Transformations). This
node is used to create looping sections in the Timeline by referencing the input content at different frames.
The Loop node is able to start a loop at a given frame, loop a section of frames a number of times, andcontinue after looping is required.
The Loop node takes an image input and output, and w ill provide the retimed transformation and render ofthat image, looping over a number of frames.
The Loop Transformation node takes a transformation input and output, and w ill provide the retimed
transformation looping over a number of frames.

How to access the Loop and Loop Transformation Timing dialog box
1. In the Node View press Enter.
2. Type in the name of the node you w ant to search.
3. Select the node.
4. Click the yellow box on the left to open the dialog box.

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Cycle Mode: Defines the w ay in w hich the output frames are calculated w hen cycling.
lRepeat: It w ill simply cycle the looping frames, and w ill repeat the cycle from the first frame
w hen finished. 1,2,3,4,1,2,3,4lPing Pong: It w ill cycle the looping frames, and w ill repeat the cycle backw ards w hen
finished. 1,2,3,4,3,2,1,2,3 . . .

lFrames to Cycle: This area defines the input range to be used in the looped content.
lFirst: The first frame to be used in the looping content.

lLast: The last inclusive frame to be used in the looping content.

lOffset: Offsets the internal frame of the loop by this amount. This is useful for reusing loops,
but simply offsetting their starting frame.

l

Use Output Range: Defines w hether the loop is considered infinite (w hen disabled) or, if the loop is
mapped to a specific output range and w ill have a start and ending range in the Timeline.
lDisabled: The loop w ill begin at frame one, and w ill persist for the total length of the scene.

lEnabled: The loop w ill begin at the start frame and plays to the end frame.

lStart: The output frame number that defines w here the loop begins in the output frames.
The input images or transformation w ill play normally up until this point.

lEnd: The inclusive output frame number that defines w here the loop ends in the output
frames. The loop w ill continue until one frame after this value is reached, and w ill resume its
output based on the resume behaviour of the node.

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Chapter 1: Dialog Boxesl

Resume Behaviour: Defines the node’s behaviour after the end frame has been reached
w hen the output range is enabled.
l

Hold: Holds the final output frame’s value after the end frame has been reached.

lContinue from Looped Frame: Continues from the input frame that w as last playedin the Timeline w hen the end frame of the loop has been reached.

lContinue from Timeline Frame: Continues from the actual Timeline frame,
regardless of the looping frame or output range, once the end frame of the loop has
been reached.

lDisable Selection: This option is available in all timing nodes. It is recommended to disable thetiming node w hen modifying content, and reapply it w hen the content is complete.

lHide from Timeline: This option w ill collapse all attached content above this node in the Timeline,
preventing it from being selected or modified directly in the Timeline.

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

NOTE
A scene's data is cached on your computer w hen you check the Cache scene assets locally option
in the Database Selector before opening the scene—see Database Selector Dialog Box on page56.

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

Parameter

Description

The list of caches stored on your computer. There is one item for each scene for w hich there iscached data. Each item is identified by the scene's environment, follow ed by its job, then its
name, in this format:
List of scene
cachesEnvironment/Job/Scene
If you select a scene cache in the list, the Manage Local Caches dialog w ill compare thedraw ings that are cached on your computer to the draw ings in the actual scene in the
database, and report if they are identical or not in the Local Cache Status field.

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Chapter 1: Dialog Boxes

Parameter

Description

If you select a cache, the Manage Local Cache dialog w ill analyze w hether the data in theselected cache matches the data in the actual scene in the Harmony Server database.
If it displays Scene's Local Cache is identical to the database, then the draw ings in theselected cache on your computer are identical to the draw ings in the corresponding scene in
the database, meaning that your cache and that the database are up to date.
If it displays Scene's Local Cache is different than database, then some draw ings in theselected cache on your computer are different from the draw ings in the corresponding scene in
Local Cache
StatusLocal Cache
Root Folder

the database. This usually means one of the follow ing:l

If the selected cache is the cache of the currently opened scene and you just saved yourscene, Harmony may still be uploading the updated draw ings to the database. In thiscase, you can close the dialog, w ait a few seconds, and reopen it to see if Harmony isdone uploading the draw ings. If it is, it w ill report that the cache is identical to the
database.

l

If this is not the cache of the currently opened scene, it is likely that the database scene
has been changed by someone else since the last time you opened it. That w ould meanthat the database version is more up to date than your cache. This is not a problem, as
next time you open the scene, your cache w ill be updated.

Indicates w here scene caches are stored on your computer. By default, scene caches are stored
in a folder named Toon Boom Harmony Local Cache, inside your Documents folder.

Allow s you to change the folder w here caches are dow nloaded w hen you open a scene.

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

Deletes the selected scene cache from your computer.

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

Close

Closes the dialog.

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Manage Pre- Render Cache Dialog Box
W hen a scene contains more than one Pre-render Cache node, it is possible to manage every or some Prerender Cache nodes at the same time.

How to access the Manage Pre- render Cache dialog box
1. In the top menu, select Scene > Manage Pre- render Cache.
The Manage Pre-render Cache dialog box opens.

How to manage all Pre- render Cache nodes at the same time
1. In the top menu, select Scene > Manage Pre- render Cache.
2. Define the range of the frames that need to be managed.
3. Select All Nodes.
4. Do one of the follow ing:lClick on the Render button to render every Pre-render Cache node.

lClick on the Clear button to clear the cache of every Pre-render Cache node.

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How to manage some Pre- render Cache nodes at the same time
1. In the Camera view , select every Pre-render Cache node that you w ant to manage.
2. In the top menu, select Scene > Manage Pre- render Cache.
3. Define the range of the frames that need to be managed.
4. Select Selected Nodes.
5. Do one of the follow ing:lClick on the Render button to render all selected Pre-render Cache nodes.

lClick on the Clear button to clear the cache of all selected Pre-render Cache nodes.

NOTE
It is also possible to open the Manage Pre-render Cache dialog box by using the Pre-render
Cache shortcut available under the General shortcut category.

Parameter

Description

All Frames: Select All Frames if you w ant to prerender the entire scene.
Range

Selected Frames: Select Selected Frames if you w ant
to render a part of your scene. Then, in the field to theleft, type in the first frame of the sequence you w ant
to export, and in the other field, the last frame of thesequence you w ant to render.

All Nodes: Select All Frames if you w ant to clear or
render the cache of every Pre-render Cache node.
Pre-render Cache Nodes

Selected Nodes: Select Selected Nodes if you w ant torender the cache on the Pre-render Cache nodes thatw ere previously selected in the Node view .

RenderRenders the frames into cache images w ithin theprerender.db folder of the current Pre-render Cachenode. Those images w ill be rendered as .rpng files.

Clear

Removes every cache image rendered w ithin theprerender.db folder of the current Pre-render Cache
node.

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

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

From the top menu, select W indows > Toolbars > Tool Presets.

l

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

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

Description

Icon

Lets you select a preset to manage.

ImportLets you import an existing preset.

ExportLets you export a preset for use in other projects.

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DeleteRemoves the preset from the list of tool presets.

Name

Lets you change the name of the preset.

Icon list

Lets you select an icon for the preset.

Folder icon

Lets you select an image for the preset.

ShortcutLets you assign a keyboard shortcut to the new preset.

ColourSaves the current colour into the tool preset.

Tool

If you disable this option, only the colour w ill be associated. You could, forexample, set three different colours w ith shortcuts not associated w ith any
tool. The colour preset w ould then w ork on any selected tool. Selecting thebrush tool w as only a vehicle to get into the New Tool Preset dialog box.

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

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Marker Dialog Box
The Timeline Scene Marker dialog box lets you create and manage scene markers in the Timeline view .

Scene markers are visual indicators displayed at the top of the Timeline view in the frame counter area. You
can use it to denote anything relevant to your w ork. You can indicate the frames you w ant to clean up, achange in action, an impact, or w here you intend to apply an effect. You can also add a note to a scene marker.
If you hold the mouse cursor over a scene marker, its name, starting frame, duration and note w ill be displayedin the tool tip box.

How to access the Timeline Scene Marker dialog box
1. In the Timeline view , do one of the follow ing:l

If you w ant to create a scene marker at a single frame, select that frame on any layer.

l

If you w ant to create a scene marker that spans over several frames, select this range offrame on any layer.

2. Right-click on the ruler at the top of the Timeline view and, in the context menu, select Scene
Markers > Create Scene Marker.

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NOTE
If your scene already contains scene markers, you can also open this dialog box by clicking ona scene marker to select it, then right-clicking anyw here on the timeline ruler and selecting
Scene Markers > Edit in the contextual menu.

Parameter

Description

Name

The name of the marker.

Time

The frame number at w hich the marker starts.

The amount of frames during w hich the marker spans.

Duration

TIP
You can set the duration to zero to make a marker that just points at thestarting frame.

ColourAllow s you to select a colour for the scene marker.

Note

Allow s you to type a description for the scene marker.

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

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

Icon

l

In the top menu, select Play > Mini Playback.

l

In the Mini Playback toolbar, click on the

Mini Playback Dialog button.

Parameter

Description

Frame Rate

The speed at w hich Mini Playback should play your animation. By default, it is
set to Same as Scene to play at the same pace as your scene's frame rate.
Otherw ise, you can choose among a set of commonly used frame rates.

Before

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

Play

Starts Mini Playback. Playback w ill start at the amount of frames in the Before
field before the current frame, and end at the amount of frames in the After
field after the current frame, at the frame rate in the Frame Rate drop-dow n.

After

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

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Movie Options Dialog Box (macOS)
The Movie Options dialog box allow s you to configure the video and audio settings w hen exporting a movie in
QuickTime Movie (.mov) format on macOS.

NOTES
l

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

How to access the Movie Settings dialog box from the Export Movie dialog
1. From the top menu, select File > Export > Movie.
The Export Movie dialog box appears.

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2. In the Movie Format drop-dow n, select QuickTime ProRes Movie (*.mov).
3. Click on the Movie Options button.
The QuickTime Movie Options dialog box appears.

4. In the Codec drop-dow n, select any of the movie options.

How to access the Movie Settings dialog box from the Export OpenGL Frames dialog
1. In the top menu, select File > Export > OpenGL Frames.
The Export OpenGL Frames dialog box appears.

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2. In the Format section, select Movie.
3. In the Movie Format drop-dow n, select QuickTime Movie (*.mov).
4. Click on the Movie Options button.

How to access the Movie Settings dialog box from the W rite node Layer Properties
1. In the Node view , locate your scene's W rite node.
2. Open the W rite node's Layer Properties by doing one of the follow ing:lClick on the yellow squareat the left end of the W rite node.

l

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

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The W rite node's Layer Properties dialog appears.

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

Parameter

Description

Video

Allow s you to select w hich algorithm to use to compress the video data. The follow ing
video codecs are supported:

Codec

l

H.264 Legacy: A very effective lossy compression algorithm that is commonly
supported by w eb brow sers and media players.

lH.265 Legacy: Same compression quality as H.264, but w ith a smaller compression
size. This is useful for videos intended for the w eb and mobile devices. Not
supported on all major brow sers or operating systems.

lApple ProRes 422 Legacy: A nearly lossless compression algorithm commonlyused for video editing on Apple systems. This codec is optimized for preserving
video quality, but not for publishing or streaming.

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Parameter

DescriptionlApple ProRes 422 HQ Legacy: Preserves visual quality at the same high level asApple ProRes 4444 but for 4:2:2 image sources (cleaner footage for things likegreen screening). Heavier than Apple ProRes 422 for real-time editing performance.

lApple ProRes 422 LT Legacy: A more highly compressed codec than Apple ProRes
422, w ith roughly 70 percent of the data rate and 30 percent smaller file sizes. This
codec is perfect for environments w ith limited storage capacity and data rates.

lApple ProRes 422 Proxy Legacy: An even more highly compressed codec thanApple ProRes 422 LT, intended for use in offline w orkflow s that require low data
rates but full-resolution video.

lApple ProRes 4444 Legacy: A nearly lossless compression algorithm commonlyused for video editing on Apple systems. Compared to Apple ProRes 422, this codec
preserves more colour detail and supports transparency. How ever, it results inheavier file sizes.

Check this option if you w ant to export a video w ith transparency.

Alpha

NOTE
This option is only available w hen exporting w ith the Apple ProRes 4444 codec. Other
codecs do not support transparency.

Sound

Uncheck this checkbox if you w ant to export a movie w ithout an audio track.

Allow s you to select the sample rate, or frequency, in w hich to export the audio track for themovie.

Rate

NOTE
Harmony cannot export audio at a higher sample rate than 22.050 kHz. If you select ahigher sample rate, your project's audio w ill be upsampled, w hich means it w ill takemore disc space w ithout increasing in quality.

Allow s you to select w hether to export the movie's audio track using the Mono or Stereo
channel mode.
Use

NOTE
Stereo sound has a separate track for the left and right speakers, w hereas mono soundonly has a single audio track for all speakers.

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QuickTime Movie Settings Dialog Box (W indows)
The Movie Settings dialog box allow s you to configure the video and audio compression settings w hen
exporting a QuickTime Movie (.mov) file.

NOTES
l

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

lThis dialog can only be accessed on W indow s and requires Apple QuickTime to be installed.

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

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2. In the Movie Format drop-dow n, select QuickTime ProRes Movie (*.mov).
3. Click on the Movie Options button.
The QuickTime Movie Options dialog box appears.

4. In the Codec drop-dow n, select any of the movie options.

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How to access the QuickTime Movie Settings dialog box from the Export OpenGL
Frames dialog
1. In the top menu, select File > Export > OpenGL Frames.
The Export OpenGL Frames dialog box appears.

2. In the Format section, select Movie.
3. In the Movie Format drop-dow n, select QuickTime Movie (*.mov).
4. Click on the Movie Options button.

How to access the QuickTime Movie Settings dialog box from the W rite node Layer
Properties
1. In the Node view , locate your scene's W rite node.

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2. Open the W rite node's Layer Properties by doing one of the follow ing:lClick on the yellow squareat the left end of the W rite node.

l

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

The W rite node's Layer Properties dialog appears.

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

Parameter

Description

Video

Settings

Opens the Standard Video Compression Settings dialog box. This is w here you

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can set the video compression settings for the movie you w ill export—see
QuickTime Standard Video Compression Settings Dialog Box (W indow s) on page
261.

FilterSize

Opens the Choose Video Filter dialog box, w here you can select from a range offilters to apply to your video export.

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

Sound

Settings

Opens the Sound Settings dialog box. This is w here you can you set the soundcompression settings for the movie you w ill export—see QuickTime Sound
Settings Dialog Box (W indow s) on page 254.

If this option is enabled, the video w ill be optimized to start playing w hile it is
dow nloading, as videos do in w eb brow sers and w eb-based streaming
applications.
lPrepare for Internet
Streaming

Fast Start: The video plays as soon as enough data required to start
playback has been dow nloaded.

lFast Start - Compressed Header: Same as Fast Start, except the header
is compressed for an even faster start. Requires QuickTime 3.0 or later.

lHinted Streaming: Allow s you to optimize the movie file for streaming
through QuickTime Server Softw are. Click on the Settings button toconfigure how hints are created in your movie file.

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

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

From the top menu, select File > New.

l

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

button.

The New Scene dialog box opens.

Parameter

Description

Name

Lets you type in a name for the new scene.

Location

Lists the locations you used most frequently for storing scenes.

Brow seOpens a brow ser in w hich you can specify a location for the new scene thatis not listed in the Location list.

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Camera Size

Opens a list of resolutions.

+ (Create Custom
Resolution)

Opens the New Resolution w indow in w hich you can create a custom
resolution that is added to the Camera Size list.

- (Delete Custom Resolution)

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

W idthIndicates the w idth of the resolution you chose from the Camera Size list.

Frame Rate

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

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

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

From the top menu, select W indows > Toolbars > Tool Presets.

l

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

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

Description

Name

Lets you give the preset a meaningful name.

Icon list

Lets you select an icon for the preset.

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Folder icon

Lets you select an image for the preset.

ShortcutLets you assign a keyboard shortcut to the preset.

ColourSaves the current colour into the tool preset.

Tool

If you disable this option, only the colour w ill be associated. You could, forexample, set three different colours w ith shortcuts not associated w ith any
tool. The colour preset w ould then w ork on any selected tool. Selecting thebrush tool w as only a vehicle to get into the New Tool Preset dialog box.

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

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

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

Table Transparency dialog box.

Command

Description

Onion Skin Opacity

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

Lighttable Opacity

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

LightTable W ash

Sets the w ashed-out value for the light table display. Moving the slider all thew ay to the left = 0% opacity. Moving the slider all the w ay to the right = 100%
opacity.

Bitmap Background
W ash

Sets the maximum opacity value for the background w ash. Moving the slider all
the w ay to the left = 0% opacity. Moving the slider all the w ay to the right =100% opacity. Only w orks for bitmap layers.

Pencil Lines Opacity

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

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Palette Browser Dialog Box
The Palette Brow ser dialog allow s you to decide the level of palette list and palette storage to use w hen you
w ant to create, clone, link to or import a palette.
This dialog only appears if you have the Advanced Palette Lists preference enabled, w hich is disabled bydefault. W hen Advanced Palette Lists mode is disabled, Harmony automatically stores palettes in a scene's
palette list, inside the scene's palette-library subdirectory.

How to access the Palette Browser dialog box
1. Start Harmony and log in.
2. Close the Database Selector dialog box.
3. From the top menu, select Tools > Palette Operations.
4. In the Palette Operations dialog box that opens, select the palette you w ant to clone at the locationand level in w hich it w as stored.
5. Click Clone.

Parameter

Palette Location

Description

This allow s you to brow se for the physical location of the palette file in yourdatabase.
If you are using Harmony Stand Alone, you can still select the scene's ow n job or169

Chapter 1: Dialog Boxes

environment as a location. Stand alone scenes have a provisional job andenvironment storage space inside the scene's directory. The files in these storage
spaces can be imported into a database scene's actual job and environment w hen
importing the scene to a Harmony database. If you never intend to use Harmony
Server, you should keep your palettes inside your scene or element's palette
libraries.

Stores the palette file in the selected environment's palette library. Environments
are typically used to contain a w hole production, series or feature film.
l

In Harmony Server, this stores the palette in /USA_DB/environments/[environment name]/palette-library.

l

In Harmony Stand Alone, this stores the palette inside the scene's
directory, under environments/Digital/palette-library.

Environment

Stores the palette file in the selected job's palette library. Jobs are typically used
to contain episodes in a series, or any set of scenes that is intended to be put inthe same sequence.
Jobl

In Harmony Server /USA_DB/jobs/[job name]/palette-library.

l

In Harmony Stand Alone, this stores the palette inside the scene's
directory, under jobs/Digital/palette-library.

Scene

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

Element

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

PaletteThis lists the existing palettes in the selected location.

New Palette Name

If you are creating or cloning a palette, use this field to enter the palette file's
name. The palette w ill be listed under this name in your palette list. On your filesystem, it w ill be named after its palette name, follow ed by the extension .plt.

W hen creating a palette, you can choose betw een the follow ing palette types:lColour: A colour palette can contain colours, gradients and bitmap
textures.

l

Pencil Texture: A pencil texture palette can contain textures to apply astransparency filters to pencil lines, in combination to their line colour, tocreate various styles of pencil lines.

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Palette List

Scene Palette List

This allow s you to decide if you w ant the palette to be added to your scene's
palette list, or to the currently selected element's palette list.

Adds the palette to the scene's palette list. Palettes in the scene's palette list areavailable to all the elements in your scene. This is especially useful if you aredoing digital animation, w here character models can be made of many layers thatneed to use the same palette.

Adds the palette to the currently selected element's palette list. Palettes in an
Element Palette List

element's palette list can only be used by the draw ings in this element, and w ill
only be listed in the Colour view w hen this element is selected. This can be useful
if you are doing traditional animation, w here each character is usually draw n on asingle layer, and you w ant each layer to have its ow n palette.

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Palette Operations Dialog Box
W hen you start Toon Boom Harmony Premium connected to the database, you can access the PaletteOperations dialog box w hich lets you clone, rename, or delete palettes in your database, w ithout having toopen a scene or brow se the database's file system in your operating system's shell.
In Harmony, palettes are individual *.plt files that can be copied, transferred and stored. W hen a palette is
created from Harmony, it needs to be stored somew here. By default, the palette file is stored in the scene
directory in a palette-library folder unless you specify a different location.
There are four locations w here you can find palette-library folders: Element, Scene, Job and Environment.

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

Parameter

Description

Environment

The production, project, feature film or series.

Job

The episode and sequence from each environment.

Scene

The scenes from each job.

Element

The layers and columns in each scene.

PaletteThe scene palettes.

Description

Notes, if any, of the project.

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Clone

Opens the Palette Brow ser dialog box from w hich you can select the level inw hich to store the palette file.

RenameLets you rename a palette.

Lets you delete a palette.

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

Close

Closes the Palette Operations dialog box.

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

Parameter

Description

Draw ings

Never create drawing files: W hen adding exposures to a draw ing layer, draw ing
files w ill not be created.

Add/Remove
Exposure

Only create drawing files when they do not exist: W hen adding exposures to adraw ing layer, new draw ings w ill be created only w hen draw ings w ith the same
name do not already exist in the destination.

Always create drawing files: W hen adding exposures to a draw ing layer, newdraw ings w ill alw ays be created. If draw ing files w ith the same name alreadyexist, Harmony w ill create a new name for the draw ing.

Enforce Key Exposure

If there are key exposures that exist on copied draw ings, they are preserved w hen
pasting. No key exposures are added. This is the default behavior w hen pasting.

Fill Gap w ith Previous
Draw ing

Fills selected area in the Xsheet or Timeline view w ith the previous draw ing.

Fill to Next Key
Exposure

Fills selected area till the next key exposure.

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Keyframes

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

Velocity: Copies the properties of the selected velocity keyframe to the newframe.

Add/Remove

Rotation: Copies the properties of the selected rotation keyframe to the newframe.

Keyframes
Scale: Copies the properties of the selected scale keyframe to the new frame.

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

Force Keyframes at Function's Beginning and End: Adds a keyframe to thebeginning and end of the pasted function, reproducing the source function.

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Paste Special Dialog Box
The Paste Special dialog box lets you determine how templates and symbols are imported in the Timelineview .
W hen you import a template in the Timeline view , all layers are created as w ell as draw ings and keyframes.
You can choose to import only the keyframes w ithout the draw ings or import only the draw ings that are notalready in your layers. You can adjust the behaviour using the Paste Special dialog box.W hen you import asymbol in your scene, its full length is exposed by default. If you import a symbol in the Timeline view ’s left
side, all the frames w ill be exposed. How ever, if you import it into an existing layer, you can use the Paste
Special dialog box to adjust the import behaviour to fit your requirements.Once you set the parameters,
Harmony w ill reuse them each time you import a symbol in the Timeline view ’s right side until you set newparameters.

How to access the Paste Special dialog box
1. In the Library view , select the symbol or template to import.
2. Do one of the follow ing:l

W hile holding dow n the Alt key, click and drag on the template, then drop it on the Timelineview , over the layer and at the frame w here you w ant to paste it.

lPress Ctrl + C (W indow s/Linux) or ⌘ + C (macOS). Then, in the Timeline view , click on theframe w here you w ant to paste the template and press Ctrl + B (W indow s/Linux) or ⌘ + B(macOS)

The Paste Special dialog box opens.

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Parameter

Description

Draw ings

Do Nothing

Does not create or overw rite draw ings.

Update Draw ing
Pivot

Revises the draw ing pivot in the destination to use the same draw ing pivot as thefirst draw ing in the template. If you have a range of draw ings selected in thedestination, the pivot points of all selected draw ings w ill be updated.

Never create drawing files: W hen adding exposures to a draw ing layer, draw ing
files w ill not be created.

Only create drawing files when they do not exist: W hen adding exposures to adraw ing layer, new draw ings w ill be created only w hen draw ings w ith the same
name do not already exist in the destination.

Replace existing drawings. Create drawing files when they do not exist:
Replace draw ings w ith the same names to update a scene w ith new modified
draw ings and preserve the animation.
Tip: If you don't w ant to lose the existing animation w hen pastinga template, such as w hen placing new draw ings after the
animation, then delete the template's animation. It w ill still haveupdated the draw ings but not override the existing animation.
Add/Remove
Exposure

Always create drawing files: W hen adding exposures to a draw ing layer, newdraw ings w ill alw ays be created. If draw ing files w ith the same name alreadyexist, Harmony w ill create a new name for the draw ing.

Enforce Key Exposure: If there are key exposures that exist on copied draw ings,
they are preserved w hen pasting. No key exposures are added. This is the default
behavior w hen pasting.

Fill Gap with Previous Drawing: Fills selected area in the Xsheet or Timelineview w ith the previous draw ing.

Fill to Next Key Exposure: Fills selected area till the next key exposure.

Paste all frames of the symbol (full movie): W hen enabled, the Paste Special
command exposes all the symbol's frames instead of only the first one.

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Symbols

Copy symbols if they
do not exist

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

Duplicate symbols

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

Paste all Frames ofthe symbol (fullmovie)

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

Add Remove/Keyframes

MotionCopies the properties of the selected motion keyframe to the new frame.

Velocity

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

Rotation

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

Scale

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

Skew

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

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

Offset Keyframes

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

Options

Do nothing: Does not create, overw rite, merge or link palettes.

Palettes

Reuse palettes. Copy palettes if they do not exist: Palettes in the destination
draw ings are left as they are.
Copy and overwrite existing palettes: Overw rites destination palettes w ith thepalettes from the source draw ings.

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Copy and create new palette files: Creates new palette files, placing them at thesame relative environment and scene level as the source. If the palettes in thetemplates w ere stored at the environment level of the source scene, the paste
operation w ill place the palettes in the environment level of the destination
scene.
Copy and create new palette files in element folder: Creates new palette files inthe element folders of the destination scene, rather than in the same relative job
or environment.
Copy palette and merge colours. Add new colours only: Adds new colours to
the destination palettes and ignores colours that are the same in the tw o palettes.
Copy palettes and update existing colours: Adds new colours to the destination
palette and updates duplicate colours in the destination w ith colour values fromthe source.
Link to original palettes (colour model): Links the colour palettes in thedestination scene to the palettes in the source. Use this to link draw ings to thepalettes in a colour model.
Copy scene palettes and merge colours. Add new colours only: Adds newcolours to the destination scene palettes and ignores colours that are the same in
the tw o palettes.
Copy scene palettes and update existing colours: Adds new colours to thedestination scene palette and updates duplicate colours in the destination w ith
the colour values from the source.

Normal (forward):Pastes your selection as is, starting w ith the first cell and ending w ith the last.
Reverse: Pastes your selection in reverse, starting w ith the last cell and ending
w ith the first.
CyclesForward > Reverse:Pastes your selection as a yo-yo, starting w ith the first cell,going to the last one and ending w ith the first cell.
Reverse > Forward: Pastes your selection as a reverse yo-yo, starting w ith thelast cell, going to the first one and ending w ith the last cell.

Nodes

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

Elements

Reuse existing elements: Lets you paste existing elements w ithout creating new
ones. This should be used only w hen pasting w ithin versions of the same scene.

Validation

Match by Node/Layer Name: W hen pasting a template w ith a hierarchy onto
another hierarchy, this option looks to match the pasting elements w ith the same

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layer or node name, rather than the same hierarchical structure. This means thateven if the tw o hierarchies are different, a new pose of a character's body part w ill
still be pasted on the correct body part layer, as long as both layers are named
the same.

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Pen Pressure Feel Dialog Box
The Pen Pressure Feel dialog box allow s you to configure how Harmony processes the pressure you put on
your tablet pen to apply it to the size of your draw ing tool.

By default, Harmony applies the pressure you put on your pen to your tool in a linear fashion. That is, if you put
25% of the maximum pressure on your pen, your tool's size w ill be 25% of the w ay betw een its minimum andmaximum size. If you put 75% of the maximum pressure on your pen, your tool's size w ill be 75% of the w ay
betw een its minimum and maximum size.
How ever, you may find that it w ould feel more natural, or that it w ould make it easier to control the size ofyour draw ing strokes, if Harmony interpreted the pressure you put on your pen differently. For example, you
may w ant Harmony to make your brush strokes small unless you put a lot of pressure on your pen, or you may
w ant Harmony to make your brush strokes big unless you put very little pressure on your pen. This is w here
the Pen Pressure Feel dialog box comes in handy.

NOTE
For information on how to use the Pen Pressure Feel dialog, refer to the User Guide.

How to access the Pen Pressure Feel dialog
1. Add the Pen Settings toolbar to your w orkspace by doing one of the follow ing:l

In the top menu, select W indows > Toolbars > Pen Settings.

lRight-click on any existing toolbar and, in the context menu, select Pen Settings.

2. In the Pen Settings toolbar, click on the

Pen Pressure Feel button.

The Pen Pressure Feel dialog appears.

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Parameter

Description

The percentage of your pen's maximum pressure you must apply before Harmony registers
that you are draw ing. If you increase this setting, you can lightly brush your tablet w ith yourpen w ithout draw ing, and you must apply a certain amount of pressure on it to draw .
Min Pressure

For example, if you set this to 15%, you can apply up to 15% of your pen's maximum pressure
w ithout actually draw ing. If you apply exactly 15% of your pen's maximum pressure, Harmony
w ill draw a stroke in your tool's minimum size.
By default, this is set to 0%, w hich means that just brushing the tablet w ith your pen w ill draw
in your tool's minimum size. You can increase this setting up to 25%.

Curve Preset

Allow s you to instantly apply a curve preset to the pressure curve below .

The percentage of your pen's maximum pressure at w hich point your draw ing tool should draw
in its maximum size.
Max Pressure

For example, if you set this to 80%, your draw ing tool w ill draw in its maximum size if you
apply 80% of your tablet pen's maximum pressure.
By default, this is set to 100%, w hich means you have to press your tablet pen all the w ay todraw in your draw ing tool's maximum size. You can decrease this setting dow n to 75%.

This curve determines how to process the amount of pressure you apply to your tablet pen into
your draw ing tool's size.
By default, it is linear, meaning that the amount of pressure you put on your tablet pen is
directly applied to the size of your draw ing tool. By moving the tw o Bezier handles betw een
the extremities of the curve, you can change the curve's shape.
l

If you make an ease-in curve like the one below , the size of your draw ing strokes w illtend to be closer to the minimum size of your draw ing tool, unless you apply a lot ofpressure on your tablet pen.

l

If you make an ease-out curve like the one below , the size of your draw ing strokes w illtend to be closer to the maximum size of your draw ing tool, unless you apply very little
pressure on your tablet pen.

Pressure Curve

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Parameter

Descriptionl

If you make an ease-in-ease-out curve like the one below , the size of your draw ing
strokes w ill tend to be closer to the minimum size of your draw ing tool w hen applying
light pressure, and to be closer to the maximum size of your draw ing tool w hen
applying more pressure, but it w ill rarely be the median betw een the minimum and the
maximum size.

l

If you make an ease-out-ease-in curve like the one below , the size of your draw ing
strokes w ill tend to be closer to median betw een the minimum and maximum size ofyour draw ing tool, unless you apply very little or a lot of pressure on your tablet pen.

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

Parameter

Description

Preview W indow

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

Load Selected Template

Updates the template w ith the new ly selected template.

Template Name

Name of the currently selected template.

Vertical Slider (SLV)

Linked to the slv- node of the node system.

Horizontal Slider 1 (SLH)

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

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Horizontal Slider 2 (SLX)

Linked to the slx- node of the node system.

Fill to Next Key Exposure

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

Use Default Destination
ModuleW hen enabled, the pasted keys w ill automatically refer to the destination
defined in the option Set Default Destination Module.

Paste by Layer Name

W hen this option is checked the pasted layers w ill look for the individual layer
name instead of matching the hierarchy of the template.

Set Default Destination Module

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

Find

This w ill center on the default destination in the timeline.

Paste

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

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

Horizontal 1

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

Horizontal 2

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

Frame

Frame number of the selected frame w ithin the master template.

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Preferences Dialog Box
The Preferences dialog box allow s you to adjust preferences to suit your w orkflow and your production's
needs.

NOTE
For a list of all the preferences as w ell as their functionality, refer to the Preferences guide.

How to open the Preferences dialog box
1. Do one of the follow ing:ll

W indows or GNU/Linux:l

In the top menu, select Edit > Preferences.

l

Press Ctrl + U.

macOS:l

In the top menu, select Harmony Premium > Preferences.

l

Press ⌘ + U.

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Parameter

Description

This drop-dow n allow s you to select among one of the available preference presets.
The different preference presets have a lot of settings in common. The follow ing table lists how eachpreset differs for specific preferences:

Preference Set
Tab /Location

Preference
Basic

Compositing

CutoutAnimationPaperless
Animation

Rigging

Focus on
Mouse
Enter

Off

On

On

On

On

Default
pass
Through
Composite

Off

Off

On

Off

On

Default
Separate
Position for
Pegs

Off

Off

On

Off

On

StopMotion
Keyframes

Off

Off

On

Off

On

ReduceIndentation

Off

On

On

Off

On

Drawing
Substitutio
n: Create
Key
Exposure

On

Off

Off

Off

On

SupportOverlayandUnderlay

Off

On

On

Off

On

GeneralPreference SetTimeline

Advanced

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Parameter

Description

Preference Set
Tab /Location

Preference
Basic

Compositing

CutoutAnimationPaperless
Animation

Rigging

Advanced
Display

Off

On

Off

Off

On

Advanced
Palette List

Off

On

On

On

On

Advanced
Element
Mode

Off

On

Off

Off

Off

Element
Node
AnimateUsing
Animation
Tools

On

On

Off

On

Off

Auto Close
Gap

On

On

On

On

Off

Arts

PencilTool
Properties

Save...

Allow s you to export your current preference settings as an XML file, w hich you can import later.

Load...

Allow s you to brow se for and import a preference file that w as exported w ith the Save... button.

W here you can brow se for and change preferences.
Preference TabsNOTE
For a list of all the preferences as w ell as their functionality, refer to the Preferences guide.

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Parameter

Description

RestoreAll
Defaults

Restores all your preferences to their default setting for the selected preference set.

OK

Commits your changes to the preferences and closes the dialog.

CancelUndoes your changes to the preferences and closes the dialog.

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Recolour Drawings Dialog Box
The Recolour Draw ing dialog box allow s you to replace all instances of a colour or texture in draw ings w ith adifferent colour or texture sw atch in one of the scene's palettes. This replaces the colours or textures in thedraw ings w ithout requiring you to modify the palettes. You can use this dialog to perform colour replacementin the current draw ing, in all the draw ings in one or several layers or in all draw ings in your scene.
This dialog w ill replace the colour or texture that is currently selected in the Colour view w ith the colour or
texture that you select inside the dialog.

How to access the Recolour Drawings dialog
1. In the Colour view , select the colour or texture sw atch you w ant to replace by doing one of thefollow ing:lSelect the palette in w hich the colour or texture sw atch is located, then select the sw atch
you w ish to replace.

l

If the draw ing in the Camera or Draw ing view contains the colour or texture you w ant toreplace, select the Colour Eyedropper

tool in the Tools toolbar, then click on that colour

or texture in the draw ing. The Colour view w ill automatically select that colour or texture's
palette as w ell as that colour or texture's sw atch.

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2. Do one of the follow ing:lRight-click on the sw atches list, then select Recolour Drawings.

lOpen the Colour view menu

Parameter, then select Colours > Recolour Drawings.

Description

Allow s you to select w hich draw ings w ill be affected by the colour replacement:lCurrent drawing: Replaces the selected colour in the currently selecteddraw ing only.

l

All drawings in the currently selected layers: Replaces the selectedcolour in all the draw ings in the layer that is currently selected in theTimeline, Xsheet or Node view .

Replace Colour In

NOTEThis option can w ork w ith several draw ing layers selected.

lReplacement Colour

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

Allow s you to select the palette and colour or texture sw atch to replace theselected colour or texture w ith.

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

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

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

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

l

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

l

Press Shift + D.

Parameter

Description

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

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

Apply to all draw ings

Applies the operation to all draw ings in the layer.

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Remove Frames Dialog Box
The Add Frames dialog box allow s you to remove a range of frames from your scene. All the keyframes andthe exposed draw ings in the removed range w ill be deleted, and the keyframes and exposed draw ings after
the removed range w ill be offset backw ards, so as to close the gap.

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

2. Do one of the follow ing:l

From the top menu, select Scene > Frame > Remove Selected Frames.

l

In the Xsheet view , right-click and select Frame > Remove Selected Frames.

The Add Frames dialog box appears.

Parameter

Description

Number of frames to remove

The amount of frames to remove. The range of frame that w ill be removed starts
from the selected frame—or the first selected frame, if a range of frames isselected—and ends after the selected number of frames.

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Parameter

Description

By default, this is set to the amount of selected frames.

Ripple Scene Markers

If checked, scene markers after the removed frames w ill be offset backw ard toremain synchronized w ith the keyframes and draw ings in your scene. If
unchecked, scene markers w ill remain in place w hile everything else after theremoved frames is offset.

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

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

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

Parameter

Description

SliderLets you adjust the number of length of hairs selected.

Apply to all draw ings

Applies the operation to all draw ings in the layer.

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Render 3D Model Dialog Box
The Render 3D Model dialog box allow s you to render a 3D model into a 2D bitmap layer. In this dialog, you
can pick the point of view and angle from w hich the model is rendered, as w ell as apply geometricaltransformations to the model before rendering it.

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

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

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2. In the Files field, click on Browse.
An Open dialog appears.
3. Brow se to an select your 3D model, then click on Open.

NOTE
If you w ant to import a 3D model as a rendered 2D image, you can only import a single
3D model at a time.

NOTE
You can only import .osb, .3ds, .obj, .fbx, .abc and .dae type 3D models.

4. In the Import 3D Models dialog, check the Convert to 2D checkbox.
5. Click on OK.
The Render 3D Model dialog appears.

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Parameter

Description

The preview area displays the 3D model as it w ill be rendered in the scene. Black bars
display around the area to mark parts of the areas that are outside of the camera frame.
In this area, you can:lEither click and drag on the vertical slider to the right or scroll the mouse w heelup or dow n to adjust the distance betw een the camera and the model.

lHold Ctrl + Shift (W indow s/Linux) or ⌘ + Shift (macOS), then click and drag on
the preview area to rotate the camera.

l

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

Preview Area

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Parameter

Description

Camera

The angle of the camera cone used to render the 3D model. A w ide angle w ill render
the model w ith less perspective, and a narrow angler w ill render it w ith exaggerated
perspective.
Focal Length

NOTE
Increasing this setting w ill also decrease the perceived size of the 3D model, anddecreasing it w ill increase its perceived size. You must then adjust the camera's
distance from the model or the model's scaling to compensate.

Transformation

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

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

l

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

l

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

Translation

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

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

l

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

l

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

Rotation

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

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Parameter

Description

scaling of the 3D model on all axes, preserving its proportions.
l

X: The horizontal scaling of the model.

l

Y: The vertical scaling of the model.

l

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

Click on this button to automatically adjust the model's Truck, Translation X and
Fit Model to View

Translation Y parameters so that the model fits inside the camera field and ispositioned in its centre.

Render to Scene

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

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

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Render W rite Nodes Dialog Box
The Render W rite Nodes dialog box lets you configure your scene to render locally or sent it to a render farmso other computers can render your scenes w hile you continue w orking on your station.
In Harmony Stand Alone, the Render W rite Nodes dialog box w ill look as follow s:

In Harmony Server, the Render W rite Nodes dialog box w ill have an additional section, Batch Composite
Options, w hich allow s to set parameters for the server's batch rendering service:

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

lBatch Rendering is done by sending a scene to the server's render queue so it can be processed by therender farm. This allow s you to keep w orking on your scene w hile the render is being done. The
rendering progress can be monitored in Control Center and, w hen finished, the results can bepreview ed in Play. Batch Rendering gives you access to additional rendering options.

In either case, the render w ill be output in the same folder and in the same file formats, as those aredetermined by the scene's W rite nodes. How ever, batch rendering supports additional options, such as
rendering in chunks, or in different resolutions than the scene's resolution.

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How to access the Render W rite Nodes dialog box
1. Do one of the follow ing:l

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

lPress Ctrl + Shift + Y (W indow s/Linux) or ⌘ + Shift + Y (macOS).

The Render W rite Nodes dialog box opens.

Parameter

Description

Range

All Frames

Sends all the frames in the scene to be rendered.

Selected Frames

Sends the specified range of frames to be rendered.

Batch Composite Options

Check this to send the scene to batch rendering and unlock batch rendering
options. Otherw ise, the scene w ill be rendered locally.

Debug

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

Chunk

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

Size (Frames)

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

CameraIf you created a scene w ith several Camera nodes, this allow s you to specify
w hich one to use for the render.

This allow s you to set the w idth and height of the rendered images or movie,
either:Resolution
By Name: Allow s you to select betw een Default or one of the available resolution
presets. If Default is selected, the scene w ill be rendered in its ow n resolution.

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By Value: Allow s you to set the w idth and height of the rendered images in
pixels.

Field Composite Options

Renders using the 3:2 pull-dow n technique. Every odd-numbered frame w ill berendered on 3 images, and every even-numbered frame w ill be rendered on 2
images.
The exported images w ill be named in pairs to indicate that they are to be
combined together. Therefore, the exported frames w ill follow this scheme:

Exported Image File

Rendered Frame

final-0001-f1.tga

Frame 1 of the scene

final-0001-f2.tga

Frame 1 of the scene

final-0002-f1.tga

Frame 1 of the scene

final-0002-f2.tga

Frame 2 of the scene

final-0003-f1.tga

Frame 2 of the scene

final-0003-f2.tga

Frame 3 of the scene

final-0004-f1.tga

Frame 3 of the scene

final-0004-f2.tga

Frame 3 of the scene

Add Pulldow nThis makes a scene animated in 24 frames per second output in 60 images per
second. Hence, once the paired images are combined, this w ill make a 30 frames
per second render.

Automatic Combine

Combines each pair of images rendered w ith Pulldow n by interlacing them
together.

Second Field First

By default, w hen images rendered w ith Pulldow n are combined, the first image ina pair is rendered on odd lines (referred to as the first field), and the second isrendered on even lines (referred to as the second field). This does the opposite:
The second image in a pair is rendered on odd lines and the first one is renderedon even lines.

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Preview

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

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Rigid Point Deform Node

The Rigid Point Deformer is a type of w eighted-deformation that prioritizes rigid transformations over
deformations and is applied by tracking the position of attached pegs. It is particularly useful for tracking anddeforming textures on characters and animated surfaces and is used w ith the W eighted Deformer node.

How to access the Rigid Point Deform Node dialog box
1. In the Node View press Enter.
2. Type in the name of the node you w ant to search.
3. Select the node.
4. Click the yellow box on the left to open the dialog box.

lW eight: A percentage value that defines the w eight of all points connected to the Rigid Point
Deform. This w eight is considered w hen calculating the influence of all points, curves and Rigid
Point Deforms connected to the W eighted Deform. These w eights are relative to one another in the
W eighted Deform system. A w eight of 50% w ould have half the influence in the W eighted
Deformation system than a w eight of 100% w hen connected to that same system.

l

Minimum Distance: The Rigid Deform considers the proximity of the elements in the draw ing andthe points influence is based on that distance. W hen a minimum distance is defined, any points
w ithin that minimum distance are completely influenced by that point and this influence falls off as
it approaches the maximum distance.

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Chapter 1: Dialog BoxeslMaximum Distance: Similar to the Minimum Distance, the Maximum Distance defines the distancein w hich the point has little to no control over the surrounding elements in the draw ing.

The Minimum and Maximum distance are useful in defining particular regions of control w ithin aW eighted Deformation system.

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

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

In the top menu, select File > Save.

l

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

Save button.

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

Parameter

Description

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This Version

Allow s you to enter the name of the current version.

Description

Enter a short description of the current version.

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

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

Resolution Tab

The resolution tab allow s you to set the w idth and height of your scene in pixels, the angle of the field of viewand the w ay elements are projected across the depth of your scene.
Icon

Parameter

Description

You can select your project’s resolution (camera frame size) fromthis preset list.
Resolution Presetsl

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

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Icon

Parameter

Descriptionl

HDTV_1080p25: The standard definition for high definition
television at 25 frames per second, usually for broadcastingin European, African, Asian and Australian countries thatused the PAL or SECAM standard for analogue television.

l

HDTV_1080p23.976: The standard definition for highdefinition television at 23.976 frames per second. This isuseful if the remainder of your pipeline uses the 23.976
framerate for legacy reasons.

lHDTV_720p24: The former standard high definition
resolution at 24 frames per second.

l

4K_UHD: A standard ultra HD (4K) format for television
productons. 4K implies that the w idth of the image is of, giveor take, 4000 pixels.

l

8K_UHD: A standard ultra HD (8K) format for television
productions. 8K implies that the w idth of the image is of, giveor take, 8000 pixels.

l

DCI_2K: A standard HD format for cinema.

l

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

lfilm- 2K: A standard HD format for film projectors w ith a low
aspect ratio.

lfilm- 4K: A standard ultra HD (4K) format for film projectors
w ith a low aspect ratio.

lfilm- 1.33_H: The standard resolution for the academy film
format that conforms to the standard 4:3 aspect ratio.

lfilm- 1.66_H: The standard resolution for w idescreen film
format that conforms to the 16:9 aspect ratio.

lfilm- 1.66_V: The standard resolution for w idescreen film
format, but w ith a vertical field of view .

lCineon: The standard format for 35 mm Kodak/Cineon film.

l

NTSC: The standard resolution and framerate for analogue
standard definition televisions in most of the Americas(except Brazil, Paraguay, Uruguay and Argentina), Japan,
Taiw an, South Korea, the Philippines and Myanmar.

l

PAL: The standard resolution and framerate for analogue
standard definition televisions in Europe, Africa, Australia,
most of Asia, Brazil, Uruguay and Argentina.

l2160p- 240p: A series of standard w idescreen presets
named after their resolution heights.

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Icon

Parameter

Descriptionllow: A resolution based on NTSC w ith half of its standard
dimensions.

l

W eb_Video: A legacy format for w eb streaming.

lGame_512: A preset for the gaming pipeline, w ith a squarecanvas.

l

Game_512_Ortho: Like Game_512, except w ith
Orthographic projection so that elements moved on the Z
axis do not appear smaller or bigger.

Selected Resolution Presetl

W ebCC_Preview: The preset used by W ebCC to renderpreview s of scenes in a Harmony Server database.

l

HDTV: The standard definition for high definition television
at 24 frames per second, w ith a horizontal fit field of view .

l

HDTV_Vertical: The standard definition for high definition
television at 24 frames per second, w ith a vertical fit field ofview .

Displays the name of the selected resolution preset just below thepresets list. If you have made any changes to the resolution sinceselecting a preset, this w ill display "(custom)".

Allow s you to save the current resolution settings as a new preset. If
you have a resolution preset selected, this button is only available if
you have made changes to the resolution since selecting the preset.
You w ill be prompted to type in the name of the new resolution
preset. If using Harmony Server, you w ill also be asked to select inw hich part of the database you w ant the preset to be saved.
Save Resolution Setting

Resolution

The resolution of the scene defines the w idth and height of thecanvas in pixels. By default, the scene w ill be rendered in thisresolution. If using bitmap layers or textured brush strokes, thedefinition of the pixels in your artw ork w ill also be based on thescene's resolution.

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Icon

Parameter

Description

Scene W idth

The w idth of the resolution for the scene, in pixels.

Scene Height

The w idth of the resolution for the scene, in pixels.

Displays the ratio betw een the horizontal and vertical dimensions of
Aspect Ratio

the scene. For example, if the scene w idth and height are the samevalue, this ratio equals 1. The standard aspect ratio for w idescreen
televisions is 1.777. For legacy displays, it is 1.333.

The angle of the field of view , w hich determines the size of thecamera cone as w ell as the w ay the field grid used to position
elements is adjusted to fit the scene.

Field of ViewlHorizontal Fit: The field of view is automatically adjusted sothat the field grid and camera cone fit the horizontal lengthof the scene.

lVertical Fit: The field of view is automatically adjusted sothat the field grid and camera cone fits the vertical length of
the scene.

lCustom FOV: Enter the angle of the field of view manually. A
greater angle w ill make a w ider camera cone and smaller
fields. A smaller angle w ill mean a more narrow camera
cone and bigger fields.

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Icon

Parameter

Description

NOTES
l

Objects in Harmony are positioned in fields, based on a
traditional animation grid w hich, by default, extends to
12 fields from the center in each direction, and w hich has
4:3 proportions by default. In a scene w ith 4:3
proportions, this grid fits the camera field perfectly.
How ever, since most scenes have an aspect ratio of 16:9,
the grid does not fit the camera field perfectly. If the fieldof view is Horizontal Fit, the grid's w idth w ill match thescene's w idth, but w ill extend beyond its vertical edges.
If the field of view is Vertical Fit, the grid's height w illmatch the scene's height, w ill not extends to its
horizontal edges.

l

To avoid distorting elements, the field of view angle isapplied directly to the vertical axis, and the one appliedon the horizontal axis is calculated proportionally to the
aspect ratio of the scene.

l

The field of view may affect the w ay 3D-rotatedelements and 3D objects are rendered. If too w ide,
objects may appear distorted w hen seen from an angle. If
too low , objects may seem flat and may lack
foreshortening.

The Projection settings allow s you to modify the type of camera
your scene is using. You can either use a perspective camera (regularcamera) or orthographic camera (no perspective).

ProjectionlPerspective: Objects placed closer to the camera w ill be
displayed bigger and objects placed further aw ay w ill be
displayed smaller. Elements that are 3D-rotated as w ell as
3D objects w ill be rendered in a realistic perspective.

lOrthographic: The size of objects does not depend on theirposition on the Z-axis. Moving an element forw ard or
backw ard w ill not change its apparent size, only its orderrelative to other elements. 3D-rotated elements and 3D
objects w ill have no foreshortening. This option is more often
useful w hen using Harmony for gaming, and more
information about this option is available in the Gaming
guide. This option can also be useful if you don't need any
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Icon

Parameter

Description

TIP
In order to create scenes w ith the Orthographic
camera by default, you need to create a new custom
scene resolution.

The amount of animation frames to play each second. Increasing the
FPS w ill make your animation play faster, and decreasing it w ill
make it play slow er.
lPreset: Allow s you to select a frame rate for your scene
among one of many commonly used preset frame rates.

l

FPS:Allow s you to type in the frame rate for your scene.

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

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

Parameter

Description

Alignment

The list of alignment presets. By default, Harmony has these tw o alignment
presets:

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Parameter

Descriptionl

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

l

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

NOTE
W hen the Grid is displayed in the Camera and Draw ing view , it is alw ays
based on the 4:3 12 Fields alignment preset, regardless of your scene'salignment setting. To display the grid, from the top menu, select View >Grid > Show Grid.

The aspect ratio of each field. This describes the proportional difference betw een
the w idth and the height of the field. By default, it is set to 4:3, w hich means thew idth of each field w ill take 4 unites of length for each 3 units the height of the
field takes. In other w ords, the w idth of a field is 1.333 times its height. If set to,for example, 1:1, the fields w ill be perfectly square.

Units Aspect Ratio

Number of Units

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

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Parameter

Description

The grid is a specific size based on the scene's resolution and field of view angle.
Changing the amount of units for each direction w ill not change the size of thegrid, but rather, the size of the units. Hence, if an element is offset at 3 North, 4
East, and you change the number of horizontal and vertical units from 24 to 12,
the element w ill become offset tw ice as far from the centre as it originally w as.
The third setting in this field determines the amount of units across the Z axis.
This determines how far each unit w ill take an element further or closer to thecamera w hen moved on the Z-axis. By default, the grid has 12 fields across the Zaxis, w hich is half the amount of fields on the X and Y axes by default. Hence,each field on the Z-axis is w orth exactly tw ice the length of a field on thehorizontal axis.
Animators w ho are familiar w ith traditional animation method w ill understandthe default setting of 24 units horizontal by 24 units vertical as it corresponds to a
traditional animation grid.

Coordinates at Centre

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

Save

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

TIP
If you prefer w orking in pixel-based positions, you must set the aspect ratio of your units to be thesame as the aspect ratio of your scene resolution, set the horizontal number of units to the w idth ofyour scene in pixels, the vertical number of units to the height of your scene in pixels, and thedepth number of units to the w idth of your scene in pixels. This w ay, each unit w ill translate toexactly 1 pixel, in all directions.

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

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Drawing Resolution Tab
The draw ing resolution tab is used to set the pixel density of bitmap draw ings as w ell as of bitmap textures intextured brush strokes in vector draw ings. Also, it is used to set the size of the canvas for bitmap draw ings
relative to the size of the scene.

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

NOTE
You can change the default draw ing resolution settings for new scenes in the Draw ing tab of thePreferences dialog.

Parameter

Description

Scene Resolution

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

Default Texture Density for
Vector Draw ings

Pixel Density:Determines the amount of pixels to store in textured brush strokes

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Parameter

Description

for each pixel that displays w hen the draw ing is not zoomed in or scaled up. For
example, at 100%, zooming in or scaling up textured brush strokes w ill makethem lose texture quality. If set to 200%, textured brush strokes can be zoomed inor scaled up until they're tw ice their original size w ithout losing picture quality.

W idth: The default w idth of the canvas w hen creating draw ings in a bitmap
draw ing layer. The percentage is relative to the w idth of the scene. Its default
value, 200%, makes the w idth of the canvas tw ice the w idth of the stage.

Default Canvas Size andPixel Density for Bitmap
Draw ings

Height: The default height of the canvas w hen creating draw ings in a bitmap
draw ing layer. The percentage is relative to the height of the scene. Its default
value, 200%, makes the height of the canvas tw ice the height of the stage.
Pixel Density: Determines the amount of pixels to store for each pixel that
displays on the screen w hen the draw ing is not zoomed in or scaled up. For
example, at 100%, zooming in or scaling up a bitmap draw ing w ill make it lose
picture quality. If set to 200%, bitmap draw ings can be zoomed in or scaled up
until they're tw ice their original size w ithout losing picture quality.

Colour SpaceParameter

Description

W orking Colour

The w orking colour space of a project is the one used internally by Harmony. It is also the219Chapter 1: Dialog Boxes

Parameter

Description

default colour space used for decoding the colours in draw ing layers as w ell as for exporting
images and movies. How ever, those can be configured to be different from the project colour
space if needed.
The follow ing colour spaces are available in Harmony:l

No Colour Space Management: No colour space conversion w ill be done in the entire
project, even if you set the colour space for your draw ing layers or for rendering yourscene.

lLinear: The same primaries and w hite point as sRGB and Rec. 709, but w ith no gammatransfer curve applied to the colour values. This colour space is useful for compositing
intermediary images that are meant to be rendered in sRGB or Rec. 709.

l

Display P3: A colour space commonly used for digital projection. It has the same
primaries as DCI-P3, the same w hite point as sRGB and the same gamma transfer
curve as sRGB.

l

Display P3 Linear: The same as Display P3, except w ith no gamma transfer curve. This
colour space is useful for compositing intermediary images that are meant to berendered in Display P3.

lRec. 709: The colour space used for HDTV. It has the same primaries and w hite point
as sRGB, but has a different gamma transfer curve.

lRec. 709 2.4: The same colour space as Rec. 709 or sRGB, except w ith a gamma

Space

transfer curve of 2.4 (per ITU-R BT.1886). This colour space exists because someediting systems use a gamma transfer curve of 2.4 instead of the standard gamma
curve for Rec. 709.
lRec. 2020: A colour space used for Ultra High Definition TV (UHDTV). It has a complex
gamma transfer curve and primaries that cover more of the human-perceivable colour
space than other colour spaces, especially in the area of human-perceivable greens.

lRec. 2020 2.4: The same colour space as Rec. 2020, except w ith a simple gammatransfer curve of 2.4 (per ITU-R BT.1886). This colour space exists because someediting systems use a gamma transfer curve of 2.4 instead of the standard gamma
curve for Rec. 2020.

lRec. 2020 Linear: The same colour space as Rec. 2020, except w ith no gamma transfer
curve. This colour space is useful for compositing intermediary images that are meant
to be rendered in Rec. 2020.

lsRGB: A colour space typically used for standard computer monitors. It has the same
primaries and w hite point as Rec. 709, but has a different gamma transfer curve.

By default, your draw ing layers are read in the same colour space as your project, and yourrendered frames are created in the same colour space as your project as w ell. How ever, if thecolour space for the project is different from the colour space used for draw ing layers and fromthe colour space used for rendering your scene, the project colour space serves as the“intermediary” colour space.

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Parameter

Description

This means that, in the process of rendering your scene, your draw ing layers are converted
from their colour space to the project’s colour space, after w hich they are composited together
along w ith your scene’s visual effects, and finally the rendered image is converted to the colour
space selected for rendering your scene.
Hence, from a compositing perspective, it is recommended to set your project’s w orkspace tothe linear variant of the colour space used for your draw ing layers and for rendering yourscene. W orking this w ay ensures that calculations made on the colour values for compositing
visual elements effects are not affected by the colour space’s gamma curve. The follow ing is atable of recommended colour space configurations:

Processing Bit
Depth

Drawing Layer Colour Space

Project Colour Space

Rendering Colour SpacesRGB

LinearsRGB

Rec. 709

LinearRec. 709

Rec. 709 2.4

LinearRec. 709 2.4

Rec. 2020

Rec. 2020 Linear

Rec. 2020

Rec. 2020 2.4

Rec. 2020 Linear

Rec. 2020 2.4

Display P3

Display P3 Linear

Display P3

Allow s you to select either 16 bits or 32 bits per channel processing. The default value is 32
bits.

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

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

How to access the Scripts Manager Dialog Box
1. Add the Scripting toolbar to your w orkspace by doing one of the follow ing:l

In the top menu, select W indows > Toolbars > Scripting.

l

Right-click on any existing toolbar and select Scripting.

2. In the Scripting toolbar, click on theManage Scripts button.

The Scripts Manager dialog box opens.

Parameter

Description

Files

A list of the available JavaScript files.

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Functions

A list of the available functions for the selected script.

In Toolbar

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

Runs the selected function.

ExecuteTIP
Press Esc to interrupt the execution of the script.

Customize Icon

Allow s you to select an icon for the toolbar button. Clicking on this button w ill
open an Open dialog prompting you to brow se for and select a .png, .jpg, .xpm
or .svg file.

Customize Tooltip

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

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

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

button of the layer you w ant to modify.

The Select Colour dialog box opens.

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

Parameter

Description

Basic colours

A basic set of colours to choose from.

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Custom colours

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

Add to custom colours

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

Colour w heel

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

Value slider

Once you select a colour, you can drag the slider to change the intensity and see it
preview ed in the Colour Preview w indow below ..

Colour Preview

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

Hue, Saturation, Value

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

Red, Green, Blue

Lets you set the red, green and blue values.

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

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

Go to the top menu and select W indows > Toolbars > Scripting.

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

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

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

button to open the Scripts Manager

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

button becomes active.

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

button.
button is added to the Scripting toolbar.

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

button.

The Selection Presets w indow opens.

Parameter

Description

RefreshRemoves any highlighted zones from the Group column.

Add Selection Preset

Opens the Save Selection As Preset dialog box. After entering a name for the
new preset and clicking OK, a new Selection Preset is added to the Selection
Presets list. Note: before clicking on the Add button, make a selection in yourscene of the elements for w hich you w ish to create a Selection Preset.

Delete Selection Preset

Deletes the selected Selection Preset from the list.

Group

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

Name

Displays the name of the preset.

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Apply to Selection

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

Close

Closes the Selection Presets w indow .

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

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

2. Do one of the follow ing:l

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

l

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

l

In the Xsheet toolbar, click the Sequence Fillbutton (you may have to customize

the toolbar to display it).
lPress Ctrl + M (W indow s/Linux) or ⌘ + M (macOS)).

The Sequence Fill dialog box opens.

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Parameter

Description

Starting Value

The first number in the sequence.

Increment

Lets you type the number by w hich the draw ing number w ill increase from frame
to frame. For example, an increment of 1 gives you: 1-2-3-4; an increment of 2
gives you: 1-3-5-7; and -2 gives you this: 8-6-4-2.

Hold

The exposure holding value.

Cycle

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

End Frame

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

Padding

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

Add Key Exposure After

Inserts a key exposure on the frame follow ing the last cell of the new fillselection.

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

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

2. Do one of the follow ing:l

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

l

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

button.

The Set Ease For Multiple Parameters dialog box opens.

Parameter

Description

Filters

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

Rotation: Applies the easing parameters to the selected Angle functions.

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Parameter

Description

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

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

Morphing: Applies the easing parameters to the selected Morphing Velocity
functions. Note that it applies to the Morphing velocity function found in the Layer
Properties w indow , not the basic morphing ease in the Tool Properties view .

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

Left and Right Time Ratio

Lets you type the percentage value corresponding to the length of time you w ant
the easing to last. Stay betw een 0% and 100%. If you go beyond 100%, yourmotion w ill overshoot.

Left and Right Value Ratio

Lets you type the percentage value of how strong you w ant the easing out to be.
Stay betw een 0% and 100%. If you go beyond 100%, your motion w ill overshoot.

Apply/Previous

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

Apply

Applies the easing parameters to the selected keyframes.

Apply/Next

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

Close

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

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Set Ease on Keyframes Dialog Box
The Set Ease on Keyframes dialog box allow s you to quickly change the percentage of ease before and after aselection of keyframes.

This dialog box is designed to quickly adjust the “time ratio” of the ease on your animations. To give you abetter idea of its effect, select a keyframe and open the Set Ease for Multiple Paramters dialog box. This dialog
box allow s you to adjust the ease of your animations using Bezier handles. Moving the Bezier handle laterally
changes the time ratio of the ease, and moving it vertically changes its value ratio—see Set Ease for Multiple
Parameters Dialog Box on page 231.

How to access the Set Ease on Keyframes dialog box
1. In the Timeline view , select one or several animation keyframes.
2. In the Timeline toolbar, click on the

Set Ease on Selected Keyframes button.

The Set Ease on Keyframes dialog box appears.

Parameter

Description

Allow s you to adjust the ease left of the selected keyframes.
Ease In (left)l

If the checkbox is unchecked, the ease left of the selected keyframes w ill be

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Parameter

Description

unchanged.
l

If the checkbox is checked, the ease left of the selected keyframes w ill be set to thepercentage in the input-field right of the checkbox.

Allow s you to adjust the ease right of the selected keyframes.
lEase Out (right)

If the checkbox is unchecked, the ease right of the selected keyframes w ill beunchanged.

l

If the checkbox is checked, the ease right of the selected keyframes w ill be set to thepercentage in the input-field right of the checkbox.

OK

Applies the selected changes and closes the dialog box.

CancelCloses the dialog box w ithout making any changes.

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Master Controller Slider W izard Dialog Box
The Master Controller Slider W izard dialog allow s you to generate a slider-type Master Controller w idget
w hich can be used to position a character model based on a range of tw o or more key poses.
To use the Slider W izard, all you need to do is to provide it w ith a selection of layers and/or groups (ie: acharacter rig, or part of a character rig) as w ell as a range of frames. The Slider W izard dialog w ill store all theposes for the selected layers in the selected range of frames in a file, and generate a Slider w idget w hich,w hen manipulated by the user, is scripted to apply one of these poses, or an intermediary betw een tw o ofthese poses, onto these layers.
A good example of how this dialog can be used is by creating poses of your characters in key angles (ie: front,
3/4 front, side, 3/4 back and back, as w ell as the flipped versions of these angles), and creating a slider madeto interpolate betw een all these poses. If done properly, and provided that all the poses provided can beinterpolated, the result w ill be a slider w idget that can be used to pose the character in any angle.

How to access the Slider W izard
1. Do one of the follow ing to add the Master Controller toolbar to your w orkspace:l

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

l

In the top menu, select W indows > Toolbars > Master Controller.

The Master Controller toolbar appears.

2. In the Timeline view , select a range of frames.

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3. In the Master Controller toolbar, click on the

Icon

Parameter

Slider W izard button.

Description

Source Frame Range

First Frame

The frame number of the first frame in the selection.

Last Frame

The frame number of the last frame in the selection.

Slider Properties

Invert Direction

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

Horizontal Layout

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

Monitored Attributes

The list of nodes (ie: layers, pegs, deformation points, etc.) that w ill
be affected by the Master Controller. If you expand any of thelisted nodes, you w ill find the list of attributes (ie: position, angle,
scale, etc.)
Attribute List
The list is structured in a group/node/attributes hierarchy, w ith Top
representing the root of your scene. By expanding a group, you
w ill find all of the nodes inside that group. By expanding a node,
you w ill find all of its attributes.

Add Selected Nodes

If you first select groups nodes in the Timeline or Node view , you
can click on this button to add these nodes' attributes to theMonitored Attributes list. This allow s you to add more nodes tothe list of nodes that w ill be controlled by the Master Controller.
If you select a group, this button w ill add the group as w ell as
every node inside that group to the Monitored Attributes list.

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Icon

Parameter

Description

Removes the groups, nodes or attributes that are currently
selected in the Monitored Attributes list from the Monitored
Attributes list. This allow s you to remove nodes from the list ofnodes that w ill be controlled by the Master Controller.

Remove Selected Items

If you select a group, this button w ill remove the group as w ell as
every node inside that group from the Monitored Attributes list.
If you select specific attributes in a node, this button w ill only
remove these attributes from the Monitored Attributes list, andw ill leave the other attributes in the list. This allow s you to makethe Master Controller only control specific attributes for a nodeand ignore others.

Filter Static Attributes

Remove every attribute that does not change during the selected
frame range. This w ill optimize the performance of the Master
Controller as w ell as reduce the amount of storage space it uses
w ithout impacting its functionality.

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

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

Name

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

States Filename

Displays the path and name of the file w here the poses database
w ill for the Master Controller w ill be stored. This path is relative tothe scene directory.

Master Controller Name

Displays the name of the Master Controller node that w ill be
added to your scene. This is the name of your Master Controller
the prefix mc_.

CreateGenerate the Master Controller and its database of poses.

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Master Controller Stack W izard Dialog Box
The Master Controller Stack W izard dialog box allow s you to create a Master Controller that combines a 2D
point w idget, w hich can be used to position a character model based on a grid of poses, and a Slider w idget,w hich can be used to select one of many grid of poses to apply to your character.
The best example usage for the Stack W izard is if you w ant to create a 2D point that allow s you to set thedirection in w hich your character is looking, but you also w ant another w idget to control the mouth pose of thecharacter.

You can accomplish this by creating a series of head poses of your character looking in every direction, w hichw ould be used for the base grid, and then create a variation of all of these head poses for each mouth pose
you w ant your character to have. Stacked together, the base grid and all of its variations w ould make a cube,
hence the name Stack.
W hen you create your series of head poses for a grid in the Stack W izard, you w ill create another series foranother grid in the stack. The new series you create w ill contain the same head poses, but they w ill havedifferent mouth positions. To create another version of the series of head poses, you w ill need to make anothercopy of your series in another space in the Timeline and make only alterations to the mouth pose. If you havecopied and pasted the series, you may find that the alteration w ill apply to the previous series of head poses
as w ell. To avoid this and keep the original mouth poses in tact, you w ill need to duplicate the draw ing.

How to duplicate a drawing
1. In the Timeline or Xsheet view , select the draw ing to duplicate.

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2. Do one of the follow ing:l

From the top menu, select Drawing > Duplicate Drawings.

lRight-click and select Drawings > Duplicate Drawings.

l

In the Xsheet toolbar, click the Duplicate Draw ing

lPress Alt + Shift + D.

button.

Once you've finished creating your sets of character poses, you need to select the layers and/or groups you
w ant your Master Controller to control. In this case, it w ould be all the layers making the character's head.
Then, you can open the Stack W izard.

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How to access the Stack W izard
1. Do one of the follow ing to add the Master Controller toolbar to your w orkspace:l

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

l

In the top menu, select W indows > Toolbars > Master Controller.

The Master Controller toolbar appears.

2. In the Timeline view , select the layers and groups you w ant your Master Controller to control.

NOTE
If you select a group, all of the layers inside it w ill be added to the list of layers your
Master Controller w ill control.

3. In the Master Controller toolbar, click on the

Stack W izard button.

The W izard w ill start out by displaying the Load Preset dialog, in w hich you can specify the vertical andhorizontal size of your grid in Grid Parameters.

Parameter

Description

PresetAllow s you to select and load a grid preset you previously created. If you havenot created any, you can ignore this drop-dow n and set up a new grid in the240Harmony 22 Premium Reference Guide

Parameter

Description

fields below .

Key Poses

Center

The numbers of columns and row s w ith w hich to create the grid of poses. The
product of these tw o amounts is the amount of poses you w ill need to provide
to the Grid W izard.

The coordinates of the centre of the grid, relative to the centre of the scene, inhorizontal and vertical fields.

Cell Size

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

OK

Dismisses the Grid Parameters dialog box and creates the grid w ith theselected parameters in the Grid W izard dialog box, so that you can start
configuring the points in the grid.

As you can see, the Stack W izard is very similar to the Interpolation Grid w izard, except that you can enter theamount of grid layers you w ant your cube to have, and select w hich layer of the cube you're editing using thenavigation bar to the left.

241Chapter 1: Dialog Boxes

Icon

Parameter

Description

Grid

Displays the grid of poses.
Each point in the grid is represented by a coloured dot:

Grid Viewl

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

lGreen dots are dots that are already assigned to a pose(frame number).

You must fill each point in the grid w ith poses, until they are all
green, before you can create your Master Controller.
To fill a point, simply click on it to select it. This w ill make theSelect Frame dialog appears, in w hich you can type in the frame
number to associate the point to.
Selecting a point makes the State Properties section of the242Harmony 22 Premium Reference Guide

Icon

Parameter

Description

dialog appears. In this section, you can change the identifier andthe frame number of the point, and you can also modify its
position in the grid.
The grid is laid out over a standard 12 fields 4:3 animation grid.
This grid is the same grid that displays in the Camera view if you
add a Grid node to your scene. Hence, by adding a Grid node to
your scene, you can use it as a reference to align the grid w ith
specific areas in the scene.
You can pan around the grid view by clicking and dragging on it.

Zoom In

Zooms into the grid view .

Zoom Out

Zooms out of the grid view .

Opens the Load Preset dialog. In this dialog, you can load a gridpreset, or create a new grid.

Load Preset
To load an existing preset, select it in the Preset drop-dow n. To
create a new grid from scratch, select New in the Preset dropdow n instead.
If you click OK, the selected grid w ill be loaded into the Grid
W izard, replacing the current grid and discarding any w ork you
put on it. If you click Cancel, you can resume w orking on thecurrently loaded grid.

Save Preset

Saves the current grid and all of its properties as a grid preset.
This allow s you to quickly reload the current grid's size, its
centre point, its cell size, as w ell as each point's assigned frameand other properties into the Grid W izard later, w hen you w ant
to create another 2D point w idget. This can be very useful if you
create several character models in different scenes, w ith thesame poses at the same frames.
You can select a grid preset to use in the Grid Parameters dialog
that appears w hen you open the Grid W izard.

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Icon

Parameter

Description

Monitored Attributes

The list of nodes (ie: layers, pegs, deformation points, etc.) thatw ill be affected by the Master Controller. If you expand any ofthe listed nodes, you w ill find the list of attributes (ie: position,
angle, scale, etc.)
Attribute List
The list is structured in a group/node/attributes hierarchy, w ith
Top representing the root of your scene. By expanding a group,
you w ill find all of the nodes inside that group. By expanding anode, you w ill find all of its attributes.

Add Selected Nodes

If you first select groups nodes in the Timeline or Node view , you
can click on this button to add these nodes' attributes to theMonitored Attributes list. This allow s you to add more nodes tothe list of nodes that w ill be controlled by the Master Controller.
If you select a group, this button w ill add the group as w ell as
every node inside that group to the Monitored Attributes list.

Removes the groups, nodes or attributes that are currently
selected in the Monitored Attributes list from the Monitored
Attributes list. This allow s you to remove nodes from the list ofnodes that w ill be controlled by the Master Controller.

Remove Selected Items

If you select a group, this button w ill remove the group as w ell
as every node inside that group from the Monitored Attributes
list.
If you select specific attributes in a node, this button w ill only
remove these attributes from the Monitored Attributes list, andw ill leave the other attributes in the list. This allow s you to makethe Master Controller only control specific attributes for a nodeand ignore others.

Remove every attribute that does not change across any of theposes added to the grid. This w ill optimize the performance ofthe Master Controller as w ell as reduce the amount of storage
space it uses w ithout impacting its functionality.
Filter Static Attributes

NOTE
This option can only be used once you have filled yourentire grid w ith poses.

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Icon

Parameter

Description

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

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

Pose Properties

Identifier

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

Frame

Allow s you to view and update the frame number (pose)
associated w ith the currently selected point.

Allow s you to update the position of the selected point on thegrid, in horizontal and vertical field coordinates.
Position

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

OutputName

Allow s you to enter the name for the Master Controller nodethat w ill be created at the end of the process.

Displays the name of the corresponding states file name, basedon the Master Controller node name.
States Filename

The attribute values of the associated poses are recorded in an
external file. W hen the Master Controller node is created, thematching states file is created.

Master Controller Name

Displays the complete Master Controller node name including
the mc_ prefix.

CreateGenerate the Master Controller and its database of poses.

245Chapter 1: Dialog Boxes

NOTE
If you created a Master Controller using the Interpolation Grid w izard, and you saved their grid as apreset, you can just load that grid into the Stack W izard. This w ill give you a head start in setting
up your character's grid stack, as the grid preset w ill act as the first layer of the cube, and all
w hat's left to do is to add more layers and to configure them.

246

Harmony 22 Premium Reference GuideShow Hidden Columns Dialog Box
The Show Hidden Columns dialog box lets you display all the columns contained in the exposure sheet. It canbe used to hide individual columns.

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

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

lPress Alt + Shift + H.

The Show Hidden Columns dialog box opens.

Parameter

Description

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Chapter 1: Dialog Boxes

Show

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

Name

Name of the draw ing.

Type

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

Check

Selects all columns.

Uncheck

Deselects all selected columns.

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OpenQuickTime Sound Options Dialog Box (GNU/Linux)
The OpenQuickTime Sound Options dialog box (titled MediaSettings) allow s you to configure the audio
compression settings w hen exporting a QuickTime movie on Linux.

On GNU/Linux, Harmony uses the OpenQuickTime framew ork to export QuickTime movies. This framew ork
uses its ow n user interfaces to allow you to configure the video and audio compression settings for a movie.
Because OpenQuickTime only comes bundled w ith non-prorprietary codecs, its compression options arelimited.

NOTESlFor tasks related to this dialog box, refer to the User Guide.

lThis dialog can only be accessed on GNU/Linux.

How to access the OpenQuickTime Sound Options dialog box from the Export Movie
dialog
1. From the top menu, select File > Export > Movie.
The Export Movie dialog box appears.

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Chapter 1: Dialog Boxes

2. In the Movie Format drop-dow n, select QuickTime ProRes Movie (*.mov).
3. Click on the Movie Options button.
The QuickTime Movie Options dialog box appears.

4. In the Codec drop-dow n, select any of the movie options.

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How to access the OpenQuickTime Sound Options dialog box from the Export
OpenGL Frames dialog
1. In the top menu, select File > Export > OpenGL Frames.
The Export OpenGL Frames dialog box appears.

2. In the Format section, select Movie.
3. In the Movie Format drop-dow n, select QuickTime Movie (*.mov).
4. Click on the Sound Options button.

How to access the OpenQuickTime Sound Options dialog box from the W rite node
Layer Properties
1. In the Node view , locate your scene's W rite node.

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Chapter 1: Dialog Boxes

2. Open the W rite node's Layer Properties by doing one of the follow ing:lClick on the yellow squareat the left end of the W rite node.

l

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

The W rite node's Layer Properties dialog appears.

3. In the W rite node's Layer Properties, enable the Movie option.
1. To the right of the Movie check box, open the drop-dow n menu and select QuickTime Movie(*.mov).
2. To the right of Sound Options, click Customize.

Parameter

Description

Lets you select a codec. By default, the follow ing codecs w ill be available:
codec

l

A- Law 2:1: This codec uses logarithms to compress audio data. The
resulting audio stream requires half the disk space of uncompressed audio

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data, but is of noticeably low er quality.
l

IMA 4:1: This codec compresses audio data to require a quarter of the disk
space required for uncompressed audio data. It is not supported by a lot ofsoftw are.

l

Twos Complement - Little Endian PCM: A standard uncompressed audio
codec.

lTwos Complement - Big Endian PCM: A legacy standard uncompressedaudio codec. This codec may be compatible w ith older editing interfaces.

l(mu)- Law 2:1: Similarly to A-Law , this codec uses logarithms tocompress audio data. The resulting audio stream requires half the disk
space of uncompressed audio data, but is of noticeably low er quality.

NOTE
It is recommended to leave this option to its default value, Twos
Complement - Little Endian PCM, as it is commonly used for storing
uncompressed audio. Other encoding formats are likely to sacrifice audio
quality for negligible savings in disk space.

Sample rate

The sample rate at w hich to export your scene's audio. The only available option
is 22050 Hz, as it is the sample rate used internally by Harmony.

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Chapter 1: Dialog Boxes

QuickTime Sound Settings Dialog Box (W indows)
The Sound Settings dialog box allow s you to set the audio compression settings w hen you w ant to export a
QuickTime Movie (.mov) file.

NOTES
l

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

lThis dialog can only be accessed on W indow s and requires Apple QuickTime to be installed.

How to access the QuickTime Sound Settings dialog box from the Export Movie
dialog
1. From the top menu, select File > Export > Movie.
The Export Movie dialog box appears.

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2. In the Movie Format drop-dow n, select QuickTime ProRes Movie (*.mov).
3. Click on the Movie Options button.
The QuickTime Movie Options dialog box appears.

4. In the Codec drop-dow n, select any of the movie options.

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Chapter 1: Dialog Boxes

How to access the QuickTime Sound Settings dialog box from the Export OpenGL
Frames dialog
1. In the top menu, select File > Export > OpenGL Frames.
The Export OpenGL Frames dialog box appears.

2. In the Format section, select Movie.
3. In the Movie Format drop-dow n, select QuickTime Movie (*.mov).
4. Click on the Movie Options button.
The QuickTime Movie Settings dialog box appears.

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5. In the Sound section, click Settings.

How to access the QuickTime Sound Settings dialog box from the W rite node Layer
Properties
1. In the Node view , locate your scene's W rite node.
2. Open the W rite node's Layer Properties by doing one of the follow ing:lClick on the yellow squareat the left end of the W rite node.

l

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

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Chapter 1: Dialog Boxes

The W rite node's Layer Properties dialog appears.

3. In the W rite node's Layer Properties, enable the Movie option.
1. To the right of the Movie check box, open the drop-dow n menu and select QuickTime Movie(*.mov).
2. To the right of Movie Options, click Customize.
The QuickTime Movie Settings dialog box appears.

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3. In the Sound section, click Settings.

Parameter

Description

Allow s you to select the compression algorithm to use the compress the movie'saudio track.
Compressor

NOTE
It is recommended to leave this setting to None, as other formats are likely
to sacrifice audio quality for negligible savings in disk space.

Allow s you to select the sample rate, or frequency, in w hich to export the audio
track for the movie.

Rate

NOTE
Harmony cannot export audio at a higher sample rate than 22.050 kHz. If
you select a higher sample rate, your project's audio w ill be upsampled,w hich means it w ill take more disc space w ithout increasing in quality.

Size

Allow s you to select the bit depth in w hich to encode the audio track. This
determines the amount of precision to record each w avelength in the audio track.

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Chapter 1: Dialog Boxes

Parameter

Description

NOTE
The standard bit depth is 16- bit. If you choose 8- bit, the amount of disk
space the audio track of your movie file requires w ill be halved, but theaudio quality w ill be significantly low er.

Allow s you to select w hether to export the movie's audio track using the Mono or
Stereo channel mode.
Use

NOTE
Stereo sound has a separate track for the left and right speakers, w hereas
mono sound only has a single audio track for all speakers.

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QuickTime Standard Video Compression Settings Dialog Box(W indows)
The Standard Video Compression Settings dialog box allow s you to configure the video compression settings
w hen exporting a QuickTime Movie (.mov) file.

NOTES
l

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

lThis dialog can only be accessed on W indow s and requires Apple QuickTime to be installed.

How to access the QuickTime Standard Video Compression Settings dialog box fromthe Export Movie dialog
1. From the top menu, select File > Export > Movie.
The Export Movie dialog box appears.

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2. In the Movie Format drop-dow n, select QuickTime ProRes Movie (*.mov).
3. Click on the Movie Options button.
The QuickTime Movie Options dialog box appears.

4. In the Codec drop-dow n, select any of the movie options.

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How to access the QuickTime Standard Video Compression Settings dialog box fromthe Export OpenGL Frames dialog
1. In the top menu, select File > Export > OpenGL Frames.
The Export OpenGL Frames dialog box appears.

2. In the Format section, select Movie.
3. In the Movie Format drop-dow n, select QuickTime Movie (*.mov).
4. Click on the Movie Options button.
The QuickTime Movie Settings dialog box appears.

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5. In the Video section, click Settings.

How to access the QuickTime Standard Video Compression Settings dialog box fromthe W rite node Layer Properties
1. In the Node view , locate your scene's W rite node.
2. Open the W rite node's Layer Properties by doing one of the follow ing:lClick on the yellow squareat the left end of the W rite node.

l

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

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The W rite node's Layer Properties dialog appears.

3. In the W rite node's Layer Properties, enable the Movie option.
1. To the right of the Movie check box, open the drop-dow n menu and select QuickTime Movie(*.mov).
2. To the right of Movie Options, click Customize.
The QuickTime Movie Settings dialog box appears.

265Chapter 1: Dialog Boxes

3. In the Video section, click Settings.

Parameter

Description

Allow s you to select the codec to use to compress the video stream of yourmovie. It is recommended to use one of the follow ing codecs, depending on yourusage scenario:

Compression Typel

H.264: A very effective lossy compression algorithm that is commonly
supported by w eb brow sers and most media players.

l

MPEG- 4 Video: A very effective lossy compression algorithm that iscommonly supported by media players, but less so by w eb brow sers.

lAnimation: A high quality compression algorithm that is commonly used
for media interchange and video editing.

TIPSl

You can export a video w ith transparency by selecting the Animation
codec and setting the Depth setting to Millions of Colors+.

l

You can export a video w ith virtually lossless compression by selecting
the Animation codec and setting Quality setting to Best.

MotionFrame Rate

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

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Parameter

Description

Some codecs compress the video by recording a limited amount of keyframes,
w hich are frames in w hich the entire picture is encoded, pixel by pixel and, inbetw een, recording deltas, w hich are frames that are only defined by theirdifference w ith the previous frame. This significantly reduces the size of the movie
file. How ever, the less keyframes a movie has, the more it is likely to encounter
decoding errors, and the harder it is for players to scrub or jump to a specific timein the video. This option allow s you to decide w hen keyframes are inserted in thevideo stream.
Automatic: Lets the encoder decide w hen keyframes should be inserted.
Key Frames

Every ... frames: Allow s you to set the exact interval, in frames, at w hichkeyframes should be inserted.
All: Encodes every frame as a keyframe. This option w ill significantly impact filesize, but w ill make it easier to scrub through the video w ithout causing any
rendering error.

NOTE
If you are using the H.264 codec, you must set the Key Frames option to All,or you w ill get an error message w hen you confirm the compression
settings.

Frame Reordering

Encodes frames in a different order than the one at w hich they are meant to be
displayed. This allow s for more efficient compression, but may not be compatible
w ith some players.

Compressor

Allow s you to set the colour depth for your video. A low er colour depth w ill
reduce the size of the video stream but w ill have significant impacts on picture
quality.
Depth

TIP
Set this to Millions of Colors+ if you w ant to export a video w ith
transparency.

Quality

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

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Parameter

Description

Allow s you to choose betw een the follow ing scan modes:lInterlaced: Frames are encoded starting w ith their odd-numberedscanlines, then their even-numbered scanlines.

lProgressive: Frames are encoded w hole, from the highest scanline to thelow est scanline.

Scan Mode /Interlaced

NOTE
Some codecs w ill display a drop-dow n allow ing you to select Interlaced or
Progressive, w hile others w ill simply have an Interlaced checkbox.

Allow s you to select one of the follow ing aspect ratios:
Aspect Ratio

Filterl

4:3: For output on standard definition displays.

l

16:9: For output to w idescreen displays.

W hen exporting w ith the PNG compression type, this determines the algorithm
w ith w hich each pixel is encoded relative to other pixels. Leaving this option to
Best w ill export in the most space-efficient filter, w ithout compromising picture
quality. Picking a filter may increase rendering speed a bit, at the expense of somedisk space.

Data Rate

Automatic

Lets the encoder use the optimal bit rate for your compression settings.

Allow s you to specify the encoding bit rate.

NOTE

Restrict To

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

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

CD/DVD- ROM: Optimizes the bit rate for a video that w ill be played using
an optical disc player.

lDownload: Optimizes the bit rate for a file that is going to be
dow nloaded, then view ed from the user's hard drive.

Optimized For

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Parameter

DescriptionlStreaming: Optimized the bit rate for a video that w ill be streamed fromthe w eb and played as the video is being dow nloaded.

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Chapter 1: Dialog Boxes

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

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

Parameter

Description

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

Blend

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

Mixer

Select a Base and Tint colour to form a third colour sw atch. Use the slider justbeneath to mix the Base and Tint colours by different amounts. This w ill affectthe mixed sw atch w hether it is selected or not. Select either the Tint or Basesw atch and use the HSB and RGB sliders to adjust its colour. This w ill affect themixed sw atch colour, w hich in turn affects the selected colours on the left.

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Timing Node

The Timing-nodes exist in a new category of nodes called “Timing” in the node-library. These nodes are used
to either show a different render at the given frame, or to transform the content w ith a transformation from adifferent frame. The Timing-nodes exists as both Retime (for Images) and Retime Transformation (fortransformations).
The Retime node takes an image input and output, and w ill provide the retimed transformation and render ofthat image.
The Retime Transformation node takes a transformation input and output, and w ill provide the retimed
transformation.

How to access the Retime and Retime Transformation Timing dialog box
1. In the Node View press Enter.
2. Type in the name of the node you w ant to search.
3. Select the node.
4. Click the yellow box on the left to open the dialog box.

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Chapter 1: Dialog BoxeslRetime Mode: Defines the w ay in w hich this node calculates the target frame to output.
lTarget Frame: It w ill use the Value attribute as an exact frame and outputs the content fromthat frame.

lFrame Offset: It w ill use the Value attribute as an offset to the current frame and outputs
the content from that offset frame.

lValue: It provides the target frame or offset frame, depending on the retime mode.

lHold First Frame: This defines the node’s render behaviour. In the event that the retimed frame isless than 1 W hen enabled, the hold first frame option w ill cause the node to display the first frame
until the Retime node hits a valid frame above 1. W hen disabled, the node w ill remain blank until avalid retimed frame is reached.

lDisable Selection: This option is available in all timing nodes. It is recommended to disable thetiming node w hen modifying content, and reapply it w hen the content is complete.

lHide from Timeline: This option w ill collapse all attached content above this node in the Timeline,
preventing it from being selected or modified directly in the Timeline.

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

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

Parameter

Description

Available Tools

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

Toolbar

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

Default

Restores the toolbar w ith its default items.

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Unroll W izard Dialog Box
The Unroll W izard dialog box allow s you to make pose modifications to existing Master Controller
coordinates.
If you are using a Master Controller, you may not have access to the original frames used to generate theMaster Controller if you have removed them from the Timeline. In this case, you can assign the original poses
to frames in the Timeline.
In the Unroll W izard dialog box, you can specify target frames for each Master Controller pose. Once theposes have occupied frames in the Timeline, you w ill be able to make the desired pose modifications to eachframe. Once you have made your desired modifications, you may create a new Master Controller based on the
updated frames.

How to access the Unroll W izard
1. Do one of the follow ing to add the Master Controller toolbar to your w orkspace:l

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

l

In the top menu, select W indows > Toolbars > Master Controller.

The Master Controller toolbar appears.

2. In the Timeline view , select the Master Controller you w ould like to modify.
3. In the Master Controller toolbar, select theUnroll W izard.

W hen the Unroll W izard opens, you w ill be able to set a Destination for the frames you w ould like to modify.
To set the Destination for the frames, you may double-click the table cells under Destination and enter a frame
value manually or select Rearrange Frames... w here you may enter values for offset and spacing to set apattern for destination frames at once.

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Parameter

Description

SourceFile

The file path the Master Controller is located in.

Pose CountThe number of poses in the selected Master Controller.

Type

The type of Master Controller you are modifying.

Last Modified

The date you last modified the Master Controller.

Destination on Scene Timeline

Source

The coordinate location in the Grid W izard or Slider W izard.

Destination

The frames the poses w ill appear in upon selecting Apply Poses.

Rearrange Frames....

W hen Offset and Spacing are adjusted, the Destination values in the Destination
on Scene Timeline chart w ill update simultaneously .

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Parameter

Descriptionl

Add Offset - The number specifying how many frames ahead of theoriginal frame locations in the Timeline the poses w ill appear.

l

Add Spacing - The spacing you may apply betw een the poses that w ill
appear in the Timeline.

lReset - Reset the ordering of the poses.
lFrame Index - The frame the numerical ordering w ill begin at.

Apply Poses

Applies the poses to the frames specified in the Destination column.

Open W izard...

Opens the Master Controller Grid W izard, Slider W izard, or Stack W izard,
depending on w hich kind of Master Controller w as created.

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Vectorization Parameters Dialog Box
The Vectorization Parameters dialog box lets you vectorize pencil draw ings, along w ith any red, blue or green
pencil marks you may have used to indicate highlights and shadow s. The draw ing w ill be vectorized into pure
red, blue, green and black (RGB values), w hile creating colour art zones w herever lines connect. After painting
in your tones and highlights, change your pure RGB colours to transparent (0 Alpha) in the Colour Picker
w indow and w atch the indicator colour zone lines disappear.

How to open the Vectorization Parameters dialog box
1. From the top menu, select File > Import > From Scanner.
You can also open it from any other import option that allow s you to customize the vectorization
parameters (i.e. from the scanner).
2. In the Scan Draw ings w indow , do the follow ing:l

In the Layer section, decide on the layer options.

l

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

Click Preview.

3. In the Vectorization section, click the Vectorization Parameters

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

Parameter

Description

Input

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

One Pass

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

Tw o Passes

Applies a different threshold value to each layer. For greyscale draw ings, you
may w ant to perform the vectorization process tw ice to apply different thresholdvalues to the Line and Colour Art layers.

Threshold

Determines w hich values in the scanned image are considered part of the Lineand Colour Art layer and w hat w ill be eliminated from the vectorized draw ing;
0% is w hite and 100% is black. The threshold is betw een these tw o values.

Expand Bitmap

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

Jag Filter

Lets you enter a value to scale back the bitmap to remove some of the line’sroughness. This is useless w hen you have a draw ing that appears quite rough; theJag filter w ill eliminate excess strokes in the final draw ing.

Line Art Threshold(%)

Determines w hich values in the scanned image are considered part of the Line Art
layer and w hat w ill be eliminated from the vectorized draw ing; 0% is w hite and100% is black. The threshold is betw een these tw o values.

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Colour Art Threshold(%)

OutputDetermines w hich values in the scanned image are considered part of the Colour
Art layer and w hat w ill be eliminated from the vectorized draw ing; 0% is w hiteand 100% is black. The threshold is betw een these tw o values.

The output filters are applied during the vectorization process.

No Colour Art

No Texture

Does not generate filling zones in the Colour Art layer.

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

Generate Matte in
Underlay Layer

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

Colour as Texture

Converts colour values into a texture layer.

Optical Registration

DPI

Peg Side

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

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

Lets you select the position of the peg holes on your draw ings. Identify w hether
they are on the top, bottom, left or right.

Determines how exact the location of the peg holes must be for the softw are torecognize them. There are tw o values to choose from:
Strictness

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

Field Chart

Post Processing

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

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

Remove Holes

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

Remove Dirt

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

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Remove Hair Size

Removes small strokes that have no line art.

Remove Hair:
Number of Passes

The number of times the draw ing w ill be analyzed to identify hair marks.

Miscellaneous

Close Gaps

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

Smooth Passes forLine Art Before
Breaking Triangles

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

Smooth Passes forLine Art

The number of times the smoothing operation is performed after the triangles
have been created. This further smooths the line art.

Preview

Show Strokes

Show s the strokes in the Vectorized Image panel.

Stroke Thickness

Show s the size of the strokes.

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

File IO Options-file <filename (including extension)> [ options ]280

Harmony 22 Premium Reference Guide-infile <filename (including extension)>; same as -file-outfile <filename>; alternate output file-informat <format>; the input format. Used if reading from stdin-debug; turn on debug mode
-noforce; don't force output if image is inconsistent-version; print version information and quit
-output_version <version>; output files of this version. Valid versions can be: 0 or 604-force_unamed_palette_for_texture; w ill generate a texture in TVG's internal palette

Registration Options-register <dpi side strictness>; perform optical registration.
•

Side can be one of left, right, top, bottom or l, r, t, b.

•

Strictness can be either loose, strict or l, s.

-register_center_peg_holes; w ill use only round holes in 16 fields page-rcph; short form of register_center_peg_holes-registration_looseness_factor <factor>; registration looseness factor (default 2.000000)-rlf; short form of registration_looseness_factor-rdebug; output registration debug messages-pegpitch <inch (default 8.000000)>; distance betw een peg bars
-threshr < (default 0.500000)>; threshold for optical registration; range 0.0 to 1.0-rmargin <inch (default 1)>; region size w here to look for peg bars
-peg_distance_from_center <inch (default 5.25)>; peg distance from centre of the image-pdfc; short form of -peg_distance_from_center-out_peg_position <side (default same)>; w anted position of the peg on the draw ing.
•

Can be one of right, left, top, bottom (or r, l, t, b) or same.

•

A rotation w ill be performed if it is different from the side passed to -register.

-output_peg_matrix; output the peg transformation matrix on standard output.
- scanner_calibrate; < (default 1.0000 1.0000) > x and y scale factors to be applied to scanner image.

Filtering Options-pixel <pixel_shape (default '4x3')>; Valid values: 4x3

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Chapter 1: Dialog Boxes-gap <w orldUnits (default 10)>; close gaps up to this big-pencil; generate line art only
-keep_dirt; don't filter out dirt
-thresh <threshold (default 0.2)>; range 0.0 to 1.0-rmv_hairs <w orldUnits (default 1)> <passes (default 1)>•

remove hairs of size smaller than "size" in "passes" passes-rmv_holes <area (default 7)>; remove holes smaller than "area"-rmv_dirt <area (default 1)>; remove dirt smaller than "area"•

try values betw een 100 and 500 for rmv_holes and rmv_dirt. The area is in w orld units squared-rmv_triangles <w orldUnits (default 30.000000)>; remove triangles at "pixels"•

distance from each other. Use -no_break to remove all triangles-no_texture; don't generate textured strokes-color_as_texture; w ill vectorize the alpha channel and put the RGB colour in a textured colour-noclosegap; disable all gap closing algorithms-no_break; disable the breaking of line art-jag_filter <pixels (default 0>; expand the pixels in the vectorization bitmap-expand_bitmap <pixels (default 0>; expand the pixels in the vectorization bitmap-fit_errorc <error (default 1.000000>; fitting error for the colour art-fit_errorl <error (default 1.000000>; fitting error for the line art-smoothl <passes (default 1>; number of smooth passes for line art-smoothc <passes (default 1>; number of smooth passes for colour art-first_smooth <passes (default 0>; number of smooth passes for line art before breaking triangles-first_smoothl <passes (default 0>; number of smooth passes for line art before breaking triangles-first_smoothc <passes (default 0>; number of smooth passes for line art in colour art pass (needs -2pass)-2pass; specify tw o sets of parameters; one for line art "l", one for colour art "c"(-thresh, -rmv_holes and -rmv_dirt w ill be overridden by -threshl, threshc, -rmv_holesl,-rmv_holesc, -rmv_dirtl and -rmv_dirtc)-threshl <threshold for line art (default 0.5)>; range 0.0 to 1.0-threshc <threshold for color art (default 0.5)>; range 0.0 to 1.0-jag_filterl <pixels (default 0>; expand the pixels in the vectorization bitmap for line art

282Harmony 22 Premium Reference Guide-jag_filterc <pixels (default 0>; expand the pixels in the vectorization bitmap for colour art-expand_bitmapl <pixels (default 0>; expand the pixels in the vectorization bitmap for line art-expand_bitmapc <pixels (default 0>; expand the pixels in the vectorization bitmap for colour art-rmv_holesl <area (default 7)>; remove line art holes smaller than "area"-rmv_holesc <area (default 7)>; remove colour art holes smaller than "area"-rmv_dirtl <area (default 1)>; remove line art dirt smaller than "area"-rmv_dirtc <area (default 1)>; remove colour art dirt smaller than "area"
try values betw een 100 and 500 for rmv_holesl, rmv_holesc, rmv_dirtl and rmv_dirtc. The values are in
w orld units squared-margins <inch (default 0.25)>; remove margin around bitmap-top_margin <inch (default 0.25)>; remove margin at top of bitmap-bottom_margin <inch (default 0.25)>; remove margin at bottom of bitmap-left_margin <inch (default 0.25)>; remove margin at left of bitmap-right_margin <inch (default 0.25)>; remove margin at right of bitmap-remove_peg_bars; remove the peg bar holes-field_size <fields (default 12 or use value in scan file)>; set the draw ing to this field size
-fs; short hand for -field_size-peg_bar_size <inch (default 1)>; the size of the peg bar region-noframe; do not put a frame around the colour art-frame_fields <default -1.000000>; put a frame of the specified dimension around the colour art-downscale_input <default 1>; dow nscale the raw input by this integer factor-downscale_texture <default 1>; dow nscale the output texture by this integer factor-buildmatte; generate a matte on underlay for line test
-buildmatte_colourart; generate a matte on colour art for line test

NOTE
-buildmatte and -buildmatte_colourart are mutually exclusive- copystrokes; copy original strokes w hen building matte.

Options for bitmap that has no registration information-pixel_margins <inch (default 0)>; remove margin around bitmap

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Chapter 1: Dialog Boxes-top_pixel_margin <inch (default 0)>; remove margin at top of bitmap-bottom_pixel_margin <inch (default 0)>; remove margin at bottom of bitmap-left_pixel_margin <inch (default 0)>; remove margin at left of bitmap-right_pixel_margin <inch (default 0)>; remove margin at right of bitmap-dpi <(default -1)>; dpi information of input bitmap

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

Colour Vectorization Options-color_vectorize; perform a colour vectorization-file2 <colour art filename>; specify the colour art bitmap-penstyle <center alpha (0.0-20.0)> <edge alpha (0.0-20.0)> <gamma (0-10)><centre pressure effect (0.01.0)> <edge pressure effect (0.0-1.0)><texture bitmap dow nscaling (0.2-20)> <texture bitmap file (valid
filename or "" if no file)>; generate brush texture for the line art-pressure_variation <strategy (0, 1 or 2)> <min pressure (0.0-1.0)> <max pressure (0.0-1.0)> <max variation(0.0-1.0)>; specify a pressure strategy for the centre line.
-blur_radius <pixels (default 0)>; blur the penstyle texture generated-color_contour_smooth_passes <times (default 3)>; perform number of smooth passes on contour before
computing texture-ccsp <times (default 3)>; short for -color_contour_smooth_passes-color_rmv_holesl <w orld units (default 0.000000)>; remove holes of this size w hen computing texture-color_fill_holesl <w orld units (default 0.000000)>; fill holes of this size for colour line art

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

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

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

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Versions Dialog Box
The Versions w indow lets you delete any unnecessary versions of scenes w hen w orking w ith Harmony
Server. W hen w orking w ith multiple versions of a scene, you may to clean up the database by deleting theones you no longer need.

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

Parameter

Description

Existing Versions

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

Description

Displays information about the selected version.

Removes the selected version of a scene.

DeleteIMPORTANTThis operation cannot be undone.

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OpenQuickTime Video Options Dialog Box (GNU/Linux)
The OpenQuickTime Video Options dialog box (titled MediaSettings) allow s you to configure the video
compression settings w hen exporting a QuickTime movie on Linux.

On GNU/Linux, Harmony uses the OpenQuickTime framew ork to export QuickTime movies. This framew ork
uses its ow n user interfaces to allow you to configure the video and audio compression settings for a movie.
Because OpenQuickTime only comes bundled w ith non-prorprietary codecs, its compression options arelimited.

NOTESlFor tasks related to this dialog box, refer to the User Guide.

lThis dialog can only be accessed on macOS.

How to access the OpenQuickTime Video Options dialog box from the Export Movie
dialog
1. From the top menu, select File > Export > Movie.
The Export Movie dialog box appears.

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2. In the Movie Format drop-dow n, select QuickTime ProRes Movie (*.mov).
3. Click on the Movie Options button.
The QuickTime Movie Options dialog box appears.

4. In the Codec drop-dow n, select any of the movie options.

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How to access the OpenQuickTime Video Options dialog box from the Export
OpenGL Frames dialog
1. In the top menu, select File > Export > OpenGL Frames.
The Export OpenGL Frames dialog box appears.

2. In the Format section, select Movie.
3. In the Movie Format drop-dow n, select QuickTime Movie (*.mov).
4. Click on the Video Options button.

How to access the OpenQuickTime Video Options dialog box from the W rite node
Layer Properties
1. In the Node view , locate your scene's W rite node.

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2. Open the W rite node's Layer Properties by doing one of the follow ing:lClick on the yellow squareat the left end of the W rite node.

l

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

The W rite node's Layer Properties dialog appears.

3. In the W rite node's Layer Properties, enable the Movie option.
1. To the right of the Movie check box, open the drop-dow n menu and select QuickTime Movie(*.mov).
2. To the right of Video Options, click Customize.

Parameter

codec

Description

Allow s you to select a video compression algorithm. By default, the follow ing
codecs are available:lMotion- JPEG A: A very portable codec that performs lossy JPEG

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compression and interlaces the frames. Motion-JPEG A compression isless efficient than Photo JPEG in terms of quality and file size, but may be
a more portable alternative for softw are that does not support Photo
JPEG.
lPhoto JPEG: Encodes the movie as a sequence of JPEG images. JPEG
images have lossy compression. This is the most efficient codec for file
size.

l

Portable Network Graphics (PNG): Encodes the movie as a sequence of
PNG images. PNG images have lossless compression.

l

Tag Image File Format (TIFF): Encodes the movie as a sequence of
uncompressed TIFF images. This codec is lossless.

l

Uncompressed (RGB): Encodes the movie as uncompressed bitmap data.
This codec is lossless.

NOTE
Portable Network Graphics (PNG) and Photo JPEG are the only codecs inthis list that are natively supported by both Harmonyand GNOME's Totem
Video Player. Other codecs may require additional softw are to play on
GNU/Linux w orkstations.

W hen using a JPEG-based codec, this allow s you to set the JPEG compression
qualityquality. By default, this w ill be set to 85. Possible values range from 0 to 100. The
higher the quality, the more disk space the resulting video file w ill take.

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

compression

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

packbits

For movies encoded in TIFF. W hen enabled, this option adds extra losslesscompression to the encoding.

lendian

For movies encoded in TIFF. W hen enabled, the video data is encoded in little
endian byte order, instead of big endian.

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W indows Media Video Settings Dialog Box (W indows)
The W MV Settings dialog box allow s you to configure the video and audio settings w hen exporting a movie in
W indow s Media Video (.wmv) format.

NOTES
l

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

lThis dialog can only be accessed on W indow s.

How to access the W MV Options dialog box from the Export Movie dialog
1. From the top menu, select File > Export > Movie.
The Export Movie dialog box appears.

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2. In the Movie Format drop-dow n, select QuickTime ProRes Movie (*.mov).
3. Click on the Movie Options button.
The QuickTime Movie Options dialog box appears.

4. In the Codec drop-dow n, select any of the movie options.

How to access the W MV Options dialog box from the Export OpenGL Frames dialog
1. In the top menu, select File > Export > OpenGL Frames.
The Export OpenGL Frames dialog box appears.

2. In the Format section, select Movie.
3. In the Movie Format drop-dow n, select W indows Media Video (*.wmv).

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4. Click on the Movie Options button.

How to access the W MV Options dialog box from the W rite node Layer Properties
1. In the Node view , locate your scene's W rite node.
2. Open the W rite node's Layer Properties by doing one of the follow ing:lClick on the yellow squareat the left end of the W rite node.

l

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

The W rite node's Layer Properties dialog appears.

3. In the W rite node's Layer Properties, enable the Movie option.
1. To the right of the Movie check box, open the drop-dow n menu and select W indows Media Video(*.wmv).
2. To the right of Movie Options, click Customize.

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Parameter

Description

Video

Variable Bit Rate
Quality

Allow s you choose a quality setting ranging from 5 to 100 for the video stream.
The higher the quality of the export, the larger the resulting file.

Uncheck this checkbox if you w ant to export a movie w ithout an audio track.

NOTE

Sound

The Sound section of this dialog is not available if you are exporting an
EDL/AAF/XML sequence, as this type of export creates video files w ith noaudio track and export sound clips in separate sound files.

Allow s you to select one of the preset combinations of audio sample rates,
sample sizes and channel modes for the audio stream:l

Sample rate: Available sample rates are 8000 Hz, 16000 Hz, 22050 Hz
and 44100 Hz. The higher the sample rate, the better the audio quality.

NOTE
Harmony cannot export audio at a higher sample rate than 22.050
kHz. If you select a higher sample rate, your project's audio w ill be
upsampled, w hich means it w ill take more disc space w ithout
increasing in quality.

ProfilelSample size: Also know n as bit depth, this determines the amount ofprecision used to record each w avelength in the audio track. The standard
size is 16- bit. If you choose 8- bit, the amount of disk space the audio trackof your movie file requires is halved, but the audio quality w ill besignificantly low er.

NOTE
Exporting in 8-bit audio requires Apple QuickTime to be installed.

l

Channel mode: Available channel modes are Stereo and Mono. Stereo
sound has a separate audio track for the left and the right speakers,
w hereas mono sound uses a single track for all speakers.

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Xsheet Column W idth Dialog Box
The Xsheet Column W idth dialog box lets modify the w idth of a column in the Xsheet view and use it as thedefault column w idth.

How to access the Xsheet Column W idth Dialog Box
1. In the Xsheet view , select a column.
2. From the Xsheet menu, select View > Set Columns W idth.
The Xsheet Column W idth dialog box opens.

Parameter

Description

Columns W idth (pixels)

Lets you set the w idth of the selected columns (in pixels).

Apply

Applies the value you entered to the selected column w ithout closing the dialog
box.

Set As Default

Uses the value you entered as the default for all columns in the Xsheet.

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Chapter 2: Menus
The Menus section covers all the menu entries available in Harmony. There are several types of menus in
Harmony: main menus, quick-access menus and view menus. Menus contains most of the functions available.
They may also have a toolbar button or keyboard shortcut equivalent.
Main Menus

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Animation Menu

301

Draw ing Menu

311

Edit Menu

320

File Menu

324

Help Menu

328

Insert Menu

330

Play Menu

332

Scene Menu

334

View Menu

336

W indow s Menu

343

View Menus

345

3D Graph View Menu

346

Camera View Menu

348

Colour View Menu

365

Draw ing View Menu

368

Function View Menu

381

Library View Menu

383

Reference View Menu

385

Node View Menu

387

Node Library View Menu

392

Onion Skin View Menu

393

Perspective View Menu

395

Script Editor View Menu

401

Side View Menu

406

Timeline View Menu

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Top View Menu

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Xsheet View Menu

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Main Menus
The top menu contains most of the commands available in Harmony. Depending on the view you're w orking inand the selected element, some commands are available and others not. The top menu is alw ays located atthe very top of the interface.

On macOS, there is also a Harmony Premium category that contains the follow ing commands: Preferences,
About, and Quit.
Animation Menu

301

Drawing Menu

311

Edit Menu

320

File Menu

324

Help Menu

328

Insert Menu

330

Play Menu

332

Scene Menu

334

View Menu

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W indows Menu

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Animation Menu
The Animation menu lets you access tools, adjust animation timing, set deformation, morphing and IK
parameters, lock or unlock layers, and select elements in the Xsheet and Timeline view s.

How to access the Animation menulAt the top of the interface, select Animation.

Command

Description

AnimateW hen this option is selected, every time you use theTransform,
Advanced Animation orInverse Kinematic tools
Animate Current Frame

to manipulate an element in your scene, the position of the element
w ill be stored in a keyframe at the current frame. This allow s you toanimate elements in your scene w ithout creating keyframes manually.

W hen this option is selected, if you use theTransform or
Advanced Animation tools to make transformations to an

Animate Onion Skin Range

element in your scene, the transformations w ill be stored as keyframes
at the beginning and at the end of the current Onion Skin range, as
w ell as on every existing keyframe in-betw een. This can be useful if
you w ant to reposition an element that you have already animated, but
only during a specific range of frames, w hich you can define byenabling Onion Skin and setting the Onion Skin range to cover that
range of frames.

W hen this option is selected, if you use theTransform or
Advanced Animation tools to make transformation to an
Animate Off

element in your scene, the transformations w ill affect the element
throughout the w hole scene. This can be useful if you w ant toreposition an element after you have already animated it.

Stop-Motion Keyframe

Converts the selected keyframes to stop-motion keyframes. Betw een
a stop-motion keyframe and the next keyframe, Harmony does not
generate any animation and the element remains static until the next
keyframe.

Delete Keyframe

Deletes the selected keyframes.

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Tools

Transform

Allow s you to select draw ing layers and position, rotate, scale andskew them.

Inverse Kinematics

Allow s you to pose a character model by pulling on its extremities,
such as hands and feet, and have the other connected limbs follow .
Can be used on any piece connected in a hierarchy.

TranslateLets you move the selected element along the X and Y axes.

RotateTurns a selected element around its pivot point.

Scale

Increases or decreases the size of a selected element. You can scale an
object up to make it larger or dow n to make it smaller. Press Shift toscale the element w hile maintaining its proportions.

Skew

Slants the selected element.

Maintain Size

Keeps elements the same size aspect ratio in the Camera view as you
move them tow ards or aw ay from the camera.

Spline Offset

Lets you reposition the visual trajectory w ithout offsetting or
modifying your animation. By default, the trajectory is located at 0,0,0
fields. If your elements w ere draw n in a different location than thecentre of the draw ing area, it w ill look like the trajectory is not aligned
w ith your draw ing. Also, if you have several elements attached to one
trajectory, you might w ant your trajectory to be at a different location
to represent the group's motion better.

Reposition Draw ing

Lets you reposition, scale, rotate or skew all draw ing strokes on every
draw ing included in a layer.

Increase Exposure

Adds one more exposure to a selected cell; repeating this action adds
an extra cell each time. This is an efficient w ay to extend a draw ing's
exposure and is alw ays set in Insert mode. Increasing an exposure
pushes the existing exposure forw ard.

Decrease Exposure

Decreases exposure of a selected cell by one; repeating this action

Cell

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decreases one exposure adds an extra cell each time. This is anefficient w ay to shorten a draw ing's exposure. Decreasing an exposure
pulls in the existing exposure.

Set Exposure to

Extend Exposure

Lets you set the exposure to 1, 2, 3 or a custom exposure.

Lets you enter the frame up to w hich you w ant to extend the exposure.
You can expose the draw ing in the frames and replace the draw ings
that w ere originally there or move the subsequent frames forw ard intime.

Add Key Exposure

Adds a key exposure to the selected cell.

Remove Key Exposure

Removes key exposures from the selected cells.

W hen w orking w ith draw ings to adjust the timing of a mouth in alipsync, for example, and forcing the use of specific key exposures,
unnecessary key exposures w ill be created. You can delete these
duplicates w ithout affecting the rest of the draw ing. The first draw ingof the selection w ill be used for the range.
Remove Duplicate Key Exposure

NOTE
Duplicate key exposures may occur w hen pasting w ith the
Enforce Key Exposure option selected.

Fill Empty Cells

Fills the empty frames in the selection w ith the exposure just before.
For example, if you select a range of frame that starts w ith an exposeddraw ing and then ends w ith empty cells, all of the empty cells in theselection w ill be filled w ith the exposed draw ing just before the empty
cells.

Insert Blank Cell

Adds an empty cell betw een other cells.

Clear Exposure

Removes the exposure from the selected cell.

Clear Exposure and Pull

Replaces the exposure from the selected cell w ith exposures that
follow it.

Fill Selection

Lets you fill the same value over an entire selection. The selection canbe over one cell, a cell range in one column, a cell range over manycolumns, an entire column, or many columns. You can use numbers,

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w ords, letters, or any alphanumeric value.

Sequence Fill

Lets you create a numbered sequence over a selection. The sequencecan be forw ard, backw ard, single, double or higher increment, as acycle, and so on. The selection can be over one cell or a cell range in
one column or more or an entire column or many entire columns.

Lets you fill in random values over a selection. You can give amaximum and a minimum value and create a range for Harmony toFill Cells Randomly

choose the random values from. The selection can be over one cell or acell range in one column or more or an entire column or many entire
columns.

Hold Exposure

Lets you expose a draw ing for three, four, or five cells and so on.

Deformation

Set Curves and Offsets
Independent from Parent

W hen you transfer a curve's position to its parent offset, first you must
to set curves and offsets independent from parent.

Lets you transfer all of the information from first curve deformer to its

Transfer Curve Values to Offset

parent Offset node. This is useful for a legacy scene created using
Curve deformations w here the Offset's position has been placed far
aw ay from the draw ing to make sure it doesn't affect the draw ing's
deformation. You can bring back the offset and give it the first curve's
position. The Envelope deformation lets you animate the offset of eachcurve separately. The offset no longer needs to be placed far aw ay.

Convert Elliptic Deformation ROI
to Shape

After you have created a deformation chain using Elliptic as the Zoneof Influence type, you can select your deformer and click on this button
to convert it to a Shaped type. Control points w ill appear around theshape making it easy to customize.You can also convert the Elliptic
zone of influence to a shape. Select Animation > Deformation >Convert Elliptic Deformation ROI to Shape. This w ill create a muchsmaller initial zone of influence than if you w ere to convert it directly toa shape.

Convert Deformed Draw ing toDraw ings

Convert deformation animations to draw ing sequences, so you canadjust the draw ings using the draw ing tools. You may also w ant tochange the timing and set it on double frames instead of single frame.

Convert to New Draw ing and
Add Deformation Chain

Takes the pose/draw ing and the deformer of the selected frame andconverts it to a new pose/draw ing w ith the corresponding deformer.

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Envelope Creator

Opens the Envelope Creator dialog, w hich allow s you to automaticallygenerate a deformation chain based on the artw ork in the current
layer.
Create Envelope
Among other things, the Envelope Creator dialog allow s you to set theparameters for the amount of deformation points in the envelope as
w ell as its shape and type.

Opens the Envelope Draw er dialog, w hich allow s you to draw a
deformation chain in the Camera view using a mouse or pen tablet.
The deformation chain w ill be created as a parent of the current layer.
Draw Envelope
Among other things, the Envelope Draw er dialog allow s you to set theparameters for the amount of deformation points are created and how
the shape of your draw ing is processed.

Exposure Fill

Using Render Change

Modifies the timing (exposure) of the selected layer, lets you adjust theparameters to assign w hen the texture exposure changes w ill occur.
You can adjust the type of filter to use for the motion detection, as w ellas threshold values to indicate w hat w ill be considered a big enoughmotion variation for an exposure change.

Master Controller

Launch Stack W izard

Opens the Master Controller Stack W izard, w hich allow s you to createa Master Controller that combines a 2D point w idget and a slider. The
2D point w idget can be used to rotate part of your rig in any direction,used a grid of preset poses, and the slider can be used to sw itch
betw een different grids of poses.

Launch Grid W izard

Opens the Master Controller Grid W izard, w hich allow s you to createa Master Controller w ith a 2D point w idget that can be used to rotate
part of your rig in any direction, using a grid of preset poses—see
Master Controller Grid W izard Dialog Box on page 123.

Launch Slider W izard

Opens the Master Controller Slider W izard, w hich allow s you to createa Master Controller w ith a slider w idget w hich can be used to change
the pose of part or all of your rig, based on a line-up of 2 or moreposes—see Master Controller Slider W izard Dialog Box on page 235.

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Morphing

Create Morphing

Allow s you to create and configure a morphing sequence, w hich w ill
automatically generate the in-betw eens betw een tw o draw ings in thecurrent layer.

Insert Morphing Key Draw ing

Creates a morphing keyframe from a selected morphing frame.

Delete Morphing

Convert Morphing to Draw ing

Contour Hint

Once a cell is selected in a morphing sequence, deletes the entire
sequence betw een the tw o keyframes.

Lets you convert your morphing inbetw eens to real draw ings you can
edit. This is useful w hen manually editing a morphing sequence or if
you prefer to have animation timing in double frame (on tw os) insteadof single frame (on ones).

The Contour Hint point is used on the colour fill zone and brush lines;
in other w ords, on Contour vectors. It allow s you to control the line
thickness and contour position. Also, if a contour is not animatedcorrectly, you can use hints to correct the animation. For example, if aflag is not w aving properly.
W hen adding a Contour Hint point, make sure to place it far enoughaw ay from the contour so you can see it snap to the contour.
Contour Hint points are yellow .

Zone Hint

The Zone Hint point is used on a colour zone to control the proximity
rule. The Zone Hint is placed in the centre of the colour zone.
Sometimes a colour zone is not associated w ith the corresponding one
by default. For example, in a splash animation there are many w ater
droplets that are the same colour. Harmony automatically morphs thedroplet to the nearest one. This is not alw ays the one you may havepredicted. A Zone Hint w ill force a colour zone to morph w ith anotherone.
Zone Hint points are cyan in colour.

Pencil Hint

A Pencil Hint point is used to control a pencil line, also know n as
central vector. It can be used on draw ings that w ere done using thePencil, Polyline, Ellipse, Line and Rectangle tools. Like the Contour
Hint, the Pencil Hint snaps to the central vector. Make sure to place it
far enough aw ay from the line so you w ill see it snap w hen you moveit.
Pencil Hint points are magenta in colour.

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Appearing Point Hint

An Appearing Point Hint is used to control the trajectory of an
appearing shape. A shape w ill appear in the destination draw ing w hen
there is no corresponding shape in the source draw ing. If you do notplace an Appearing Point Hint to control the point of appearance, theshape w ill appear from its centre and expand outw ards.
Appearing Point Hint points are violet in colour.

A Vanishing Point Hint is used to control the trajectory of a vanishing
shape. A shape w ill vanish from the source draw ing w hen there is no
Vanishing Point Hint

corresponding shape in the destination draw ing. If you do not place a
Vanishing Point Hint to control the point of disappearance, the shape
w ill vanish into its centre.
Vanishing Point Hint points are green in colour.

Sw itch Betw een Morphing Key
Draw ings

Toggles betw een the tw o key draw ings in your morphing sequence.
This option is useful w hile setting hints. You can use the default
keyboard shortcut F4 to toggle betw een your draw ings.

Go to First Frame

Goes to the first frame of your morphing sequence.

Go to Previous Frame

Goes to the previous frame of the selected frame in the morphing
sequence.

Go to Next Frame

Goes to the next frame of the selected frame in the morphing
sequence.

Go to Last Frame

Goes to the last frame of your morphing sequence.

Suggest Hints

Automatically sets hint points on key draw ings as a help tool. If you're
not sure w here to set hints, you can use this option. It w ill set the main
hints w hich you can then fine tune.

Hide Hints

Temporarily hides the hint points from the key draw ings. Use thisoption w hen you have a series of hint points hiding some lines you
w ould like to see.

IK Constraints

Set IK Nail

Blocks the X, Y and Z positions.

Set IK Hold Orientation

Blocks the angle.

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Set IK Hold X

Blocks only the X position.

Set IK Hold Y

Blocks only the Y position.

Remove All Constraints

Removes all nails except the minimum and maximum angles.

Lip-Sync

Change Mouth Shape toLets you change the mouth shape to one of the follow ing: A, B, C, D, E,
F, G, X.

Auto Lip-Sync Detection

Generates a sound detection for lip-sync.

Map Lip-Sync

Automatically maps draw ings in an element to the mouth chart you
have generated for a sound. This can save time w hen you are lipsynching a voice track.

Flip Horizontal

Flips the selection horizontally.

Flip Vertical

Flips the selection vertically.

Flip Scale X

Once your draw ing layer is rotated, the original horizontal and verticalaxes change. The Flip Scale X and Flip Scale Y w ill perform a flip on
your draw ing layer follow ing its original axis.Remembers the original
X-axis of the layer and flips the element follow ing it.

Flip Scale Y

Remembers the original Y-axis of the layer and flips the element
follow ing it.

Flip

Linear Motion

Sw itches betw een a linear and curved corner.

Lock in Time

Indicates w hether the point is locked to a specific frame (keyframe) or
only locked to a specific position and the curve can flow through it
freely as other points are being added, moved, or adjusted (control
point).

No Z Dragging

Keeps the Z value constant w hen you drag a character using theTransform or Translate tool.

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Substitute Draw ing Previous

Replaces the draw ing or cell's symbol on the current frame by theprevious draw ing.

Substitute Draw ing Next

Replaces the draw ing or cell's symbol on the current frame by the next
draw ing.

Go to Previous Keyframe

Goes to the previous keyframe.

Go to Next Keyframe

Goes to the next keyframe.

Select Previous Keyframe /Point

Select the previous keyframe/point.

Select Next Keyframe /Point

Select the next keyframe/point.

Select Child Skipping Effects

Lets you select the first element parented to the selected peg elementin the Timeline view skipping effects in the hierarchy.

Select Child

Lets you select the first element parented to the selected peg elementin the Timeline view .

Select Children

Lets you select all elements parented to the selected peg element in
the Timeline view .

Select Group Content

Selects all of the contents of the group.

Select Parent Skipping Effects

Lets you select the parent of the selected element in the Timeline view
skipping effects in the hierarchy.

Select Parent

Lets you select the parent of the selected element in the Timelineview .

Select Previous Sibling

Lets you select the previous element (above current element) in theTimeline view .

Select Next Sibling

Lets you select the next element (below current element) in theTimeline view .

Lock

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Lock

Locks one or a multiple selection of layers.

UnlockUnlocks one or a multiple selection of locked layers.

Lock All

Locks all the layers in the Timeline view .

Unlock All

Unlocks all the layers in the Timeline view .

Lock All Others

Locks every layer except the selected ones.

Reset

Returns the value of the selected element to the initial value of theactive tool. For example, if the Rotate tool is active, the transformation
angle w ill be reset to 0 and if the Transform tool is active, all thetransformation values w ill be reset.

Reset All

Resets all transformations on the current frame in a selected layer.
Your keyframe w ill remain, but all the values w ill return to the starting
value. All transformations are reset regardless of the tool you're using.

Resets all transformations on the current frame except the Z position.
This is useful w hen doing cut-out animation. Cut-out puppets often
Reset All Except Z

have a particular Z ordering for the different view s of a character. Youmight w ant to reset the transformation, but not necessarily the Z
position.

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Drawing Menu
The Draw ing menu lets you access many tools related to draw ing, painting, dirt removal, optimizing strokes,
and more.

How to access the Drawing menulAt the top of the interface, select Drawing.

Command

Description

Draw ing Tools

Allow s you to select one of the draw ing tools available in Harmony.

SelectAllow s you to select and reposition, scale, rotate and skew brush strokes, pencil
lines, shapes and other parts of your artw ork.

Contour Editor

Allow s you to edit the vector contours of brush strokes, pencil lines and shapes inyour artw ork. You can add, remove, tw eak and move vector points, move theBezier handles of the vector points as w ell as deform vector outlines.

Centerline Editor

Allow s you to tw eak and deform a brush stroke by manipulating the points at thecentre of its line rather than its contour.

Pencil Editor

Allow s you to adjust the thickness of a pencil line at its different points andcorners, tw eak the shape of its extremities and scale its texture.

CutterAllow s you to cut a part of your artw ork, then reposition, scale, rotate and skew
it.

Smooth Editor

Allow s you to optimize contours and lines by removing its extra points, making
them easier to edit.

Perspective

Allow s you to deform artw ork by applying a perspective effect on it.

Envelope

Allow s you to deform and w arp artw ork by moving points and tw eaking lines in a
grid.

Reposition All
Draw ings

Allow s you to reposition, scale, rotate and skew all draw ings in the current layer.

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Draw ing Pivot

Allow s you to position the pivot on a draw ing layer by clicking w here you w ant
its location to be.

Brush

A pressure-sensitive tool for creating a contour shape w ith a thick and thin line
effect, as if created w ith a paint brush.

PencilA pressure-sensitive tool for draw ing outlines. Pencil lines are made of central
vector lines, making them easier to tw eak and edit than brush strokes.

Text

Allow s you to add text and to format it.

EraserA pressure-sensitive tool for erasing parts of a draw ing.

Colour Eyedropper

Allow s you to select a colour by clicking on a colour in your artw ork.

Pencil Texture
Eyedropper

Allow s you to select a pencil texture by clicking on a textured pencil line.

Morphing

Allow s you to create and configure a morphing sequence, w hich w ill
automatically generate the in-betw eens betw een tw o draw ings in the current
layer.

Line

Draw s a straight line segment going from one point to the other.

Rectangle

Draw s a rectangle.

EllipseDraw s an ellipse.

Polyline

Allow s you to draw shapes, segmented lines or complex curved lines by clicking
to create each point in the sequence of line segments.

Paint

Allow s you to fill colour zones w ith a colour or texture.

Ink

Allow s you to recolour pencil lines w ith precision by changing the colour of one
segment at a time.

Repaint Brush

Like the Brush tool, but only paints over existing brush strokes.

Close Gap

Allow s you to close open shapes so that they can be filled w ith the Paint tool. By

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draw ing a stroke near a small gap in a shape, this tool w ill create a small invisible
stroke connecting the tw o closest points around the gap.

StrokeAllow s you to create invisible lines that can serve as colour zones that can be
filled, or close the gaps in existing colour zones.

Edit Gradient/Texture

Allow s you to adjust the position, angle and size of gradients and textures in acolour zone.

Hand

Allow s you to pan the Camera and Draw ing view s.

Zoom

Allow s you zoom in and out of the Camera and Draw ing view s.

Rotate View

Lets you rotate the Camera and Draw ing view s just like w ith a real animation
disc.

Shift and Trace

Allow s you to temporarily move draw ings so you can trace over them in otherdraw ings using Onion Skin.

Clean Up

Remove Dirt

Opens the Remove Dirt dialog box w here you can specify the number and size ofdots removal from a selected draw ing.

Remove Hair

Opens the Remove Hair dialog box w here you can specify the number and lengthof hairs for removal from a selected draw ing. This removes any small strokes
created in the Colour Art layer from very thick lines or filled zones. Increase thevalue to select larger strokes for removal from the draw ing.

Close Gaps

Closes small gaps in a draw ing by creating small, invisible strokes betw een thetw o closest points to close the colour zone. You do not need to trace directly overthe gap. You can draw it a few millimeters aw ay. The tw o closest points
automatically close the gap.

Remove Art Inside
Selection

Removes any art inside a selection. It is recommended that you clean your Colour
Art level as w ell. If you have a stroke accumulation in the Colour Art, it can result
in large output files, especially if you w ork in high definition resolutions.

Remove Art Inside
Selection on All
Draw ings

Removes any art inside all draw ings selected w ith the Permanent Selection
option in the Select tool.

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Remove Art Outside
Selection

Removes any art existing outside a selection. It is recommended that you clean
the Colour Art level as w ell. If you have a stroke accumulation in the Colour Art, it
can result in large output files, especially if you w ork in high-definition
resolutions.

Remove Art Outside
Selection on All
Draw ings

Removes any art outside all draw ings selected w ith the Permanent Selection
option in the Select tool.

Paint

NOTE
The Paint commands require you to use the Permanent Selection option in the Select tool so you can maintain aselection over multiple draw ings.

Unpaint Selection

Unpaints any art existing inside a selection.

Unpaint Selection on
All Draw ings

Unpaints all art contained inside a selection on all the draw ings w ithin the samelayer.

Unpaint Outside
Selection

Unpaints any art existing outside a selection. If no selection have been draw nusing the Select tool, the entire draw ing w ill be unpainted.

Unpaint Outside
Selection on All
Draw ings

Unpaints all art outside a selection on all the draw ings w ithin the same layer.

Repaint Selection

Repaints any art inside a selection.

Repaint Selection on
All Draw ings

Repaints any art inside a selection on all the draw ings contained w ithin the samelayer.

Repaint Outside
Selection

Repaints any art outside a selection. If no selection has been draw n using the
Select tool, the entire draw ing w ill be repainted.

Repaint Outside
Selection on All
Draw ings

Repaints any art outside a selection on all the draw ings contained w ithin thesame layer.

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ConvertPencil Lines to Brush
StrokesConverts the selected centreline pencil strokes into contour strokes brush lines.

Brush Strokes toPencil Lines

Converts selected contour strokes into centreline pencil strokes. The brush stroke
thickness w ill be lost.

Strokes to Pencil
Lines

Break Apart Text
LayersConverts the selected invisible line to a pencil line.

Text is treated as a single draw ing object. This separates the text so eachcharacter becomes an individual draw ing object you can select and modify
independently.

Optimize

FlattenMerges draw ing objects and brush strokes into a single layer. If you draw newlines to fix a draw ing or line w ith many brush strokes, it can be useful to flatten
them all into a single shape. By default, lines are draw n one on top of each other.
If you intend to repaint the lines or modify their shape, it w ill be easier if they areflattened.

SmoothSmooths selected draw ing strokes and removes extra points.

Create Contour
Strokes

Adds a permanent invisible line around a shape that w as draw n directly inHarmony. This allow s you to unpaint lines w ith the Paint tool but maintain the
shape of the lines, should you need to repaint later.

Remove Contour
Strokes

Remove any permanently invisible lines that w ere created w hile scanning andvectorizing draw ings or manually adding contour strokes. This is useful for
removing the intersection triangles created during vectorization.

Remove Extra Strokes

Removes strokes inside painted area. This option only w orks after the painted
draw ing is flattened.

Optimize

Reduces the number of layers, such as overlapping brush strokes, in the selecteddraw ing objects. Draw ing objects w ill only be flattened and optimized if theselected objects do not change the appearance of the final image w hen they are
merged.

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Crop Brush Textures

Reduce Draw ing
Texture Resolution

Crops an unnecessarily large texture bitmap that lies unseen beneath the vector
contour of a textured line. This often occurs w hen you cut and paste textured
lines from one draw ing into another. If you cut a portion from a textured line andpaste it into a different draw ing, Harmony pastes the entire unseen texture
bitmap from the source draw ing into the new one, even if you only took a small
portion of the source draw ing. Using the Crop Brush Texture command w ill cropaw ay extraneous texture that does not touch the vector area. If there are many
textured lines in your scene, this w ill greatly reduce the file size.

W hen you import and vectorize as texture (colour) a high resolution image, thesize of your draw ing can be heavy. You can reduce the size and resolution of the
textures in a draw ing.

Transform

Flip Horizontal

Flips the current selection horizontally.

Flip Vertical

Flips the current selection vertically.

Rotate 90 CW

Rotates the current selection 90 degrees clockw ise.

Rotate 90 CCW

Rotates the current selection 90 degrees counter-clockw ise.

Rotate 180

Rotates the current selection 180 degrees.

Arrange

Bring to Front

Moves the selected art to the front (on top).

Bring Forw ard

Moves the selected art one level forw ard (closer to the front).

Send Backw ard

Moves the selected art one level low er (behind).

Send to Back

Moves the selected art behind everything (bottom / back).

Create Empty Draw ing

Creates a draw ing in the selected cell, replacing any draw ing that may already be
exposed in that cell and the follow ing ones until it meets another draw ing, key
exposure or a blank cell.

Duplicate Draw ings

Creates a duplicate of the selected draw ing in the layer. The duplicate draw ing

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w ill be exposed at the selected frame instead of the original draw ing. Hence, thiscommand allow s you to instantly start w orking on a duplicate of the current
draw ing and retain the original.

NOTE
W hen duplicating a draw ing, the exposure at the selected cell is replaced
w ith the new draw ing, up until the next key exposure.

Delete Selected Draw ings

Permanently removes selected draw ings. Once you save your project, thesedraw ings cannot be recovered.

Rename Draw ing

Lets you give a selected draw ing a new name.

Rename Draw ing w ith Prefix

Lets you rename a draw ing sequence w ith a prefix, w hich can be quite useful for
cut-out puppet breakdow n and deformation animation. This applies to any
deformation w ork done in pre-Harmony 12 versions.

Rename by Frame

Lets you rename a series of draw ings relative to their frame position. This isuseful in hand-draw n animation.

Select Strokes w ith Current
ColourLets you select draw ing elements and painted areas w ith the same colour as thecurrently selected colour in your colour palette.

Distribute to Layers

Every selected stroke in the Camera view is placed on separate layers; one layer
per stroke. If artw ork is composed of several strokes, you must group them to put
them on the same layer.
This operation cannot be done in the Draw ing view .

Create Colour Art from Line
Art

Lets you use the outline you traced on one of the four embedded layers (line art,
colour art, overlay, underlay) and create invisible strokes to paint your draw ings
on separate layers. This provides more inking and painting flexibility.
You can also configure this option to create the invisible strokes on any of thefour embedded layers.

Create Breaking Triangles

Useful for brush strokes, creates triangular breaks at natural line intersections.
These intersections are the probable locations w here colour line breaks may
occur, such as w here a sleeve meets a hand.
This makes it easier to soft trace lines in different colours w hen there areflattened or unflattened clean brush strokes.

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Generate Auto-Matte

Fills colour based on currently selected colour sw atch on different draw ing
layers (overlay, underlay) so overlapping lines are more visible during a line test.

Adjust Line Texture Opacity

Lets you adjust the contrast and opacity of textured lines in a draw ing.

Allow s you to change the pixel density of textured brush strokes in vectordraw ings in your scene.
Change Vector Draw ing
Brush Resolution

NOTE
W hen you create a new vector draw ing, its pixel density for textured brushstrokes is based on the settings in the Draw ing Resolution tab of the Scene
Settings dialog.

Allow s you to change the pixel density and canvas size of existing bitmap
draw ings in your scene.
Change Bitmap Draw ing
Resolution

NOTE
W hen you create a new bitmap draw ing, its canvas size and pixel density
are based on the settings in the Draw ing Resolution tab of the Scene
Settings dialog.

Previous Draw ing

W hen a cell is selected in the Timeline or Xsheet view , displays the previous
draw ing.

Next Draw ing

W hen a cell is selected in the Timeline or Xsheet view , displays the next draw ing.

Previous Layer

W hen a cell is selected in the Timeline or Xsheet view , displays the previous
layer.

Next Layer

Once a cell is selected in the Timeline or Xsheet view , you can navigate betw een
the draw ings, frames, and layers. Displays the previous draw ing, next draw ing,
previous layer or next layer.
W hen a cell is selected in the Timeline or Xsheet view , displays the next layer.

Colour Protection

Toggle Current
Colour Protection

Temporarily enables/disables the Colour Protection feature so you can quickly
correct w rongly inked or painted areas under protected colour w ithout
readjusting the Current Colour Protection option.

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Respect Colour
Protection

In the Colour view , you can protect a colour sw atch to avoid repainting or
unpainting the zones linked to that sw atch. If you using the Paint tool and thisoption is deselected, you w ill repaint or unpaint the protected colours on yourdraw ings until you enable the option again.

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Edit Menu
The Edit menu lets you repeat and undo actions, cut/copy/paste selected objects, select and manipulate
objects, w ork w ith symbols, and access the Preferences dialog box.

How to access the Edit menulFrom the top menu, select Edit.

Command

Description

Undo

Removes the last change made to your project. Harmony supports
multiple undo, so you can undo changes you made in the order you
made them.

Redo

Redoes an operation you have undone. This command is active only
after you use the Undo command.

Cut

Removes selected objects. You can then paste the object or its
properties to another object.

Copy

Copies selected objects and properties.

Paste

Places an object you cut or copied into the location you select in aview .

Paste in Place

Pastes the copied object in the same place as the original.

Opens the Paste Special dialog box w hich lets you determine howtemplates and symbols are imported in the Timeline view .
Paste Special
There are advanced paste options for draw ings, timings, keyframes,
layers, as w ell as palettes and symbols.

Paste Special Again

Pastes new draw ings w ith the previous Paste Special settings.

Paste Cycle

Cycles a portion of an animation. You can increase or decrease thenumber of cycles to paste and select a type of cycle: Normal, Reverse,
Forw ard-Reverse and Reverse-Forw ard.

Paste Reverse

Reverses the timing of draw ings or keyframes in range of selection

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DeleteRemoves selected objects.

Select All

Selects all draw ing objects in the current draw ing w indow in the
Draw ing, Timeline and Camera view s. This helps you manage multiple
objects as one w hen moving them.

Deselect All

Deselects all selected objects in the Draw ing and Camera view s.

Invert Selection

Deselects the currently selected items and selects all other items thatw ere not selected. For example, if some lines are selected in adraw ing, this command w ill deselect them and select any other lines
in the draw ing that w ere not selected.

Auto-Apply

Automatically applies changes you make to a property w indow or
dialog box. Harmony applies the modification automatically anddisplays the result in the Camera view . W hen w orking on a heavy
scene, it is useful to turn off this option.If you w ant to alw ays w ork in
Auto-Apply mode, you can deselect the Auto-Apply option in the
Preferences dialog box (General tab). Then, each time you start
Harmony, the Auto-Apply mode w ill be off. You must click the Apply
button to see any modifications.

Create Symbol

Creates a symbol from selected draw ing elements in the Draw ing or
Camera view , nodes in the Node view , or a layer or cells in theTimeline view .

Open Merge Editor

Lets you bring together (merge) the layer or draw ings from different
versions of the same scene.

Extracts a symbol's contents and places it on the root timeline. Its
contents w ill be copied and inserted into the root timeline. The symbol
w ill not be removed from the Timeline view once it is expanded.
Expand Symbol

Expand Selected Symbol in Groups

The symbol's layers w ill be parented to it in case you created motions
and transformations on the draw ing layer that contain the symbol.
Breaking the hierarchy could result in the loss of any scaling andanimation you may have created.

Expands a symbol w ithin a group to avoid crow ding the timeline w ith
a series of layers. W hen you expand the symbols, the layers w ill becontained in a group node that you can expand to see the content.

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Duplicate Selected Symbol

Creates a duplicate of a selected symbol. If other symbols are nested
inside the new symbol, they are not duplicated. If you modify them, theoriginal and other instances w ill also be modified.

Create Draw ing from Draw ing Selection

Breaks a character into its main body parts. There is no need to create
any layers prior to this process. Make sure your model is w ell centeredand sized in the Camera view .

Clone: Draw ings Only

Creates a copy of the draw ings in the selected layer in the Timelineview or column in the Xsheet view . The timing it not copied.

Clone: Draw ings and Timing

Creates a copy of the draw ings and their timings in the selected layer
in the Timeline view or column in the Xsheet view .

Duplicate

Duplicates a layer to have a copy of the draw ings that are independent
from the original ones, as w ell as an independent timing (exposure).
W hen you need the draw ings to be modified independently, you w ill
w ant to duplicate the layer instead of cloning it.

There are tw o methods of merging draw ings.
l

You can merge selected draw ings in adjacent elements. The
columns and layers w ill be left intact, and each new mergeddraw ing w ill reside in the frames of the left-most column or
low er layer.

Merge
l

You can merge elements. All draw ings w ill be merged. Unused
columns and layers w ill be deleted, but the original draw ing
files are still accessible.

Group

Group

Groups selected draw ing objects in the Camera or Draw ing view .

Ungroup

Ungroups a selected group of draw ing objects in the Camera or
Draw ing view .

Group Selected Layers

Groups selected layers in the Timeline view or nodes selected in the
Node view .

Ungroup Selected Layers

Ungroups a selected group in the Timeline or Node view s.

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maintaining all connections.

Edit Draw ing Mode

W hen the Auto-Get Rights to Modify Draw ings option is selected in
the Preferences dialog box (General tab), the system automaticallygets the rights to modify draw ings w hen you select a draw ing.
Otherw ise, you must manually get the rights to modify draw ings.

W hen the Auto-Get Rights to Modify Palette option is selected in the
Preferences dialog box (General tab), the system automatically gets
Edit Palette List Mode

the rights to modify palettes and palette lists w hen you select a colour
from a palette. Otherw ise, you must manually get the rights to modify
a palette or palette list.

Get Rights to Modify Draw ing

Manually releases the rights to modify a selected draw ing.

Release Rights to Modify Draw ing

Manually releases rights to modify a selected draw ing.

Force Release Rights to Modify Draw ing

This option is alw ays available even if the Get Rights to Modify All
Scene Assets option is not selected in the Database Selector dialog
box.

Preferences

Opens the Preferences dialog box w here you can set your preferencesfor Harmony.

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File Menu
The File menu lets you open, close, save, scan, print, and import and export files.

How to access the File menulFrom the top menu, select File.

Command

Description

New

Creates a new scene w hile closing any scene already open. The New Scene dialog box
opens, asking for directory, name, and resolution information.

Open

Displays the Open Scene dialog box w here you can brow se for a scene file. You can
open a new scene from the current one and the previous scene w ill close.

Open Recent

Displays a list of the most recently opened scenes.

Clear

Clears the list of recently opened scenes.

Close

Closes the currently opened scene, but does not close the Harmony application.

Save

Saves all changes made to the opened scene, draw ings, palettes, and palette lists.

Lets you do the follow ing:lSave the scene as the current version.

lSave different versions representing different stages of the production of yourscene.

lSave different versions representing different scene setups.

lChoose specific assets that you w ant to save, such as draw ings or palettes.

Advanced Save

Rights to Modify Scene
VersionAllow s you to modify the selected version of the scene as w ell as to manage andoverw rite other versions. Other users w ill not be able to open a different version of thescene until you close the scene.

Rights to Modify Scene

Allow s you to modify the currently selected scene version only. Unless the Get rights
to modify the scene option is also checked, you w ill not be able to change otherversions of the scene. This allow s other users to modify different versions of the scene
w hile you are w orking on the selected version.

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Determines w hich draw ing files have been modified on disk since you loaded them. All
updated draw ings w ill be reloaded.
Read Changed
Draw ings

NOTE
Reloading a locked draw ing w ill discard unsaved changes.

Manage Versions

Allow s you to manage all the versions of the current scene.

Manage Local Cache

Opens the Manage Local Cache dialog, in w hich you can see all the Harmony Server
database scenes that w ere cached locally, delete unused caches and check if the data
in a scene's cache matches the data on the database server.

Saves the current file w ith a different name and at a different location.

Save As

Saves the current state of a scene as another scene. The Save As w indow prompts you
for a new name and a different location for this scene before saving it. This w ill create acomplete scene directory for the new scene.

NOTE
The scene name cannot exceed 23 characters.

Save as New Version

Saves the current scene as another version. The Save Version dialog box prompts you
to give a name for this new version. This w ill create a new .xstage file in your current
project directory.

Back Up Scene

Backs up the current scene to a location you choose.

Update Database Scene

Updates your database w ith only the changes you made to the scene. To do this, youmust enter your host name and host port in the Preferences dialog box, General tab.

Dow nload Database
Changes

If any changes w ere made to the scene you dow nloaded, you can perform an update by
dow nloading these changes, w hich w ill be integrated into your scene.

Remove Unused Files

Removes the unused palettes from the scene list.

ImportFrom Scanner

Imports draw ings from a TW AIN scanner.

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ImagesImports bitmap images w hich you can choose to vectorize.

3D ModelsOnce you have exported a model using a 3D authoring softw are, you can import it andintegrate it in your 2D animation scene. You have the possibility to convert your 3Dmodels to *.osb files upon import to Harmony and save them as such. This w ill allow
Harmony to render 3D files w ith the associated textures w ithout the need to copy
them manually (as long as the auxiliary files are linked correctly and named
appropriately on your disk).

Link to Images

Links to images stored on a centralizer server w hen w orking w ith Harmony Server.

Movie

Lets you convert a QuickTime movie to an image sequence and audio file.

Sound

Lets you import sound files into your project.

Colour Model

Lets you import TVG draw ing file into your project. Once imported, it is display in the
Model view for use as a colour model w hich you can load into any Harmony scene.

SW F, Illustrator
Files to LibraryLets you import SW F files into your project.

Movie

Exports animation as a QuickTime movie.

ExportRenders all the W rite nodes in a node structure.
Render W rite
Nodes

Soundtrack

W hen w orking w ith Harmony Server, you can send your scene to batch processing andto a render farm.

Exports a sound file as a merged soundtrack or series of individual files. The exported
soundtracks are generated as *.w av files.

Exports a Flash movie file.
SW F

Harmony supports exporting Flash movie files w ith a limited subset of vector andbitmap effects, the latter w hich can be preview ed in Render View

OpenGL Frames

mode.

Exports OpenGL frames (fast display mode) for a quick screen renders of a scene that
contain no transparency channel. Heavier scenes containing 3D, multiple effects andcamera moves can be fairly long to export.

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Layout Image

Exports all the elements in your scene to a layout .psd file.

Layout Image
from Selection

Exports only the selected elements to a layout .psd file.

XsheetPrints the exposure sheet so you can take it to your animation table, provide a copy tothe animator, or create your Xsheet skeleton directly in Harmony.

Node View

Prints the Node view for reference purposes.

Print

Quit

Closes the application.

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Help Menu
The Help menu lets you display the Harmony documentation, W elcome screen and end user license
agreement, as w ell as access the Toon Boom w ebsite, and identify the product name and version number.

How to access the Help menulAt the top of the interface, select Help.

Command

Description

Online Help

Opens the Harmony Help system, complete w ith instructions on how
to use the system. This requires an internet connection.

Getting Started

Opens the Harmony Getting Started Guide (in PDF format) in abrow ser w indow . Requires Acrobat Reader.

Toon Boom on the W eb

Opens the Toon Boom w ebsite, w hich features a Support andCommunity > Forum section.

The Customer Experience Improvement Program allow s Toon Boom

Customer Experience Improvement
Programto collect usage information. The data does not contain any personallyidentifiable information and cannot be used to identify you. The data
w ill consist of a basic hardw are description, a project summary andusage information. The information is used only for softw are
improvement purposes, as w ell as for sharing w ith third parties for thesame reason.
This program is enabled by default but is voluntary. If you prefer not toparticipate, you can opt out w hen you first launch the softw are, byusing a global preference, or by a command line argument.

About

Identifies the product name and version number.

Show W elcome Screen

Displays the Harmony W elcome screen.

Show End User License Agreement

Displays the End User License Agreement.

Debug Mode

W hen enabled, information is logged in the Message Log view about
the preview generated in the Camera view , each time the preview isrefreshed. In OpenGL preview mode, summary information is logged
about the amount of nodes to process and the time it takes to generate

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the preview . In Render Preview mode, detailed information about eachcomposite and effect that is processed is logged.
Additionally, this option makes the Node view display information oneach of its node about the amount of time a node must be processed togenerate the OpenGL preview , and the total amount of time (inmilliseconds) it takes for the node to process all its ingoingconnections.

This can be useful if the complexity of a scene is impacting application
performance, as it may help you identify the parts of your node systemthat have the most impact on the time it takes to generate the preview .

NOTE
The time indicated is cumulative from the top-dow n. Thismeans a child node w ill alw ays indicate that it takes at least as
much time to process as its parent.

Shortcuts

Displays the complete list of keyboard shortcuts for Harmony.

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Insert Menu
The Insert menu lets you create empty symbols in the Library view , different types of layers in the Timelineview , keyframes and control points.

How to access the Insert menulAt the top of the interface, select Insert.

Command

Description

Create Empty Symbol in Library

Creates an empty symbol in the Library view to w hich you can edit
(add content).

Bone

Adds a new Bone layer to the Timeline view .

CameraAdds a new Camera layer to the Timeline view .

Colour-Card

Adds a new Colour-Card layer to the Timeline view .

Draw ing

Adds a new Draw ing layer to the Timeline view and a column in the
Xsheet view .

Game Bone

Adds a new Game Bone layer to the Timeline and Node view s.

Group

Adds a new Group layer to the Timeline and Node view s.

Kinematic Output

Adds dd a new Kinematic Output layer to the Timeline and Nodeview s.

Peg

Adds a new Peg layer to the Timeline and Node view s.

Quadmap

Adds a new Quadmap layer to the Timeline and Node view s.

Particle

Basic Particle System

Adds a new layer w ith a basic particle system in the Timeline andNode view s.

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Basic Gravity-based System

Adds a new layer w ith a basic gravity-based particle system in theTimeline view .

Keyframe

Adds a keyframe to the selected cell in the Timeline view .

Keyframe and Duplicate Draw ing

Adds a keyframe to the selected draw ing layer cell in the Timelineview and creates a duplicate of the draw ing, w hich sits on top of theoriginal draw ing.

Position Keyframe

Adds a position keyframe w hereby keyframes w ill only be added on
the X, Y and Z parameters of the selected layer. Keyframes are notadded on the Angle, Scale and Skew parameters.

Control Point

Adds a control point to the trajectory of the selected element or peg in
the Camera view w hen the element or peg is in a 3D path. Note thatyou must have a 3D path in the peg portion in order to add a control
point.

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Play Menu
The Play menu lets you play back animation and sound. Use it to scrub the sound to create your lip-sync, loop
the playback, navigate through frames, and change the playback range and speed.

How to access the Play menulAt the top of the interface, select Play.

Command

Description

Play

Plays the scene in the Camera or Draw ing view .

Renders your scene's frames, then opens the rendered frames in Playfor playback.
Render and PlayThis allow s you to preview your scene's animation in real time, w ith
the effects rendered and w ith no risk of slow dow n.

Exports your scene as it appears in the Camera view into a movie file,then opens it in your w orkstation's default video player.

Record and PlayThis allow s you to preview your animation w ithout any risk ofslow dow n, but it does not preview the effects in your scene. How ever,
it is much faster than Render and Play.
This button automates the usage of the Export OpenGL Frames dialog
see

Test SW F Movie

Quickly exports your scene as a Flash Movie (.swf), then opens it inyour w orkstation's default w eb brow ser.

Stop

Stops playback.

Mini Playback

Open the Mini Playback dialog. This dialog allow s you to set theamount of frames before and after the current frame to playback w hen
using Mini Playback, to set the speed of Mini Playback and to start Mini
Playback.

Start Mini Playback

Begins Mini Playback using the last settings entered in the Mini
Playback dialog. By default, Mini Playback w ill play 5 frames before
and after the current frame, at the scene's frame rate.

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Playback Speed

Opens the Set New Frame Rate dialog box w here you can set theframe rate at w hich the playback plays.

Loop

If pressed, your scene w ill repeat indefinitely w hen playing.
Otherw ise, it w ill stop w hen the end is reached.

Enable Sound

Turns on sound during playback.

Enable Sound Scrubbing

Turns on sound scrubbing during playback.

Start Frame

Opens the Set Playback Start Frame dialog box , in w hich you canenter the frame number from w hich to start playback.

Stop Frame

Opens the Set Playback Stop Frame dialog box, in w hich you can set
the frame number at w hich to stop playback.

First Frame

Moves the red playhead to the first frame.

Previous Frame

Moves the red playhead to the previous frame.

Next Frame

Moves the red playhead to the next frame.

Last Frame

Moves the red playhead to the last frame.

Go to Frame

Opens the Go to Frame dialog box w here you can enter the frame
number on w hich the red playhead to be positioned in the Timelineview .

Enable Playback

Top View

Plays back your animation in the Top view .

Side View

Plays back your animation in the Side view .

Perspective View

Plays back your animation in the Perspective view .

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Scene Menu
The Scene menu lets you set the scene length, add frames to the scene, view different displays of the scene,
set render options, access the Scene Settings dialog box and Elements Manager w indow , and verify thedraw ing and palette files in your project.

How to access the Scene menulAt the top of the interface, select Scene.

Command

Description

Scene Length

Lets you set the length of the scene in frames.

Frame

Add Frames at Start

Adds the number of frames you specify to the beginning of the scene.

Add Frames at End

Adds the number of frames you specify to the end of the scene.

Add Frames Before Selection
Adds the number of frames you specify before or after your selection.
Add Frames After Selection

Remove Selected Frames

Deletes the selected frames from your scene.

CameraDefault Camera

Lets you select a camera. If you only add one camera to your scene,
you w ill only see Default Camera in your list.

Default Display

Display All
Show s the contents of a specific Display node, updating the contentsof the Camera, Top, Side, Perspective, and Timeline view s.
Display

Scene Settings

Opens the Scene Settings dialog box w here you can set the resolution,alignment, bitmap resolution and many other parameters.

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RenderAuto Render

Automatically recalculates the preview image w henever you modify aparameter. If your scene is heavy and you do not w ant the preview
rendered automatically, deselect the Auto-Render option and do thepreview update manually.Note that this w ill slow dow n Harmony as it
takes resources to update every frame.

Renders a frame each time the current frame is changed.
Auto Render W rite

You must have a W rite node in your node structure to use thiscommand.

Recalculate All

Refreshes the node structure and rerenders the display w hen the
Camera view is in render mode.

Recalculate Selected

Refreshes the node structure and rerenders the display of selected
elements w hen the Camera View is in render mode.

Cancel Preview Render

Cancels a render that w as started.

Opens the Element Manager w indow w here you can add, delete or
Element Manager

Check Files

modify elements (draw ing folders) in your scene. If you have draw ing
folders that are not linked to a column in your scene, use the Element
Manager to delete them if needed. See xref Reference > W indow s >Element Manager.

Verifies the integrity of the draw ing and palette files in your project.

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View Menu
The View menu lets you manipulate the view by zooming, panning, or rotating. You can also display the gridand change its size, use the onion skin feature to help w ith draw ing, and set the preview resolution.

How to access the View menulAt the top of the interface, select View.

Command

Description

Cycles through the follow ing display modes:

Toggle Full ScreenlNormal Full- Screen: The main application w indow becomesfull screen.

lView Full- Screen: The selected view becomes full screen andall other view s are collapsed.

l

Normal: The main application w indow is restored to its original
size and collapsed view s are expanded.

Zoom In

Zooms in the view .

Zoom Out

Zooms out the view .

Rotate View CW

Rotates the Camera view 30 degrees clockw ise, like an animationtable.

Rotate View CCW

Rotates the Camera view 30 degrees counter-clockw ise, like ananimation table.

Mirror View

Temporarily flips the Camera or Draw ing view horizontally, allow ing
you to view and edit your artw ork as if it w as being mirrored.

Reset Zoom

Resets the view ’s zoom to its default position.

Reset Rotation

Resets the view ’s rotation to its default position.

Reset Pan

Resets the view ’s pan to its default position.

Reset View

Resets the view to its default position.

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Next Colour

Goes to the next colour in the Colour view .

Previous Colour

Goes to the previous colour in the Colour view .

GridShow Grid

Displays the grid.

Grid Outline Only

Displays the outline of the grid only.

Underlay

Displays the grid under the draw ing elements.

Overlay

Displays the grid over the draw ing elements.

Square Grid

Displays a standard square grid.

12 Field Grid

Displays a 12-field size grid.

16 Field Grid

Displays a 16-field size grid.

Onion Skin

Show Onion Skin

Lets you preview the previous and next draw ings. By default, theprevious draw ings appear in a shade of red and the next draw ings are
displayed w ith a shade of green. You can change these colours in the
Preferences dialog box.

Add to Onion Skin

Adds a series of selected elements to the onion skin preview .

Remove from Onion Skin

Removes a series of selected elements from the onion skin preview .

Remove Unselected from Onion
Skin

Removes all elements except the ones selected from the onion skinpreview .

Add All to Onion Skin

Adds all of the scene's elements to the onion skin preview .

Remove All from Onion Skin

Removes all of the scene's elements from the onion skin preview .

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Onion Skinning by Frames

Selects the draw ings to display in the Onion Skin by their frame
number relative to the current frame. For example, if the Onion Skin is
set to include 2 draw ings before and after the current frame, it w ill
include the draw ings up to tw o frames before and up to tw o frames
after the current frame, even if those draw ings are the same as the one
in the current frame. This is more useful for cut-out animation as itallow s you to position a draw ing relative to its position in adjacentframes.

NOTE
This option only w orks in the Camera view .

Onion Skinning by Draw ings

Selects the draw ings to display in the Onion Skin by the amount ofdifferent draw ings before and after the current frame. For example, if
the Onion Skin is set to include 2 draw ings before and after the current
frame, this w ill display the nearest tw o different draw ings before andafter the draw ing in the current frame in the Onion Skin, even if thosedraw ings are further than 2 frames aw ay from the current frame. Thisis more useful for frame-by-frame animation.

NOTE
W hen this option is enabled, the handles allow ing you to adjust
the extent of the Onion Skin in the Timeline view are notavailable.

No Previous Draw ing

Removes the previous draw ing's onion skin and displays only the next
draw ing.

Previous Draw ing

Displays the previous draw ing.

Previous Tw o Draw ings

Displays the previous tw o draw ings.

Previous Three Draw ings

Displays the previous three draw ings.

No Next Draw ing

Do not show the onion skin for all of the next draw ings.

Next Draw ing

Show the onion skin for the next draw ing.

Next Tw o Draw ings

Show the onion skin for the next tw o draw ings.

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Next Three Draw ings

Show the onion skin for the next three draw ings.

Reduce One Previous Draw ing

Reduces the number of previous visible draw ings by one.

Add One Previous Draw ing

Adds one draw ing to the number of previous visible draw ings.

Reduce One Next Draw ing

Reduces the number of next visible draw ings by one.

Add One Next Draw ing

Adds one draw ing to the number of next visible draw ings.

Light Table

Turns on the light table so you can see the previous and subsequent
active layers in w ashed-out colours. It is useful for seeing the otherlayers w hen designing, animating or cleaning up your animation.

Backlight

Produces a silhouette effect by changing the draw ing’s coloured areas
into a single dark, solid colour. Use this to verify the completeness of
the ink and paint process. Any unpainted zones can be seen as thelight show s through the unpainted areas of the silhouetted draw ing.

Show

Symbol Pivot

Displays a symbol's pivot. The Symbol pivot is similar to the Draw ing
pivot. Each symbol cell can have its ow n pivot and act the same as theDraw ing pivot. The Symbol pivot can also be referred to as embedded
pivot. Inside a symbol, each draw ing can have its ow n pivot.

Safe Area

Displays the TV safety zone and the centre of the camera frame. The
safe area adapts to the scene resolution, as w ell as the safety zone
and frame’s centre.

Camera Mask

Displays a black mask around the scene’s frame to avoid seeing theunnecessary artw ork. This option is handy w hen you're animating andsetting up the scene. It allow s you to see your scene’s composition
better.

Control

Displays the controls of the selected element.

Current Draw ing on Top

Displays the selected draw ing on top of everything w hile you draw . By
enabling this option, each time you select a draw ing tool, the selecteddraw ing is displayed in front of everything in the Camera view . The
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enable this option once, it is not necessary to do it each time you selecta draw ing tool.

Outline Locked Draw ings

Displays draw ing that are locked in the Timeline view (cannot be
selected in the Camera view ) as w ireframes.

Show Strokes

Displays the strokes in your draw ings so that the invisible lines standout.

Show Strokes w ith Colour W ash

Displays strokes w ith w ashed-out colours.

Hide All Controls

Hides the controls of the selected element.

Deformation

Show Current Deformers andHide All Others

Alignment Guides

Show s all current deformers and hides all other manipulators
displayed in the Camera view .

Alignment Guides

W hen enabled, alignment guides w ill be visible in the Camera andDraw ing view s.
Show Alignment Guides

This is enabled by default. Disabling this option w ill hide and disablealignment guides, meaning that animation and draw ing tools w ill not
snap to them, even if theSnap to Alignment Guides option isenabled in the Tool Properties view .

It is possible to reposition alignment guides in the current panel bydragging them using theTransform tool. Enabling this option w ill

Lock Alignment Guides

lock the alignment guides in their current position, allow ing you tomanipulate layers and artw ork in your scene w ithout accidentally
moving alignment guides.

Clear Alignment Guides

Removes all the alignment guides from your scene.

Adds a horizontal alignment guide to the middle of the stage.

New Horizontal Alignment
Guide

TIP
You can move the alignment guide from its default position
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Adds a vertical alignment guide to the middle of the stage.

New Vertical Alignment Guide

TIP
You can move the alignment guide from its default position
using theTransforml tool or the

Select tool.

ParticleShow Particles as Dots in
OpenGL

Preview Manager

Displays the particles as dots in the OpenGL preview mode. This
makes the playback speed faster for a heavy scene.

Opens the Preview Manager w here you can set options for the qualityof preview s, and clearing and updating the cache.

Preview Resolution

Same as Scene Resolution

3/4 of Scene Resolution

1/2 of Scene Resolution

Lets you choose a resolution for preview ing a scene.

1/3 of Scene Resolution

1/4 of Scene Resolution

CustomLets you select a resolution from a list of presets or enter X and Y
values for a custom preview resolution.

Let's you increase or decrease the preview quality of raw bitmap
images. By default, bitmap files imported in Harmony w ill display in a
low resolution in the Camera view to avoid hindering performance.

Bitmap File Quality

TIP
You can change the default resolution in w hich bitmap files are
displayed in the Camera view by changing the Small Bitmap
Resolution preference located in the Camera tab of thePreferences dialog.

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NOTE
This only affects the w ay bitmap images display in the OpenGL
preview of the scene in the Camera view . The preview quality ofbitmap images does not affect the final render.

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W indows Menu
The W indow s menu lets you customize your w orkspace to suit your w orking style, save it as a new
w orkspace, and load it from the W orkspace toolbar. You can also show or hide the different toolbars andview s in Harmony.

How to access the W indows menulFrom the top menu, select W indows.

Command

Description

Restore Default W orkspace

Returns modified w orkspaces to their original default layout if you do
not like the current modifications or inadvertently closed somew indow s.

W orkspace

W orkspace Manager

Opens the W orkspace Manager w here you can modify, create, delete,rename and reorder your w orkspaces.

Save W orkspace

Saves the current w orkspace along w ith any modifications you made.

Save W orkspace As...

Saves the w orkspace as a new version to avoid overw riting the currentone.

W orkspace

Lets you open w orkspaces designed specifically for animating,compositing, hand draw ing, scripting and the default w orkspace.

Allow s you to add or remove toolbars from your w orkspace.

Toolbars

NOTE
For information on the different toolbars in Harmony, see
Toolbars.

CameraShow s or hides the Camera view .

ColourShow s or hides the Colour view .

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Coord. and Control Points

Show s or hides the Coordinates and Control Points view .

Draw ing

Show s or hides the Draw ing view .

FunctionShow s or hides the Function view .

Layer Properties

Show s or hides the Layer Properties view .

LibraryShow s or hides the Library view .

Message Log

Show s or hides the Message Log view .

ModelShow s or hides the Model view .

Node LibraryShow s or hides the Library view .

Node View

Show s or hides the Node view .

Perspective

Show s or hides the Perspective view .

SideShow s or hides the Side view .

Timeline

Show s or hides the Timeline view .

Tool Properties

Show s or hides the Tool Properties view .

TopShow s or hides the Top view .

XsheetShow s or hides the Xsheet view .

3D GraphShow s or hides the 3D Graph view .

Integrated Help

Show s or hides the Integrated Help view .

Metadata Editor

Show s or Hides the Metadata Editor view .

Script Editor

Show s or hides the Script Editor view .

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View Menus
A view menu contains commands specifically related to that view .

How to access a view menu
1. In the top-left corner of a view , click the Menu

button.

3D Graph View Menu

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Camera View Menu

348

Colour View Menu

365

Drawing View Menu

368

Function View Menu

381

Library View Menu

383

Reference View Menu

385

Node View Menu

387

Node Library View Menu

392

Onion Skin View Menu

393

Perspective View Menu

395

Script Editor View Menu

401

Side View Menu

406

Timeline View Menu

411

Top View Menu

416

Xsheet View Menu

421

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3D Graph View Menu
The 3D Graph View menu lets you access commands related to the 3D Graph view , such as selecting different
subnodes, disabling and enabling subnodes and inserting the 3D Kinematic Output node.

How to access the 3D Graph menul

In the upper-left corner of the 3D Graph view , click the menu

Commandbutton.

Description

Edit

Copies the name of the currently selected subnode. This can be useful if you
need to enter the name of a subnode in the properties of a 3D Kinematic Output
node.

Copy Subnode NameTIP
You can also automatically create a 3D Kinematic Output node w ith theselected subnode's name in its properties by selecting the subnode in the
3D Graph view , then clicking on Add 3D Kinematic Output

in the 3D

Graph toolbar.

Select All

Selects all the listed subnodes.

Deselect All

Deselects all the subnodes.

Select Child Subnodes

Changes the selection to the first subnode that is a child of the currently
selected subnode.

Select Parent Subnode

Changes the selection to the parent of the currently selected subnode.

Select Next Sibling
SubnodeChanges the selection to the subnode just below the currently selectedsubnode in the list, provided that they have the same parent.

Select Previous Sibling
SubnodeChanges the selection to the subnode just above the currently selectedsubnode in the list, provided that they have the same parent.

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EnableEnables the selected subnode, making it and all its enabled children visible.
You can also enable a selection of multiple subnodes.

DisableDisables the selected subnode, making it and all its children invisible. You canalso disable a selection of multiple subnodes.

InsertW hen the 3D model is connected to a Subnode Animation node, this w ill add
Make Properties
Available

3D Kinematic Output

Extended Modethe properties (ie: position, angle, scale) of the selected subnode to the
Subnode Animation node's list of properties in the Timeline view . This is useful
if you w ant to add keyframes to a subnode before animating it or if you w ant tooutline w hich subnodes should be animated and w hich ones should not.

Creates a 3D Kinematic Output node and connects it under the 3D Model'sSubnode Animation node. This 3D Kinematic Output node w ill be configured touse the currently selected subnode's animation. You can then connect this 3D
Kinematic Output node to an element in your scene to apply the selectedsubnode's animation to that element.

Displays non-key subnodes in the subnode list. By default, those nodes are
hidden because they are not useful for animation and they can significantly
bloat up the subnode list. How ever, it may be useful to have access to thesenodes in order to debug issues w ith the visbility of parts of your 3D model.

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Camera View Menu
The Camera View menu lets you do many things in the Camera view , including selecting and editing objects indifferent view s, changing the display, setting morphing parameters, accessing tools and many more.

How to access the Camera menul

In the upper-left corner of the Camera view , click the menu

Commandbutton.

Description

Edit

Cut

Removes selected objects. You can then paste the object or its properties toanother object.

Copy

Copies selected objects and properties.

Paste

Places an object you cut or copied into the location you select in a view .

DeleteRemoves selected objects.

Select All

Selects all draw ing objects in the current draw ing w indow in the Draw ing,
Timeline and Camera view s. This helps you manage multiple objects as one
w hen moving them.

Deselect All

Deselects all selected objects in the Draw ing and Camera view s.

Select Strokes W ith
Current Colour

Selects all the strokes that are filled w ith the colour or texture that’s currently
selected in the Colour view .

Select Strokes W ith
Current Pencil
TextureSelects all the pencil lines that use the pencil line texture that’s currently
selected in the Colour view .

Invert Selection

Deselects the currently selected items and selects all other items that w ere notselected. For example, if some lines are selected in a draw ing, this command w illdeselect them and select any other lines in the draw ing that w ere not selected.

Select Child SkippingLets you select the first element parented to the selected peg element in the348Harmony 22 Premium Reference Guide

Effects

Timeline view skipping effects in the hierarchy.

Select Child

Lets you select the first element parented to the selected peg element in theTimeline view .

Select Children

Lets you select all elements parented to the selected peg element in the Timelineview .

Select Parent

Lets you select the parent of the selected element in the Timeline view skipping

Skipping Effects

effects in the hierarchy.

Select Parent

Lets you select the parent of the selected element in the Timeline view .

Select Previous
Sibling

Lets you select the previous element (above current element) in the Timelineview .

Select Next Sibling

Lets you select the next element (below current element) in the Timeline view .

Group: Groups selected draw ing objects in the Camera or Draw ing view .
Group
Ungroup: Ungroups a selected group of draw ing objects in the Camera or
Draw ing view .

View

Zoom In: Zooms in the view .

Zoom Out: Zooms out the view .

Rotate View CW : Rotates the Camera view 30 degrees clockw ise, like ananimation table.
Navigation
Rotate View CCW : Rotates the Camera view 30 degrees counter-clockw ise, likean animation table.

Reset Zoom: Resets the view ’s zoom to its default position.

Reset Rotation: Resets the view ’s rotation to its default position.

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Reset Pan: Resets the view ’s pan to its default position.

Reset View: Resets the view to its default position.

Sw itch to Colour Art

Preview Line
Art and Colour

Displays the Colour Art layer. W hen sw itching art layers, you can edit the
selected layer w ithout affecting the other one.

Displays all Art layers.

Art

Open GL View

Render View

Sw itches the Camera view to fast display, letting you see your animation play inreal time. The OpenGL display requires less memory. The final look of youreffects is not show n in the OpenGL View Mode. You must sw itch to the RenderView Mode to see your effects.

Sw itches the Camera view to a fully rendered display show ing the final image ofthe current frame. If a modification is done to your current frame or if you move toa different frame, click the Update Preview button to update the display if yourpreview does not update automatically.The Render View Mode display lets you
see the final look of your frames including effects and antialiasing. You cannot
play back your scene in Render View Mode. To see your scene fully rendered andto play it back, you must press the Render and Play button in the Playback
toolbar.

Matte View

Sw itches the Camera view to a matte display show ing the alpha channel of theelements in your scene. The transparency level ranges from 0 to 100 percent.
Zero percent is completely transparent and represented by black and 100
percent is completely opaque and represented by w hite. Everything in betw een
these extremes has a transparency level somew here betw een 1 and 99 percent
and is represented in various shades of grey.

Show Grid: Displays the grid.

Grid Outline Only: Displays the outline of the grid only.

Grid

Underlay: Displays the grid under the draw ing elements.

Overlay: Displays the grid over the draw ing elements.

Square Grid: Displays a standard square grid.

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12 Field Grid: Displays a 12-field size grid.

16 Field Grid: Displays a 16-field size grid.

Show Onion Skin: Lets Lets you preview the previous and next draw ings. By
default, the previous draw ings appear in a shade of red and the next draw ings
are displayed w ith a shade of green. You can change these colours in the
Preferences dialog box.

Add to Onion Skin: Adds Adds a series of selected elements to the onion skinpreview .

Remove from Onion Skin: Removes Removes a series of selected elements fromthe onion skin preview .

Remove Unselected from Onion Skin: Removes Removes all elements except
the ones selected from the onion skin preview .

Add All to Onion Skin: Adds Adds all of the scene's elements to the onion skinpreview .

Onion Skin

Remove All from Onion Skin: Removes Removes all of the scene's elementsfrom the onion skin preview .

Onion Skinning by Drawing:

No Previous Drawing:

Previous Drawing: Displays the previous draw ing.

Previous Two Drawings: Displays the previous tw o draw ings.

Previous Three Drawings: Displays the previous three draw ings.

No Next Drawing: Displays no next draw ing.

Next Drawing: Displays the next draw ing.

Next Two Drawings: Displays the next tw o draw ings.

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Next Three Drawings: Displays the next three draw ings.

Reduce One Previous Drawing: Reduces the number of previous visible
draw ings by one.

Add One Previous Drawing: Adds one draw ing to the number of previous visible
draw ings.

Reduce One Next Drawing: Reduces the number of next visible draw ings byone.

Add One Next Drawing: Adds one draw ing to the number of next visible
draw ings.

Light Table

Backlight

Turns on the light table so you can see Turns on the light table so you can see theprevious and subsequent active layers in w ashed-out colours. It is useful forseeing the other layers w hen designing, animating or cleaning up your animation.

Produces Produces a silhouette effect by changing the draw ing’s coloured areas
into a single dark, solid colour. Use this to verify the completeness of the ink andpaint process. Any unpainted zones can be seen as the light show s through theunpainted areas of the silhouetted draw ing.

Symbol Pivot: Displays a symbol's pivot. The Symbol pivot is similar to theDraw ing pivot. Each symbol cell can have its ow n pivot and act the same as theDraw ing pivot. The Symbol pivot can also be referred to as embedded pivot.
Inside a symbol, each draw ing can have its ow n pivot.

Safe Area: Displays Displays the TV safety zone and the centre of the camera
frame. The safe area adapts to the scene resolution, as w ell as the safety zone
and frame’s centre.
Show

Camera Mask: Displays Displays a black mask around the scene’s frame to avoid
seeing the unnecessary artw ork. This option is handy w hen you're animating andsetting up the scene. It allow s you to see your scene’s composition better.

Control: Displays the controls of the selected element.

BBox Selection Style: Lets you change the display style of selected elements toa bounding box style. This removes the default overlay highlight and leaves only
the bounding box around the selected element.

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Outline Locked Drawings: Draw ings that are locked in the Timeline view (cannot
be selected in the Camera view ) are displayed as w ireframes.

Show Current Drawing on Top: Displays Displays the selected draw ing on topof everything w hile you draw . By enabling this option, each time you select adraw ing tool, the selected draw ing is displayed in front of everything in the
Camera view . The Timeline and Node view ordering remain unchanged.You only
need to enable this option once, it is not necessary to do it each time you select adraw ing tool.

Show Strokes: Displays the strokes in your draw ings so that the invisible lines
stand out.

Show Strokes with Colour W ash: Displays strokes w ith w ashed-out colours.

Highlight Selected Colour:

Show Scan Information: Displays a status bar show ing the scanning information
at the bottom of the Draw ing and Camera view .

Hide All Controls

Hides the controls of the selected element.

Render Current Frame

Renders only the current frame.

Auto Render

Automatically recalculates the preview image w henever you modify a parameter.
If your scene is heavy and you do not w ant the preview rendered automatically,
deselect the Auto-Render option and do the preview update manually.Note that
this w ill slow dow n Harmony as it takes resources to update every frame.

Layer Properties

Displays the Layer Properties w indow of the selected layer in the Timeline view .

Preview Manager

Opens the Preview Manager w here you can set options for the quality ofpreview s, and clearing and updating the cache.

Bitmap File Quality

Let's you increase or decrease the preview quality of raw bitmap images. By
default, bitmap files imported in Harmony w ill display in a low resolution in the
Camera view to avoid hindering performance.

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TIP
You can change the default resolution in w hich bitmap files are displayed in
the Camera view by changing the Small Bitmap Resolution preference
located in the Camera tab of the Preferences dialog.

NOTE
This only affects the w ay bitmap images display in the OpenGL preview ofthe scene in the Camera view . The preview quality of bitmap images does
not affect the final render.

Draw ing

Remove Dirt: Opens the Remove Dirt dialog box w here you can specify the
number and size of dots removal from a selected draw ing.

Remove Hair: Opens the Remove Hair dialog box w here you can specify the
number and length of hairs for removal from a selected draw ing. This removes
any small strokes created in the Colour Art layer from very thick lines or filledzones. Increase the value to select larger strokes for removal from the draw ing.

Close Gaps: Closes small gaps in a draw ing by creating small, invisible strokes
betw een the tw o closest points to close the colour zone. You do not need to trace
directly over the gap. You can draw it a few millimeters aw ay. The tw o closest
points automatically close the gap.

Clean Up

Remove Art Inside Selection: Removes any art inside a selection. It is
recommended that you clean your Colour Art level as w ell. If you have a stroke
accumulation in the Colour Art, it can result in large output files, especially if you
w ork in high definition resolutions.

Remove Art Inside Selection On All Drawings: Removes any art inside all
draw ings selected w ith the Permanent Selection option in the Select tool.

Remove Art Outside Selection: Removes any art existing outside a selection. It is
recommended that you clean the Colour Art level as w ell. If you have a stroke
accumulation in the Colour Art, it can result in large output files, especially if you
w ork in high-definition resolutions.

Remove Art Outside Selection On All Drawings: Removes any art outside all
draw ings selected w ith the Permanent Selection option in the Select tool.

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Unpaint Selection: Unpaints any art existing inside a selection.

Unpaint Selection on All Drawings: Unpaints all art contained inside a selection
on all the draw ings w ithin the same layer.

Unpaint Outside Selection: Unpaints any art existing outside a selection. If noselection have been draw n using the Select tool, the entire draw ing w ill be
unpainted.

Unpaint Outside Selection on All Drawings: Unpaints all art outside a selection
on all the draw ings w ithin the same layer.
Paint
Repaint Selection: Repaints any art inside a selection.

Repaint Selection on All Drawings: Repaints any art inside a selection on all thedraw ings contained w ithin the same layer.

Repaint Outside Selection: Repaints any art outside a selection. If no selection
has been draw n using the Select tool, the entire draw ing w ill be repainted.

Repaint Outside Selection on All Drawings: Repaints any art outside a selection
on all the draw ings contained w ithin the same layer.

Pencil Lines to Brush Strokes: Converts the selected centreline pencil strokes
into contour strokes brush lines.

Brush Strokes to Pencil Lines: Converts selected contour strokes into centreline
pencil strokes. The brush stroke thickness w ill be lost.
ConvertStrokes to Pencil Lines: Converts the selected invisible line to a pencil line.

Brush Apart Text Layers: Text is treated as a single draw ing object. This
separates the text so each character becomes an individual draw ing object you
can select and modify independently.

Optimize

Flatten: Merges Merges draw ing objects and brush strokes into a single layer. If
you draw new lines to fix a draw ing or line w ith many brush strokes, it can be
useful to flatten them all into a single shape. By default, lines are draw n one on
top of each other. If you intend to repaint the lines or modify their shape, it w ill beeasier if they are flattened.

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Smooth: Smooths selected draw ing strokes and removes extra points.

Create Contour Strokes: Adds a permanent invisible line around a shape thatw as draw n directly in Harmony. This allow s you to unpaint lines w ith the Paint
tool but maintain the shape of the lines, should you need to repaint later.

Remove Contour Strokes: Remove any permanently invisible lines that w ere
created w hile scanning and vectorizing draw ings or manually adding contour
strokes. This is useful for removing the intersection triangles created duringvectorization.

Remove Extra Strokes: Removes strokes inside painted area. This option only
w orks after the painted draw ing is flattened.

Optimize: Reduces Reduces the number of layers, such as overlapping brushstrokes, in the selected draw ing objects. Draw ing objects w ill only be flattened
and optimized if the selected objects do not change the appearance of the final
image w hen they are merged.

Crop Brush Textures: Crops Crops an unnecessarily large texture bitmap thatlies unseen beneath the vector contour of a textured line. This often occurs w hen
you cut and paste textured lines from one draw ing into another. If you cut a
portion from a textured line and paste it into a different draw ing, Harmony pastes
the entire unseen texture bitmap from the source draw ing into the new one, even
if you only took a small portion of the source draw ing. Using the Crop Brush
Texture command w ill crop aw ay extraneous texture that does not touch thevector area. If there are many textured lines in your scene, this w ill greatly reduce
the file size.

Reduce Drawing Texture Resolution:
W hen you import and vectorize as texture (colour) a high resolution image, thesize of your draw ing can be heavy. You can reduce the size and resolution of the
textures in a draw ing.

Bring to Front: Moves the selected art to the front (on top).

Bring Forward: Moves the selected art one level forw ard (closer to the front).
Arrange
Send Backward: Moves the selected art one level low er (behind).

Send to Back: Moves the selected art behind everything (bottom / back).

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Flip Horizontal: Flips the current selection horizontally.

Flip Vertical: Flips the current selection vertically.

Transform

Rotate 90 CW : Rotates the current selection 90 degrees clockw ise.

Rotate 90 CCW : Rotates the current selection 90 degrees counter-clockw ise.

Rotate 180: Rotates the current selection 180 degrees.

Create Empty
Draw ing

Creates Creates a draw ing in the selected cell, replacing any draw ing that may
already be exposed in that cell and the follow ing ones until it meets anotherdraw ing, key exposure or a blank cell.

Creates a duplicate of the selected draw ing in the layer. The duplicate draw ing
w ill be exposed at the selected frame instead of the original draw ing. Hence, thiscommand allow s you to instantly start w orking on a duplicate of the current
draw ing and retain the original.
Duplicate Draw ings

NOTE
W hen duplicating a draw ing, the exposure at the selected cell is replaced
w ith the new draw ing, up until the next key exposure.

Delete Selected
Draw ings

Permanently removes selected draw ings. Once you save your project, thesedraw ings cannot be recovered.

Rename Draw ing

Lets you give a selected draw ing a new name.

Create Colour Art
From Line Art

Lets you use the outline you traced on one of the four embedded layers (line art,
colour art, overlay, underlay) and create invisible strokes to paint your draw ings
on separate layers. This provides more inking and painting flexibility.
You can also configure this option to create the invisible strokes on any of thefour embedded layers.

Automatically creates a matte from a selected draw ing or all draw ings on a layer.

Generate Auto-Matte

Opens the auto-Matte dialog box w here you can set the radius of the lines
depending on how precise or rough your line is.
You can also select the source and destinatin layers from w hich the matte w ill becreated.

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Adjust Line Texture
Opacity

Change Bitmap
Draw ing Resolution

Lets you adjust the contrast and opacity of textured lines in a draw ing.

Lets you Lets you change the resolution of bitmap art for individual draw ings.
You can reduce the resolution of your bitmap file as w ell as increase it. Be careful
because enlarging the bitmap resolution on an existing draw ing w ill result in aloss of quality.Harmony w ill perform a pixel smoothing pass (resampling) andcreate additional pixels to avoid losing too much quality, but only to a certain
extent. This feature is very useful w hen you need to have a full resolution of abitmap image (such as imported bitmaps as .psd or .tga for the background) for
tracing to create a matte directly in Harmony.By default, Harmony creates small
thumbnail images w hen imported as bitmap in order to increase performance byusing a small thumbnail image instead of using the original large size bitmap foranimation w ork in Harmony. This w ill make difficult to view details or trace dueto the low resolution (blurry). This option temporary increases the resolution ofbitmaps up to their original bitmap resolution to make tracing easier.

Previous Draw ing

Next Draw ing

Previous Layer

Once a cell is selected in the Timeline or Xsheet view , you can navigate betw een
the draw ings, frames, and layers. Displays the previous draw ing, next draw ing,
previous layer or next layer.
Displays the previous draw ing, next draw ing, previous layer or next layer.

Next Layer

Toggle Current Colour Protection: Temporarily enables/disables the Colour
Protection feature so you can quickly correct w rongly inked or painted areas
under protected colour w ithout readjusting the Current Colour Protection option.
Colour Protection
Respect Colour Protection: In the Colour view , you can protect a colour sw atch
to avoid repainting or unpainting the zones linked to that sw atch. If you using the
Paint tool and this option is deselected, you w ill repaint or unpaint the protectedcolours on your draw ings until you enable the option again.

Draw ing Tools

SelectAllow s you to select and reposition, scale, rotate and skew brush strokes, pencil
lines, shapes and other parts of your artw ork.

Contour Editor

Allow s you to edit the vector contours of brush strokes, pencil lines and shapes inyour artw ork. You can add, remove, tw eak and move vector points, move theBezier handles of the vector points as w ell as deform vector outlines.

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Centerline Editor

Allow s you to tw eak and deform a brush stroke by manipulating the points at thecentre of its line rather than its contour.

Pencil Editor

Lets you modify the thick and thin contour of a pencil line (basically a central
vector shape). Shape control points along the central spine allow you to adjust
the stroke curve and position.

CutterAllow s you to cut a part of your artw ork, then reposition, scale, rotate and skew
it.

Smooth Editor

Allow s you to optimize contours and lines by removing its extra points, making
them easier to edit.

Perspective

Allow s you to deform artw ork by applying a perspective effect on it.

Envelope

Allow s you to deform and w arp artw ork by moving points and tw eaking lines in a
grid.

Reposition All
Draw ings

Allow s you to reposition, scale, rotate and skew all draw ings in the current layer.

Draw ing Pivot

Allow s you to position the pivot on a draw ing layer by clicking w here you w ant
its location to be.

Brush

A pressure-sensitive tool for creating a contour shape w ith a thick and thin line
effect, as if created w ith a paint brush.

PencilA pressure-sensitive tool for draw ing outlines. Pencil lines are made of central
vector lines, making them easier to tw eak and edit than brush strokes.

Text

Allow s you to add text and to format it.

EraserA pressure-sensitive tool for erasing parts of a draw ing.

Colour Eyedropper

Allow s you to select a colour by clicking on a colour in your artw ork.

Pencil Texture
Eyedropper

Allow s you to select a pencil texture by clicking on a textured pencil line.

Morphing

Allow s you to create and configure a morphing sequence, w hich w ill

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automatically generate the in-betw eens betw een tw o draw ings in the current
layer.

Line

Draw s a straight line segment going from one point to the other.

Rectangle

Draw s a rectangle.

EllipseDraw s an ellipse.

Polyline

Allow s you to draw shapes, segmented lines or complex curved lines by clicking
to create each point in the sequence of line segments.

Paint

Allow s you to fill colour zones w ith a colour or texture.

Ink

Allow s you to recolour pencil lines w ith precision by changing the colour of one
segment at a time.

Repaint Brush

Lets you repaint existing brush strokes. The new brush strokes w ill be cropped to
fit in existing artw ork.

Close Gap

Allow s you to close open shapes so that they can be filled w ith the Paint tool. By
draw ing a stroke near a small gap in a shape, this tool w ill create a small invisible
stroke connecting the tw o closest points around the gap.

StrokeAllow s you to create invisible lines that can serve as colour zones that can be
filled, or close the gaps in existing colour zones.

Edit Gradient/Texture

Allow s you to adjust the position, angle and size of gradients and textures in acolour zone.

Hand

Allow s you to pan the Camera and Draw ing view s.

Zoom

Allow s you zoom in and out of the Camera and Draw ing view s.

Rotate View

Lets you rotate the Camera and Draw ing view s just like w ith a real animation
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Insert Keyframe

Adds a keyframe on the selected cell in the Timeline view .

Insert Control Point

Adds a control point to a 3D path function.

Set Stop-Motion
Keyframe

Converts the selected keyframes to stop-motion keyframes. Betw een a stopmotion keyframe and the next keyframe, Harmony does not generate any
animation and the element remains static until the next keyframe.

Converts the selected keyframes to motion keyframes. W ith motion keyframes,
Set Motion Keyframe

Harmony generates the interpolation betw een the motion keyframe and the next
keyframe. This means that a value for each frame betw een the keyframes iscalculated by Harmony to progress from the value of the previous keyframe tothe value of the next keyframe.

Flip

Flips the position of an element on its axis.

Set Ease for Multiple
Parameters

Lets you set the ease in and ease out on multiple functions and keyframes. This
opens the Set Ease For Multiple Parameters w here you can modify the Bezier orEase curve. You can apply easing parameters to a certain type of function only,
such as rotation or scale.

Linear Motion

Transforms a curved path to a linear path removing tension, bias, and continuity.

Lock in Time

Indicates Indicates w hether the point is locked to a specific frame (keyframe) or
only locked to a specific position and the curve can flow through it freely as otherpoints are being added, moved, or adjusted (control point).

No Z Dragging

Keeps the Z value constant w hen you drag a character using the Transform orTranslate tool.

Substitute Draw ing
Previous
Replaces the draw ing or cell's symbol on the current frame by the next draw ing.
Substitute Draw ing
Next

Select Previous
Keyframe/Point
Select the previous keyframe/point.
Select Next
Keyframe/Point

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Lock

Locks a layer so it cannot be selected in the Camera view .

Reset

Returns Returns the value of the selected element to the initial value of the active
tool. For example, if the Rotate tool is active, the transformation angle w ill bereset to 0 and if the Transform tool is active, all the transformation values w ill bereset.

Reset All

Resets Resets all transformations on the current frame in a selected layer. Your
keyframe w ill remain, but all the values w ill return to the starting value. Alltransformations are reset regardless of the tool you're using.

Reset All Except Z

Resets Resets all transformations on the current frame except the Z position. Thisis useful w hen doing cut-out animation. Cut-out puppets often have a particular
Z ordering for the different view s of a character. You might w ant to reset thetransformation, but not necessarily the Z position.

Animation Tools

Transform

Allow s you to select draw ing layers and position, rotate, scale and skew them.

TranslateLets you move the selected element along the X and Y axes.

RotateTurns a selected element around its pivot point.

Scale

Increases or decreases the size of a selected element. You can scale an object up
to make it larger or dow n to make it smaller. Press Shift to scale the element
w hile maintaining its proportions.

Maintain Size

Keeps elements the same size aspect ratio in the Camera view as you move them
tow ards or aw ay from the camera.

Skew

Slants the selected element.

Reposition Draw ing

Lets you reposition, scale, rotate or skew all draw ing strokes on every draw ing
included in a layer.

Spline Offset

Lets you Lets you reposition the visual trajectory w ithout offsetting or modifying
your animation. By default, the trajectory is located at 0,0,0 fields. If yourelements w ere draw n in a different location than the centre of the draw ing area,
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at a different location to represent the group's motion better.

Inverse Kinematic
Tool

Allow s you to pose a character model by pulling on its extremities, such as hands
and feet, and have the other connected limbs follow . Can be used on any piece
connected in a hierarchy.

IK Constraints

Set IK Nail

Blocks the X, Y and Z positions.

Set IK Hold
Orientation

Blocks the angle.

Set IK Hold X

Blocks only the X position.

Set IK Hold Y

Blocks only the Y position.

Set IK Min Angle
Sets limitations on the angle parameter to prevent the puppet from bending too
far.
Set IK Max Angle

Remove All
Constraints

Removes all nails except the minimum and maximum angles.

Morphing

Morphing

Contour Hint

Allow s you to create and configure a morphing sequence, w hich w ill
automatically generate the in-betw eens betw een tw o draw ings in the current
layer.

The Contour Hint point is used on the colour fill zone and brush lines; in otherw ords, on Contour vectors. It allow s you to control the line thickness and contour
position. Also, if a contour is not animated correctly, you can use hints to correct
the animation. For example, if a flag is not w aving properly.
W hen adding a Contour Hint point, make sure to place it far enough aw ay fromthe contour so you can see it snap to the contour.
Contour Hint points are yellow .

Zone Hint

The Zone Hint point is used on a colour zone to control the proximity rule. The

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Zone Hint is placed in the centre of the colour zone. Sometimes a colour zone is
not associated w ith the corresponding one by default. For example, in a splash
animation there are many w ater droplets that are the same colour. Harmony
automatically morphs the droplet to the nearest one. This is not alw ays the one
you may have predicted. A Zone Hint w ill force a colour zone to morph w ith
another one.
Zone Hint points are cyan in colour.

A Pencil Hint point is used to control a pencil line, also know n as central vector. It

Pencil Hint

can be used on draw ings that w ere done using the Pencil, Polyline, Ellipse, Lineand Rectangle tools. Like the Contour Hint, the Pencil Hint snaps to the central
vector. Make sure to place it far enough aw ay from the line so you w ill see it snap
w hen you move it.
Pencil Hint points are magenta in colour.

Vanishing Point Hint

A Vanishing Point Hint is used to control the trajectory of a vanishing shape. A
shape w ill vanish from the source draw ing w hen there is no corresponding shapein the destination draw ing. If you do not place a Vanishing Point Hint to control
the point of disappearance, the shape w ill vanish into its centre.
Vanishing Point Hint points are green in colour.

An Appearing Point Hint is used to control the trajectory of an appearing shape.

Appearing Point Hint

A shape w ill appear in the destination draw ing w hen there is no corresponding
shape in the source draw ing. If you do not place an Appearing Point Hint tocontrol the point of appearance, the shape w ill appear from its centre and expand
outw ards.
Appearing Point Hint points are violet in colour.

Sw itch Betw een
Morphing Key
Draw ings

Toggles Toggles betw een the tw o key draw ings in your morphing sequence. This
option is useful w hile setting hints. You can use the default keyboard shortcut F4
to toggle betw een your draw ings.

Suggest HInts

Automatically sets Automatically sets hint points on key draw ings as a help tool.
If you're not sure w here to set hints, you can use this option. It w ill set the main
hints w hich you can then fine tune.

Hide Hints

Temporarily Temporarily hides the hint points from the key draw ings. Use thisoption w hen you have a series of hint points hiding some lines you w ould like to
see.

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Colour View Menu
The Colour View menu lets you access commands related to the Colour view such as creating new palettes,
adding new colour sw atches, and displaying the Tint panel.

How to access the Colour menul

In the upper-left corner of the Colour view , click the menu

Commandbutton.

Description

Palettes

Creates a new colour palette.

New

By default, Toon Boom Harmony Premium is set to the Basic mode. For simple
productions, it is recommended to use the Basic mode. This setting stores thepalettes automatically for you and saves them at the Scene level. W hen you use
the Advanced Palette Lists mode, you can decide at w hich level you w ant to store
your palettes: Environment, Job, Scene, or Element.

Link

Lets you access other palettes created in the project and link them to your scene.

Link to External

Lets you you link an external palette to your scene w ithout copying it in yourproject.

ImportImports a colour palette located on your hard drive.

RemoveRemoves the selected palette from the palette list.

Remove and Delete
on Disk

Removes the selected palette from the palette list and deletes the palette filefrom the disk.

RenameLets you five the selected colour palette a new name.

Duplicate

Creates a copy of the original palette, using the same names and colour values,
but has a different ID and is independent from the original palette. This ensuresthat both the duplicate and original palettes are completely independent.

Clone

Creates a copy of the master palette. The colours in each palette have the same
properties. The colours have the same identification number pointing to the same

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colour zones, but they can have different names and RGBA values.

Pencil Texture
PaletteDisplays the colour palette containing the pencil line textures.

Move Up

Moves the selected colour palette up one level.

Move Dow n

Moves the selected colour palette dow n one level.

Colour Editor

Opens the Colour Editor w here you can pick and edit colour sw atches.

Tint Panel

Opens the Tint panel w here you can modify a series of colours to blend a tint inthem or offset their RGBA values.

Current PaletteOverrides

W hen clone palettes are present in the palette list, by default, priority is given to
the palette that is the highest in the palette list to decide w hich colours to apply
to draw ings. W ith this option enabled, priority is given to the currently selected
palette. Selecting any of the clone palettes w ill make draw ings use colours fromthe selected palette instead.

Display Colour
Values

Display the colour values beside their colour sw atches in the palette list.

Colours

Cut

Cuts the selected colour sw atch from the palette.

Copy

Copies the selected colour sw atch w hich you can paste in a different palette.

Copy Colour ID

Copies a colour sw atch's colour ID so you can keep a reference file of colour IDs
or use them w ith custom plug-ins. Example of a colour ID: 075cf5b552401130.

Paste Colour Values

Pastes the colour value of the copied sw atch over an existing colour sw atch.

Paste As New
Colours

Creates a new colour sw atch from the colour value of the copied sw atch.

Paste As Clones

Pastes a copied colour to a new palette as a clone of the original one. Both colour
use the same colour ID. They have to be in different palettes.

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New

Creates a new colour sw atch from the colour sw atch that w as last selected.

Edit

Opens the Colour Picker w indow in w hich you can edit the selected colour
sw atch.

DeleteDeletes the selected colour sw atch from the palette.

New Texture

Lets you add a bitmap colour sw atch to your palette. You can load photos andtextures and paint your draw ings w ith it. The bitmap image must be a .tga or .psd
file format.

Edit Texture

Opens the brow ser to replace the texture used in a textured colour sw atch. Allzones using the sw atch w ill be updated w ith the new texture.

Scale Dow n Texture

Lets you set a new maximum texture size or scaling factor.

New Default Colour

Creates a new colour using the default colour set in the preferences.

Protect Colour

Locks a selected colour, so if you ever paint over it accidentally, the w ork alreadydone w ill not be affected. You can also block the filling colours if you painted allof the animation in Line Art and plan to repaint the lines.

Sw atch Mode

Displays the colour sw atches w ith its corresponding name inside the sw atch.
W hen this option is not selected, the names of the colour sw atches are displayed
beside the sw atch.

Independent Bitmap
ColourBitmap colour selection is independent from the vector colour selection.

Bitmap Colour Sliders

RGB

Displays the colour picking sliders as RGB (red, green, blue).

HSV

Displays the colour picking sliders as HSV (hue, saturation, value).

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Drawing View Menu
The Draw ing View menu lets you access tools, set morphing parameters, lock or unlock layers, and selectelements in the Draw ing view .

How to access the Drawing menul

In the upper-left corner of the Draw ing view , click the menu

Commandbutton.

Description

Edit

Cut

Removes selected objects. You can then paste the object or its properties toanother object.

Copy

Copies selected objects and properties.

Paste

Places an object you cut or copied into the location you select in a view .

DeleteRemoves selected objects.

Select All

Selects all draw ing objects in the current draw ing w indow in the Draw ing,
Timeline and Camera view s. This helps you manage multiple objects as one
w hen moving them.

Deselect All

Deselects all selected objects in the Draw ing and Camera view s.

Select Stroke W ith
Current Colour

Selects all the strokes that are filled w ith the colour or texture that’s currently
selected in the Colour view .

Select Strokes W ith
Current Pencil
TextureSelects all the pencil lines that use the pencil line texture that’s currently
selected in the Colour view .

Invert Selection

Deselects the currently selected items and selects all other items that w ere notselected. For example, if some lines are selected in a draw ing, this command w illdeselect them and select any other lines in the draw ing that w ere not selected.

View

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Zoom In

Zooms in the view .

Zoom Out

Zooms out the view .

Reset Zoom

Resets the view ’s zoom to its default position.

Rotate View CW

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

Rotate View CCW

Rotates the Camera view 30 degrees counter-clockw ise, like an animation table.

Reset Rotation

Resets the view ’s rotation to its default position.

Reset Pan

Resets the view ’s pan to its default position.

Reset View

Resets the view to its default position.

Sw itch to Colour Art

Displays the Colour Art layer. W hen sw itching art layers, you can edit the
selected layer w ithout affecting the other one.

Preview Line
Art and Colour
Art

Displays all Art layers.

Show Grid: Displays the grid.

Grid Outline Only: Displays the outline of the grid only.

Underlay: Displays the grid under the draw ing elements.

Grid

Overlay: Displays the grid over the draw ing elements.

Square Grid: Displays a standard square grid.

12 Field Grid: Displays a 12-field size grid.

16 Field Grid: Displays a 16-field size grid.

Onion Skin

Show Onion Skin: Lets Lets you preview the previous and next draw ings. By

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default, the previous draw ings appear in a shade of red and the next draw ings
are displayed w ith a shade of green. You can change these colours in the
Preferences dialog box.

Show Centre Line:No Previous Drawing: Displays no previous draw ing.

Previous Drawing: Displays the previous draw ing.

Previous Two Drawings: Displays the previous tw o draw ings.

Previous Three Drawings: Displays the previous three draw ings.

No Next Drawing: Displays no next draw ing.

Next Drawing: Displays the next draw ing.

Next Two Drawings: Displays the next tw o draw ings.

Next Three Drawings: Displays the next three draw ings.

Reduce One Previous Drawing: Reduces the number of previous visible
draw ings by one.

Add One Previous Drawing: Adds one draw ing to the number of previous visible
draw ings.

Reduce One Next Drawing: Reduces the number of next visible draw ings byone.

Add One Next Drawing: Adds one draw ing to the number of next visible
draw ings.

Light Table

Turns on the light table so you can see Turns on the light table so you can see theprevious and subsequent active layers in w ashed-out colours. It is useful forseeing the other layers w hen designing, animating or cleaning up your animation.

Backlight

Produces Produces a silhouette effect by changing the draw ing’s coloured areas
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paint process. Any unpainted zones can be seen as the light show s through theunpainted areas of the silhouetted draw ing.

Show

Show Strokes

Displays the strokes in your draw ings so that the invisible lines stand out.

Show Strokes w ith
Colour W ash

Displays strokes w ith w ashed-out colours.

Highlight Selected
ColourIdentify a selected colour sw atch used in a draw ing.

Show Morphing Key
Draw ing Thumbnail

W hen using the Morphing tools, this displays the source or destination draw ing
as a reference in the bottom corner of the Draw ing view .

Show Scan
Information

Displays a status bar show ing the scanning information at the bottom of theDraw ing and Camera view .

Desk

No Thumbnail

Small Thumbnail
Changes the size of the draw ing desk thumbnails.
Medium Thumbnail

Large Thumbnail

Remove Selected
Draw ing

Clears selected draw ing from draw ing desk.

Remove All Draw ings

Clears all draw ing from draw ing desk.

Draw ing

Clean Up

Remove Dirt: Opens the Remove Dirt dialog box w here you can specify the
number and size of dots removal from a selected draw ing.

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Remove Hair: Opens the Remove Hair dialog box w here you can specify the
number and length of hairs for removal from a selected draw ing. This removes
any small strokes created in the Colour Art layer from very thick lines or filledzones. Increase the value to select larger strokes for removal from the draw ing.

Close Gaps: Closes small gaps in a draw ing by creating small, invisible strokes
betw een the tw o closest points to close the colour zone. You do not need to trace
directly over the gap. You can draw it a few millimeters aw ay. The tw o closest
points automatically close the gap.

Remove Art Inside Selection: Removes any art inside a selection. It is
recommended that you clean your Colour Art level as w ell. If you have a stroke
accumulation in the Colour Art, it can result in large output files, especially if you
w ork in high definition resolutions.

Remove Art Inside Selection On All Drawings: Removes any art inside all
draw ings selected w ith the Permanent Selection option in the Select tool.

Remove Art Outside Selection: Removes any art existing outside a selection. It is
recommended that you clean the Colour Art level as w ell. If you have a stroke
accumulation in the Colour Art, it can result in large output files, especially if you
w ork in high-definition resolutions.

Remove Art Outside Selection On All Drawings: Removes any art outside all
draw ings selected w ith the Permanent Selection option in the Select tool.

Unpaint Selection: Unpaints any art existing inside a selection.

Unpaint Selection on All Drawings: Unpaints all art contained inside a selection
on all the draw ings w ithin the same layer.

Unpaint Outside Selection: Unpaints any art existing outside a selection. If noselection have been draw n using the Select tool, the entire draw ing w ill be
unpainted.
Paint
Unpaint Outside Selection on All Drawings: Unpaints all art outside a selection
on all the draw ings w ithin the same layer.

Repaint Selection: Repaints any art inside a selection.

Repaint Selection on All Drawings: Repaints any art inside a selection on all thedraw ings contained w ithin the same layer.

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Repaint Outside Selection: Repaints any art outside a selection. If no selection
has been draw n using the Select tool, the entire draw ing w ill be repainted.

Repaint Outside Selection on All Drawings: Repaints any art outside a selection
on all the draw ings contained w ithin the same layer.

Pencil Lines to Brush Strokes: Converts the selected centreline pencil strokes
into contour strokes brush lines.

Brush Strokes to Pencil Lines: Converts selected contour strokes into centreline
pencil strokes. The brush stroke thickness w ill be lost.
ConvertStrokes to Pencil Lines: Converts the selected invisible line to a pencil line.

Brush Apart Text Layers: Text is treated as a single draw ing object. This
separates the text so each character becomes an individual draw ing object you
can select and modify independently.

Flatten: Merges Merges draw ing objects and brush strokes into a single layer. If
you draw new lines to fix a draw ing or line w ith many brush strokes, it can be
useful to flatten them all into a single shape. By default, lines are draw n one on
top of each other. If you intend to repaint the lines or modify their shape, it w ill beeasier if they are flattened.

Smooth: Smooths selected draw ing strokes and removes extra points.

Create Contour Strokes: Adds a permanent invisible line around a shape thatw as draw n directly in Harmony. This allow s you to unpaint lines w ith the Paint
tool but maintain the shape of the lines, should you need to repaint later.
Optimize
Remove Contour Strokes: Remove any permanently invisible lines that w ere
created w hile scanning and vectorizing draw ings or manually adding contour
strokes. This is useful for removing the intersection triangles created duringvectorization.

Remove Extra Strokes: Removes strokes inside painted area. This option only
w orks after the painted draw ing is flattened.

Optimize: Reduces Reduces the number of layers, such as overlapping brushstrokes, in the selected draw ing objects. Draw ing objects w ill only be flattened
and optimized if the selected objects do not change the appearance of the final
image w hen they are merged.

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Crop Brush Textures: Crops Crops an unnecessarily large texture bitmap thatlies unseen beneath the vector contour of a textured line. This often occurs w hen
you cut and paste textured lines from one draw ing into another. If you cut a
portion from a textured line and paste it into a different draw ing, Harmony pastes
the entire unseen texture bitmap from the source draw ing into the new one, even
if you only took a small portion of the source draw ing. Using the Crop Brush
Texture command w ill crop aw ay extraneous texture that does not touch thevector area. If there are many textured lines in your scene, this w ill greatly reduce
the file size.

Reduce Drawing Texture Resolution:
W hen you import and vectorize as texture (colour) a high resolution image, thesize of your draw ing can be heavy. You can reduce the size and resolution of the
textures in a draw ing.

Bring to Front: Moves the selected art to the front (on top).

Bring Forward: Moves the selected art one level forw ard (closer to the front).
Arrange
Send Backward: Moves the selected art one level low er (behind).

Send to Back: Moves the selected art behind everything (bottom / back).

Flip Horizontal: Flips the current selection horizontally.

Flip Vertical: Flips the current selection vertically.

Transform

Rotate 90 CW : Rotates the current selection 90 degrees clockw ise.

Rotate 90 CCW : Rotates the current selection 90 degrees counter-clockw ise.

Rotate 180: Rotates the current selection 180 degrees.

Create Empty
Draw ing

Creates Creates a draw ing in the selected cell, replacing any draw ing that may
already be exposed in that cell and the follow ing ones until it meets anotherdraw ing, key exposure or a blank cell.

Duplicate Draw ings

Creates a duplicate of the selected draw ing in the layer. The duplicate draw ing
w ill be exposed at the selected frame instead of the original draw ing. Hence, thiscommand allow s you to instantly start w orking on a duplicate of the current
draw ing and retain the original.

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NOTE
W hen duplicating a draw ing, the exposure at the selected cell is replaced
w ith the new draw ing, up until the next key exposure.

Delete Selected
Draw ings

Permanently removes selected draw ings. Once you save your project, thesedraw ings cannot be recovered.

Rename Draw ing

Lets you give a selected draw ing a new name.

Create Colour Art
From Line Art

Lets you use the outline you traced on one of the four embedded layers (line art,
colour art, overlay, underlay) and create invisible strokes to paint your draw ings
on separate layers. This provides more inking and painting flexibility.
You can also configure this option to create the invisible strokes on any of thefour embedded layers.

Automatically creates a matte from a selected draw ing or all draw ings on a layer.

Generate Auto-Matte

Opens the auto-Matte dialog box w here you can set the radius of the lines
depending on how precise or rough your line is.
You can also select the source and destinatin layers from w hich the matte w ill becreated.

Adjust Line Texture
Opacity

Lets you adjust the contrast and opacity of textured lines in a draw ing.

Change Bitmap
Draw ing Resolution

Lets you Lets you change the resolution of bitmap art for individual draw ings.
You can reduce the resolution of your bitmap file as w ell as increase it. Be careful
because enlarging the bitmap resolution on an existing draw ing w ill result in aloss of quality.Harmony w ill perform a pixel smoothing pass (resampling) andcreate additional pixels to avoid losing too much quality, but only to a certain
extent. This feature is very useful w hen you need to have a full resolution of abitmap image (such as imported bitmaps as .psd or .tga for the background) for
tracing to create a matte directly in Harmony.By default, Harmony creates small
thumbnail images w hen imported as bitmap in order to increase performance byusing a small thumbnail image instead of using the original large size bitmap foranimation w ork in Harmony. This w ill make difficult to view details or trace dueto the low resolution (blurry). This option temporary increases the resolution ofbitmaps up to their original bitmap resolution to make tracing easier.

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Previous Draw ing

Next Draw ing

Previous Layer

Once a cell is selected in the Timeline or Xsheet view , you can navigate betw een
the draw ings, frames, and layers. Displays the previous draw ing, next draw ing,
previous layer or next layer.
Displays the previous draw ing, next draw ing, previous layer or next layer.

Next Layer

Toggle Current Colour Protection: Temporarily enables/disables the Colour
Protection feature so you can quickly correct w rongly inked or painted areas
under protected colour w ithout readjusting the Current Colour Protection option.
Colour Protection
Respect Colour Protection: In the Colour view , you can protect a colour sw atch
to avoid repainting or unpainting the zones linked to that sw atch. If you using the
Paint tool and this option is deselected, you w ill repaint or unpaint the protectedcolours on your draw ings until you enable the option again.

Draw ing Tools

SelectAllow s you to select and reposition, scale, rotate and skew brush strokes, pencil
lines, shapes and other parts of your artw ork.

Contour Editor

Allow s you to edit the vector contours of brush strokes, pencil lines and shapes inyour artw ork. You can add, remove, tw eak and move vector points, move theBezier handles of the vector points as w ell as deform vector outlines.

Centerline Editor

Allow s you to tw eak and deform a brush stroke by manipulating the points at thecentre of its line rather than its contour.

Pencil Editor

Lets you modify the thick and thin contour of a pencil line (basically a central
vector shape). Shape control points along the central spine allow you to adjust
the stroke curve and position.

CutterAllow s you to cut a part of your artw ork, then reposition, scale, rotate and skew
it.

Smooth Editor

Allow s you to optimize contours and lines by removing its extra points, making
them easier to edit.

Perspective

Allow s you to deform artw ork by applying a perspective effect on it.

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Envelope

Allow s you to deform and w arp artw ork by moving points and tw eaking lines in a
grid.

Reposition All
Draw ings

Allow s you to reposition, scale, rotate and skew all draw ings in the current layer.

Draw ing Pivot

Allow s you to position the pivot on a draw ing layer by clicking w here you w ant
its location to be.

Brush

A pressure-sensitive tool for creating a contour shape w ith a thick and thin line
effect, as if created w ith a paint brush.

PencilA pressure-sensitive tool for draw ing outlines. Pencil lines are made of central
vector lines, making them easier to tw eak and edit than brush strokes.

Text

Allow s you to add text and to format it.

EraserA pressure-sensitive tool for erasing parts of a draw ing.

Colour Eyedropper

Allow s you to select a colour by clicking on a colour in your artw ork.

Pencil Texture
Eyedropper

Allow s you to select a pencil texture by clicking on a textured pencil line.

Morphing

Allow s you to create and configure a morphing sequence, w hich w ill
automatically generate the in-betw eens betw een tw o draw ings in the current
layer.

Line

Draw s a straight line segment going from one point to the other.

Rectangle

Draw s a rectangle.

EllipseDraw s an ellipse.

Polyline

Allow s you to draw shapes, segmented lines or complex curved lines by clicking
to create each point in the sequence of line segments.

Paint

Allow s you to fill colour zones w ith a colour or texture.

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Ink

Allow s you to recolour pencil lines w ith precision by changing the colour of one
segment at a time.

Repaint Brush

Lets you repaint existing brush strokes. The new brush strokes w ill be cropped to
fit in existing artw ork.

Close Gap

Allow s you to close open shapes so that they can be filled w ith the Paint tool. By
draw ing a stroke near a small gap in a shape, this tool w ill create a small invisible
stroke connecting the tw o closest points around the gap.

StrokeAllow s you to create invisible lines that can serve as colour zones that can be
filled, or close the gaps in existing colour zones.

Edit Gradient/Texture

Allow s you to adjust the position, angle and size of gradients and textures in acolour zone.

Hand

Allow s you to pan the Camera and Draw ing view s.

Zoom

Allow s you zoom in and out of the Camera and Draw ing view s.

Rotate View

Lets you rotate the Camera and Draw ing view s just like w ith a real animation
disc.

Morphing

Morphing

Contour Hint

Allow s you to create and configure a morphing sequence, w hich w ill
automatically generate the in-betw eens betw een tw o draw ings in the current
layer.

The Contour Hint point is used on the colour fill zone and brush lines; in otherw ords, on Contour vectors. It allow s you to control the line thickness and contour
position. Also, if a contour is not animated correctly, you can use hints to correct
the animation. For example, if a flag is not w aving properly.
W hen adding a Contour Hint point, make sure to place it far enough aw ay fromthe contour so you can see it snap to the contour.
Contour Hint points are yellow .

Zone Hint

The Zone Hint point is used on a colour zone to control the proximity rule. The
Zone Hint is placed in the centre of the colour zone. Sometimes a colour zone is
not associated w ith the corresponding one by default. For example, in a splash

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animation there are many w ater droplets that are the same colour. Harmony
automatically morphs the droplet to the nearest one. This is not alw ays the one
you may have predicted. A Zone Hint w ill force a colour zone to morph w ith
another one.
Zone Hint points are cyan in colour.

A Pencil Hint point is used to control a pencil line, also know n as central vector. It
can be used on draw ings that w ere done using the Pencil, Polyline, Ellipse, Lineand Rectangle tools. Like the Contour Hint, the Pencil Hint snaps to the central
Pencil Hint

vector. Make sure to place it far enough aw ay from the line so you w ill see it snap
w hen you move it.
Pencil Hint points are magenta in colour.

Vanishing Point Hint

A Vanishing Point Hint is used to control the trajectory of a vanishing shape. A
shape w ill vanish from the source draw ing w hen there is no corresponding shapein the destination draw ing. If you do not place a Vanishing Point Hint to control
the point of disappearance, the shape w ill vanish into its centre.
Vanishing Point Hint points are green in colour.

An Appearing Point Hint is used to control the trajectory of an appearing shape.
A shape w ill appear in the destination draw ing w hen there is no corresponding
shape in the source draw ing. If you do not place an Appearing Point Hint toAppearing Point Hint

control the point of appearance, the shape w ill appear from its centre and expand
outw ards.
Appearing Point Hint points are violet in colour.

Sw itch Betw een
Morphing Key
Draw ings

Toggles Toggles betw een the tw o key draw ings in your morphing sequence. This
option is useful w hile setting hints. You can use the default keyboard shortcut F4
to toggle betw een your draw ings.

Go to First Frame

Goes to the first frame of your morphing sequence.

Go to Previous Frame

Goes to the previous frame of the selected frame in the morphing sequence.

Go to Next Frame

Goes to the next frame of the selected frame in the morphing sequence.

Go to Last Frame

Goes to the last frame of your morphing sequence.

Suggest HInts

Automatically sets Automatically sets hint points on key draw ings as a help tool.
If you're not sure w here to set hints, you can use this option. It w ill set the main
hints w hich you can then fine tune.

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Hide Hints

Temporarily Temporarily hides the hint points from the key draw ings. Use thisoption w hen you have a series of hint points hiding some lines you w ould like to
see.

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Function View Menu
The Functions View menu lets you do many things in the Camera view , including selecting and editing objects
in different view s, changing the display, setting morphing parameters, accessing tools and many more.

How to access the Function menul

In the upper-left corner of the Function view , click the menu

Commandbutton.

Description

Edit

Cut

Removes selected objects. You can then paste the object or its properties toanother object.

Copy

Copies selected objects and properties.

Paste

Places an object you cut or copied into the location you select in a view .

DeleteRemoves selected objects.

Select Next Keyframe

Selects the next keyframe.

Select Previous
Keyframe

Selects the previous keyframe.

Select Left Handle

Selects the left handle of the selected keyframe.

Select Right Handle

Selects the right handle of the selected keyframe.

Select All

Selects all objects in the Function view . This helps you manage multiple objects
as one.

Deselect All

Deselects all selected objects in the Function view .

View

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Show Current Frame

Displays the current frame

Toggle Grid

Enables the display of the grid.

Reset Zoom

Resets the view ’s zoom to its default position.

Reset Pan

Resets the view ’s pan to its default position.

Reset View

Resets the view to its default position.

Function List

Auto Load Selection

Sets the Function view to automatically load the functions of layers w hen thenode is selected in the Node View .

Clear

W ill clear all functions in the Function view .

Load Selection

Loads the functions of the current node selection.

Add Selection

Adds the functions of the currently selected node.

Remove Selection

W ill remove the function of the currently selected node from the Function view .

Show Motion: Displays the function for Motion (the Pos_x and Pos_y).

Show Rotation: Displays the function for Rotation (Angle_z).
Show
Show Scale: Displays the function for Scaling (Scale_x and Scale_y).

Show Skew: Displays the function for Skew .

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Library View Menu
The Library View menu lets you access commands specific to the Library view , such as opening a Library or
getting the rights to modify a library folder.

How to access the Library menul

In the upper-left corner of the Library view , click the menu

Commandbutton.

Description

View

List

Displays the contents of the selected folder as a list.

Thumbnails

Displays the contents of the selected folder as a thumbnails.

Details

Displays the details of the selected file.

Generate Thumbnails

Creates a thumbnail to display in the preview w indow .

Edit

Creates a new symbol from a draw ing or part of a draw ing in the Draw ing or
Camera view , a layer in the Timeline view , or a node in the Node view .

New Symbol

If your selection is in the Timeline or Node view , the new symbol appears in the
Symbol folder. The current selection is not replaced by the new symbol. The new
symbol only appears in the library. You must drag it into your scene to use it.
If your selection is in the Draw ing or Camera view , the new symbol appears in the
Symbol folder and in the Timeline view as a new layer.

Cut

Cuts the selected file in the Library view .

Copy

Copies the selected file in the Library view .

Paste

Pastes the selected file in the Library view .

DeleteDeletes the selected file in the Library view .

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Delete Thumbnails

Deletes any thumbnails that w ere generated for display in the preview w indow .

Places you inside the symbol w here you can edit it.
Edit Symbol

To return to the project's timeline, click the Top

button in the Camera view 's

top-left corner, press Ctrl + Shift + E (W indow s/Linux) or ⌘ + Shift + E (macOS).

Remove Unused Files

Removes any files not in use in the selected template.

Rename Template

Lets you rename a selected template.

Import Files

Imports vector files such as AI, PDF, and SW F. You requires the right to modify
the library in w hich you w ant to import the files.

Folders

New Folder

Creates a new folder in the Library view . Before you can create a new folder, youmust have the right to modify the folder in w hich you are creating the new folder.

RefreshUpdates the view and its contents.

Open LibraryLets you open a library on your computer.

Close Library

Unlinks a library folder from your library list.

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Reference View Menu
The Reference View menu lets you load models and view them in different w ays, as w ell as access somedraw ing tools.

How to access the Reference menul

In the upper-left corner of the Reference view , click the menu

Icon

Tool/Command

button.

Description

View Menu

Previous

Show s the previous model loaded in the
Reference view .

NextShow s the next model loaded in the Reference
view .

Import References

Imports a TVG draw ing as a model in the
Reference view .

Use Current Draw ing as
Reference

Loads the currently selected draw ing in thescene as a model in the Reference view .

Load Default References

Loads TVG draw ings placed in a custom
models folder located in the scene folder.

Unload Current

Unloads the image from the Reference View .

Delete Current

Deletes the image in the Reference view .

Zoom In

Zooms in the view .

Zoom Out

Zooms out the view .

Reset Zoom

Resets the view ’s zoom to its default position.

Reset Pan

Resets the view ’s pan to its default position.

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Reset View

Resets the view to its default position.

Rotate View CW

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

Rotate View CCW

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

Resets the view ’s rotation to its default

Reset Rotation

position.

SelectActivates the Select tool. This tools is alsoavailable on the Tools toolbar.

Cutter Selection

Allow s to cut a section of the model to paste itin your scene.

Colour Eyedropper

Activates the Colour Eyedropper tool. This
tools is also available on the Tools toolbar.

Activates the Zoom tool. This tools is also

Zoom

available on the Tools toolbar.

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Node View Menu
The Node View menu lets you organize the nodes according to how you like to w ork and the nodes you use
most often. You can easily add categories and subcategories, remove categories you don't use, and rename
categories.

How to access the Node menul

In the upper-left corner of the Node view , click the menu

Commandbutton.

Description

File

Print

Lets you print the contents of the Node view . You must be connected to a printer.

Cut

Removes selected objects. You can then paste the object or its properties toanother object.

Copy

Copies selected objects and properties.

Paste

Places an object you cut or copied into the location you select in a view .

Paste Special

Lets you copy and paste selected draw ings into a different layer or paste theselection in the same layer to duplicate the draw ings.

Paste Special Again

Pastes new draw ings w ith the previous Paste Special settings.

DeleteRemoves selected objects.

Select All

Selects all draw ing objects in the current draw ing w indow in the Draw ing,
Timeline and Camera view s. This helps you manage multiple objects as one w hen
moving them.

Deselect All

Deselects all selected objects in the Draw ing and Camera view s.

Invert Selection

Deselects the currently selected items and selects all other items that w ere not

Edit

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selected. For example, if some lines are selected in a draw ing, this command w illdeselect them and select any other lines in the draw ing that w ere not selected.

Layer Properties

Show s or hides the Layer Properties view .

Recalculate Selected

Refreshes the node structure and rerenders the display of selected elements
w hen the Camera View is in render mode.

Recalculate All

Refreshes the node structure and rerenders the display w hen the Camera view isin render mode.

You can tag elements in the Timeline or Node view s to view only those elements.
W hen you tag elements, an asterisk appears beside the item in the Timeline view .
Once your elements are tagged and you have sw itched over to View Tagged
Layers mode, the Timeline view w ill display only tagged elements. The red bar on
the left of the layers indicates you are in this view mode.

Tag

Timeline Tag: Tags selected elements in the Timeline or Node view s.

Timeline Untag: Untags selected layer in the Timeline view .

Timeline Untag All: Untags all tagged elements.

Timeline Untag All Others: Untags all elements except the selected one.

Renders a frame each time the current frame is changed.
Auto Render W rite
You must have a W rite node in your node structure to use this command.

Select Child Skipping
Effects

Lets you select the first element parented to the selected peg element in theTimeline view skipping effects in the hierarchy.

Select Child

Lets you select the first element parented to the selected peg element in theTimeline view .

Select Group Content

Select contents w ithin the group node.

Select Children

Lets you select all elements parented to the selected peg element in the Timelineview .

Select Parent

Lets you select the parent of the selected element in the Timeline view skipping

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Skipping Effects

effects in the hierarchy.

Select Parent

Lets you select the parent of the selected element in the Timeline view .

Select Previous
Sibling

Lets you select the previous element (above current element) in the Timelineview .

Select Next Sibling

Lets you select the next element (below current element) in the Timeline view .

Zoom In Node View

Zooms in the view .

Zoom Out Node View

Zooms out the view .

Reset Zoom

Resets the view ’s zoom to its default position.

Centre on Selection

Centre the display of the Node view on the selected node. This is useful w hen you
have many nodes in the Node view , you may find it hard to locate w hich one isselected.

Reset Pan

Resets the view ’s pan to its default position.

Reset View

Resets the view to its default position.

Show All Nodes

Display all nodes.

Editor

Display the Layer Properties editor of the selected node.

Publish Attribute
Node

To quickly access parameters for nodes that are grouped, you can select yourmost common parameters to modify and make them appear in the group Layer
Properties editor. This w ay, you can access them directly w ithout having to enter
the group every time.

Show Selected
Thumbnails

Displays the thumbnails of selected nodes.

Hide All Thumbnails

Hides all the thumbnails of selected nodes.

View

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Hide Navigator: Hides the navigator.

Top Right: Places the navigator in the top-right corner of the Node view .

Navigator

Top Left: Places the navigator in the top-left corner of the Node view .

Bottom Right: Places the navigator in the bottom-right corner of the Node view .

Bottom Left: Places the navigator in the top-left corner of the Node view .

Line: Use straight lines to show the connections betw een nodes.
Cable Style
Bezier: Use curved (Bezier) lines to show the connections betw een nodes.

Nodes

EnableActivate the selected node.

DisableDeactivate the selected node.

Enable All

Activate all nodes.

Disable All Others

Deactivates all nodes except for those those selected. This operation only affects
the current level layers. It does not affect the nested nodes w ithin a group.
Deactivated nodes appear in red.

Clone Selected
Nodes: Draw ings andTimingCreates a copy of the selected element that is linked to the original. If a draw ing is
modified in the original or cloned layer, both w ill be updated. How ever, cloned
layers can have different timings.

Clone Selected
Nodes: Draw ings
Only

W hen you clone a node, it does not automatically connect itself to the Composite
node of your scene.
You can clone the draw ings only or both the draw ings and timing.

Duplicate Selected
Nodes

Creates an independent copy of the selected element. This useful w hen you needto modify the element independently, including the timing (exposure). Changes tothe original element do not propagate to the duplicate.

Group Selection

Creates a simple group from your selection. The resulting group displays thesame number of connections as elements in the group.

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Group Selection w ith
Composite

Group a selection.

Ungroup

Ungroups the selected group of nodes.

Move to Parent
Group

Moves selected nodes up to the parent group level.

Exit Group

Exits the group.

Clear Published
Attributes

Removes the most common parameters you selected for quick access in the Layer
Properties editor of a group.

Composite

Adds a Composite node to the Node view .

Display

Adds a Display node to the Node view .

InsertDraw ing

Opens the Add Draw ing Layer dialog box w here you can specify the type of layer
to add.

Group

Adds a Group node to the Node view .

Parent Peg

Adds a new peg to the timeline as a parent of the selected layer.

Peg

Adds a Peg node to the Node view .

Effects

Lets you add effects from these categories: 3D, Combine, Deformation,
Favourites, Filter, Generator, Group, Misc, Move, Output, Particle, Sapphire,
Shading and Plugins.

Backdrop

Adds a backdrop to the Node view . Backdrops are a w ay to w ork w ith complex
node systems that let you associate a selected set of nodes by colour.

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Node Library View Menu
The Node Library View menu lets you organize the nodes according to how you like to w ork and the nodes you
use most often. You can easily add categories and subcategories, remove categories you don't use, andrename categories.

How to access the Node Library menul

In the upper-left corner of the Node Library view , click the menu

button.

Command

Description

New Category

Adds a new category to the list of categories to w hich you can organize nodes
according to how you like to w ork and the nodes you use most often.

Rename Category

Renames an existing category.

Remove Category

Remove a category you no longer need.

Remove Node

Removes a node from a category.

RefreshUpdates the view and its contents.

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Onion Skin View Menu
The Onion Skin view menu contains extra options for controlling the Advanced Onion Skin. It is accessible via
the Onion Skin view —see Onion Skin View on page 1302.

How to access the Onion Skin view menu
1. In the top-left corner of the Onion Skin view , click on theCommandView Menu button.

Description

Enables Advanced Onion Skin. Advanced Onion Skin allow s you to select, on the fly, w hichdraw ings to include in your Onion Skin, even if those draw ings are not consecutive draw ings, as
w ell as the opacity scales for the draw ings before and after the current frame.
Advanced
Onion Skin

The controls for selecting w hich draw ings to display in the Onion Skin as w ell as their opacity
sliders are only accessible w hen Advanced Onion Skin is enabled. Otherw ise, w hen using
regular Onion Skin, the opacity of draw ings in the Onion Skin is determined by the Onion Skin
settings in the Preferences dialog. The amount of draw ings to include in the Onion Skin is set
using the Onion Skin Add / Reduce One Previous Draw ng and Onion Skin Add / Reduce One
Next Draw ing commands, available in the Camera and Draw ing toolbars as w ell as in View >Onion Skin in the top menu.

Original Colors

Displays the onion skin using the actual colours of the draw ings.

Coloured

Displays the onion skin using the colours selected for the previous and next draw ings in theOnion Skin view .

ColouredOutlines

Displays the onion skin using the colours selected for the previous and next draw ings, but only
as outlines instead of filled shapes.

Onion Skin by
FramesSelects the draw ings to display in the Onion Skin by the amount of different draw ings before
and after the current frame. For example, if the Onion Skin is set to include 2 draw ings before
and after the current frame, this w ill display the nearest tw o different draw ings before andafter the draw ing in the current frame in the Onion Skin, even if those draw ings are further than
2 frames aw ay from the current frame. This is more useful for frame-by-frame animation.

NOTE
W hen this option is enabled, the handles allow ing you to adjust the extent of the Onion
Skin in the Timeline view are not available.

Onion Skin by

Selects the draw ings to display in the Onion Skin by the amount of different draw ings before393

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Command

Description

and after the current frame. For example, if the Onion Skin is set to include 2 draw ings before
and after the current frame, this w ill display the nearest tw o different draw ings before andafter the draw ing in the current frame in the Onion Skin, even if those draw ings are further than
2 frames aw ay from the current frame. This is more useful for frame-by-frame animation.
Draw ings

NOTE
W hen this option is enabled, the handles allow ing you to adjust the extent of the Onion
Skin in the Timeline view are not available.

Displays onion skins w ith a lighter, less saturated colour. The further aw ay the draw ing is fromthe current frame, the more w ashed its colour appears.
Apply Colour
W ash

NOTE
The minimum and maximum colour w ash values for Onion Skin can be customized in the
Draw ing tab of the Preferences dialog.

In the Draw ing View , w hen the Light Table is enabled, making other layers visible alongside
the current layer, this w ill make the Onion Skin for other visible layers appear alongside theOnion Skin for the current layer. Draw ings for elements above the current layer w ill appear inblue, and draw ings for elements below w ill appear in yellow .
Enable Onion
Skin for Other
Elements

NOTE
The draw ings from other elements that get displayed in the Onion Skin are the draw ings
that are exposed at the same time as the draw ings displayed in the current layer's OnionSkin.

W hen enabled, the opacity sliders in the Onion Skin view w ill move simultaneously as you
adjust one of them, so that the opacity levels for previous and next draw ings progresses fromthe opacity level of the first draw ing to the opacity level of the last draw ing.
Link Sliders

W hen this mode is enabled, you can adjust the first and last sliders for previous or next
draw ings, then, optionally, adjust a single one of the sliders in-betw een to create a segmented
progression.
How ever, if you w ant to make the opacity of Onion Skin draw ings to vary in any w ay that ismore complex, you must disable this option.

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Perspective View Menu
The Perspective View menu lets you select and edit elements, manipulate the view during scene setup, setparameters for animation and access animation tools.

How to access the Perspective menul

In the upper-left corner of the Perspective view , click the menu

Commandbutton.

Description

Edit

Cut

Removes selected objects. You can then paste the object or its properties toanother object.

Copy

Copies selected objects and properties.

Paste

Places an object you cut or copied into the location you select in a view .

DeleteRemoves selected objects.

Select All

Selects all draw ing objects in the current draw ing w indow in the Draw ing,
Timeline and Camera view s. This helps you manage multiple objects as one
w hen moving them.

Deselect All

Deselects all selected objects in the Draw ing and Camera view s.

Invert Selection

Deselects the currently selected items and selects all other items that w ere
not selected. For example, if some lines are selected in a draw ing, thiscommand w ill deselect them and select any other lines in the draw ing thatw ere not selected.

Select Child Skipping
Effects

Lets you select the first element parented to the selected peg element in theTimeline view skipping effects in the hierarchy.

Select Child

Lets you select the first element parented to the selected peg element in theTimeline view .

Select Children

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Timeline view .

Select Parent Skipping
Effects

Lets you select the parent of the selected element in the Timeline view
skipping effects in the hierarchy.

Select Parent

Lets you select the parent of the selected element in the Timeline view .

Select Previous Sibling

Lets you select the previous element (above current element) in the Timelineview .

Select Next Sibling

Lets you select the next element (below current element) in the Timeline view .

Zoom In

Zooms into the view , tow ards the view 's pivot point, up to 80,000%.

Zoom Out

Zooms out of the view , aw ay from the view 's pivot point, up to 1%.

Move Forw ard

Moves infinitely forw ard into the view , using the direction set by the current
position and angle of rotation.

Move Backw ard

Moves infinitely backw ards out of the view , using the direction set by thecurrent position and angle of rotation.

Reset Zoom

Resets the view ’s zoom to its default position.

Reset Pan

Resets the view ’s pan to its default position.

Reset View

Resets the view to its default position.

Face Selected to Draw

Resets any rotations made and brings the selected object to the center of theview . Displaying the draw ing object at this perspective is intended to facilitatedraw ing on the object.

Look at Selected

Resets view to have the selected object at the center, w ithout resetting therotation angles or zoom.

Layer Properties

Show s or hides the Layer Properties view .

View

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Light Table

Turns on the light table so you can see Turns on the light table so you can see
the previous and subsequent active layers in w ashed-out colours. It is usefulfor seeing the other layers w hen designing, animating or cleaning up youranimation.

Camera Cone

Displays the camera cone.

Control

Displays the controls of the selected element.

Hide All Controls

Hides the controls of the selected element.

Enable Playback

Plays back your animation in the Perspective view .

Animation

Animate Animate

AnimateCurrent
Frame

W hen this option is selected, every time you use theTransform,
Advanced Animation orInverse Kinematic tools to manipulate
an element in your scene, the position of the element w ill be stored in a
keyframe at the current frame. This allow s you to animate elements in yourscene w ithout creating keyframes manually.

W hen this option is selected, if you use theAnimate Onion
Skin Range

W hen this option is selected, if you use theAnimate Off

Transform or

Advanced Animation tools to make transformations to an element in yourscene, the transformations w ill be stored as keyframes at the beginning and at
the end of the current Onion Skin range, as w ell as on every existing keyframe
in-betw een. This can be useful if you w ant to reposition an element that you
have already animated, but only during a specific range of frames, w hich you
can define by enabling Onion Skin and setting the Onion Skin range to coverthat range of frames.

Transform or

Advanced Animation tools to make transformation to an element in yourscene, the transformations w ill affect the element throughout the w hole
scene. This can be useful if you w ant to reposition an element after you havealready animated it.

Insert Keyframe

Adds a keyframe to the currently selected frame in the Timeline view .

Insert Control Point

Adds a control point to the motion path at the currently selected frame. This
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motion path. In order for this command to w ork, layers must be set to 3D Path.

Set Stop-Motion
Keyframe

Set Motion Keyframe

Converts the selected keyframes to stop-motion keyframes. Betw een a stopmotion keyframe and the next keyframe, Harmony does not generate any
animation and the element remains static until the next keyframe.

Converts the selected keyframes to motion keyframes. W ith motion
keyframes, Harmony generates the interpolation betw een the motion
keyframe and the next keyframe. This means that a value for each frame
betw een the keyframes is calculated by Harmony to progress from the valueof the previous keyframe to the value of the next keyframe.

Flip Horizontal: Flips the current selection horizontally.

Flip Vertical: Flips the current selection vertically.

Flip

Flip Scale X: Once your draw ing layer is rotated, the original horizontal andvertical axes change. The Flip Scale X and Flip Scale Y w ill perform a flip on
your draw ing layer follow ing its original axis.Remembers the original X-axis of
the layer and flips the element follow ing it.

Flip Scale Y: Remembers the original Y-axis of the layer and flips the element
follow ing it.

Set Ease for Multiple
Parameters

Opens the Set Ease for Multiple Parameters dialog box w here you can change
the velocity of selection functions.

Linear Motion

Straightens out the motion path on either sides of the selected control point.

Lock in Time

Indicates w hether the point is locked to a specific frame (keyframe) or only
locked to a specific position and the curve can flow through it freely as otherpoints are being added, moved, or adjusted (control point).

No Z Dragging

Locks the Z value w hen you're animating in 3D space. This means you can
only reposition your object along the x and y axes.

Substitute Draw ing
Previous

Replaces the draw ing or cell's symbol on the current frame by the next
draw ing.

Substitute Draw ing Next

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Select Previous
Keyframe /Point

Select the previous keyframe/point.

Select Next Keyframe/PointSelect Next Keyframe /Point

Lock: Locks Locks one or a multiple selection of layers.

Unlock: Unlocks Unlocks one or a multiple selection of locked layers.

Lock

Lock All: Locks Locks all the layers in the Timeline view .

Unlock All: Unlocks Unlocks all the layers in the Timeline view .

Lock All Others: Locks Locks every layer except the selected ones.

Reset

Returns Returns the value of the selected element to the initial value of theactive tool. For example, if the Rotate tool is active, the transformation angle
w ill be reset to 0 and if the Transform tool is active, all the transformation
values w ill be reset.

Reset All

Resets Resets all transformations on the current frame in a selected layer.
Your keyframe w ill remain, but all the values w ill return to the starting value.
All transformations are reset regardless of the tool you're using.

Reset All Except Z

Resets Resets all transformations on the current frame except the Z position.
This is useful w hen doing cut-out animation. Cut-out puppets often have aparticular Z ordering for the different view s of a character. You might w ant toreset the transformation, but not necessarily the Z position.

Animation Tools

Transform

Allow s you to select draw ing layers and position, rotate, scale and skew them.

TranslateLets you move the selected element along the X and Y axes.

RotateTurns a selected element around its pivot point.

Scale

Increases or decreases the size of a selected element. You can scale an object
up to make it larger or dow n to make it smaller. Press Shift to scale the399Chapter 2: Menus

element w hile maintaining its proportions.

Maintain Size

Keeps elements the same size aspect ratio in the Camera view as you movethem tow ards or aw ay from the camera.

Skew

Slants the selected element.

Reposition Draw ing

Lets you reposition, scale, rotate or skew all draw ing strokes on every draw ing
included in a layer.

Spline Offset

Lets you Lets you reposition the visual trajectory w ithout offsetting or
modifying your animation. By default, the trajectory is located at 0,0,0 fields. If
your elements w ere draw n in a different location than the centre of thedraw ing area, it w ill look like the trajectory is not aligned w ith your draw ing.
Also, if you have several elements attached to one trajectory, you might w ant
your trajectory to be at a different location to represent the group's motion
better.

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Script Editor View Menu
The Script Editor view menu gives you access to all of the commands needed for editing and testing scripts in
the Script Editor view —see Script Editor View on page 1312.

How to access the Script Editor view menu
1. Add the Script Editor view to your w orkspace by doing one of the follow ing:l

In the top-right corner of an existing view , click on the

Add View button and select Script

Editor.
l

In the top menu, select W indows > Script Editor.

2. In the top-left corner of the Script Editor view , click on the

ButtonMenu button.

Description

File

Creates a new script. W hen you click on this button, you are first prompted to typein a name for the script. Then, you w ill be prompted to select w hich location tosave the script in:l

User: Saves the script to a directory in your user preferences directory. You
w ill be able to run and edit the script from any scene as long as you arelogged in as the same user.

NOTE
If you are using Harmony Stand Alone, the script w ill be saved to thepreferences for your account on your computer. if you are using
Harmony Server, the script w ill be saved to the preferences for yourHarmony database user.

New ScriptlGlobal: If you are using Harmony Server, select this option to save thescript to the Harmony database's global script directory. Anyone w ho islogged in to the database w ill be able to edit and run this script.

lEnvironment: If you are using Harmony Server, select this option to savethe script to the current scene's environment. Anyone w ill be able to edit
and run the script as long as they are w orking on a scene inside thisenvironment.

lJob: If you are using Harmony Server, select this option to save the script tothe current scene's job. Anyone w ill be able to edit and run the script aslong as they are w orking on a scene inside this job.

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ButtonDescriptionl

Scene: Save the script to the scene's scripts sub-folder. Anyone w ill beable to edit and run the script w hen w orking on this specific scene.

lSystem Variable: Save the script to the directory in the TOONBOOM_GLOBAL_SCRIPT_LOCATION environment variable. This option is only
available if this environment variable is set.

NOTE
For more information on script locations, see Script list on page 1312.

Allow s you to import a script from your machine into Harmony. W hen you click on
this button, you are prompted to brow se for and select a script on your file system.
Then, you are prompted to select w hich location to import the script in:l

User: Saves the script to a directory in your user preferences directory. You
w ill be able to run and edit the script from any scene as long as you arelogged in as the same user.

NOTE
If you are using Harmony Stand Alone, the script w ill be saved to thepreferences for your account on your computer. if you are using
Harmony Server, the script w ill be saved to the preferences for yourHarmony database user.

lGlobal: If you are using Harmony Server, select this option to save thescript to the Harmony database's global script directory. Anyone w ho islogged in to the database w ill be able to edit and run this script.

lEnvironment: If you are using Harmony Server, select this option to savethe script to the current scene's environment. Anyone w ill be able to edit
and run the script as long as they are w orking on a scene inside thisenvironment.

lJob: If you are using Harmony Server, select this option to save the script tothe current scene's job. Anyone w ill be able to edit and run the script aslong as they are w orking on a scene inside this job.

l

Scene: Save the script to the scene's scripts sub-folder. Anyone w ill beable to edit and run the script w hen w orking on this specific scene.

lSystem Variable: Save the script to the directory in the TOONBOOM_GLOBAL_SCRIPT_LOCATION environment variable. This option is only
available if this environment variable is set.

Import Script402Harmony 22 Premium Reference Guide

ButtonDescription

NOTES
l

W hen you import a script, any user interface (.ui) or icon (.png) file thatis in the same directory and has the same filename as the script w ill also
be imported.

l

For more information on script locations, see Script Editor View on page
1312.

Deletes the selected script.

NOTES
l

You cannot delete a script if it is in the Application Resources location, as
those are scripts that are installed w ith Harmony.

l

If you delete a script that w as originally in Application Resources but
w hich you copied to another location so you could make changes to it, theoriginal version of the script in the Application Resources folder w ill be
restored to the list.

Delete Script

Refresh Script File
List

Refresh the list of scripts in the Script Editor. If there are new scripts in your user
preferences or your scene's scripts sub-folder, click on this button to be able toopen them in the Script Editor.

EditorAllow s you to type in the path and name for your preferred text editing softw are.

NOTES
l

On macOS, only typing the name of your preferred text editing softw areis enough if that application supports the AppleScript Open Document
protocol.

l

On W indow s and GNU/Linux, unless your text editor is in your system's
PATH environment variable, you w ill have to type in the full path to theeditor.

Set External Editor

External Editor

Opens the selected script in the chosen external text editing softw are.

Play/Debug

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ButtonDescription

Prompts you to select w hich script and w hich function to use w ith the Run and
Debug commands.

NOTES
Set Targetl

You can set the entire script as the target by selecting the <Nothing>
function from the functions list.

l

You cannot link an entire script to a toolbar button. Only functions w ithin
scripts can be added as toolbar buttons. Therefore, running or debugging
an entire script rather than one of its functions should be done for testing
purposes only.

Runs the target script and function.

NOTES
l

If you have not set a target script and function, you w ill be prompted to
set one w hen you select this command.

l

You can set or change the target script and function by selecting Set
Target from this menu.

l

If you are editing <<<Sandbox>>>, this button w ill simply run w hat you
typed into the sandbox, regardless of w hether another target is set.

Run

Open the target script and function in the Qt Script Debugger, in w hich you can test
and debug the function.

NOTES
Debug

l

If you have not set a target script and function, you w ill be prompted to
set one w hen you select this command.

l

You can set or change the target script and function by selecting Set
Target from this menu.

l

If you are editing <<<Sandbox>>>, this button w ill simply debug w hat
you typed into the sandbox, regardless of w hether another target is set.

Stop

If a script is currently running, this interrupts its execution.

Scripting Interface
Documentation

Opens the reference documentation for the Harmony scripting interface in a w eb
brow ser.

Help

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ButtonDescription

NOTE
This documentation is installed w ith Harmony and does not require Internet
access.

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Side View Menu
The Side View menu lets you position elements in 3D space, set parameters for animation and accessanimation tools—see Side View on page 1317.

How to access the Side menul

In the upper-left corner of the Side view , click the menu

Commandbutton.

Description

Edit

Cut

Removes selected objects. You can then paste the object or its properties toanother object.

Copy

Copies selected objects and properties.

Paste

Places an object you cut or copied into the location you select in a view .

DeleteRemoves selected objects.

Select All

Selects all draw ing objects in the current draw ing w indow in the Draw ing,
Timeline and Camera view s. This helps you manage multiple objects as one
w hen moving them.

Deselect All

Deselects all selected objects in the Draw ing and Camera view s.

Invert Selection

Deselects the currently selected items and selects all other items that w ere
not selected. For example, if some lines are selected in a draw ing, thiscommand w ill deselect them and select any other lines in the draw ing thatw ere not selected.

Select Child Skipping
Effects

Lets you select the first element parented to the selected peg element in theTimeline view skipping effects in the hierarchy.

Select Child

Lets you select the first element parented to the selected peg element in theTimeline view .

Select Children

Lets you select all elements parented to the selected peg element in the406Harmony 22 Premium Reference Guide

Timeline view .

Select Parent Skipping
Effects

Lets you select the parent of the selected element in the Timeline view
skipping effects in the hierarchy.

Select Parent

Lets you select the parent of the selected element in the Timeline view .

Select Previous Sibling

Lets you select the previous element (above current element) in the Timelineview .

Select Next Sibling

Lets you select the next element (below current element) in the Timeline view .

Zoom In

Zooms in the view .

Zoom Out

Zooms out the view .

Reset Zoom

Resets the view ’s zoom to its default position.

Reset Pan

Resets the view ’s pan to its default position.

Reset View

Resets the view to its default position.

Layer Properties

Show s or hides the Layer Properties view .

Camera Cone

Displays the camera cone.

Control

Displays the controls of the selected element.

Hide All Controls

Hides the controls of the selected element.

Enable Playback

Plays back your animation in the Perspective view .

View

Animation

Animate407

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AnimateCurrent
Frame

W hen this option is selected, every time you use theTransform,
Advanced Animation orInverse Kinematic tools to manipulate
an element in your scene, the position of the element w ill be stored in a
keyframe at the current frame. This allow s you to animate elements in yourscene w ithout creating keyframes manually.

W hen this option is selected, if you use theAnimate Onion
Skin Range

in-betw een. This can be useful if you w ant to reposition an element that you
have already animated, but only during a specific range of frames, w hich you
can define by enabling Onion Skin and setting the Onion Skin range to coverthat range of frames.

W hen this option is selected, if you use theAnimate Off

Insert Keyframe

Transform or

Advanced Animation tools to make transformations to an element in yourscene, the transformations w ill be stored as keyframes at the beginning and at
the end of the current Onion Skin range, as w ell as on every existing keyframe

Transform or

Advanced Animation tools to make transformation to an element in yourscene, the transformations w ill affect the element throughout the w hole
scene. This can be useful if you w ant to reposition an element after you havealready animated it.

Adds a keyframe to the selected cell in the Timeline view .

Insert Control Point

Set Stop-Motion
Keyframe

Converts the selected keyframes to stop-motion keyframes. Betw een a stopmotion keyframe and the next keyframe, Harmony does not generate any
animation and the element remains static until the next keyframe.

Set Motion Keyframe

Converts the selected keyframes to motion keyframes. W ith motion
keyframes, Harmony generates the interpolation betw een the motion
keyframe and the next keyframe. This means that a value for each frame
betw een the keyframes is calculated by Harmony to progress from the valueof the previous keyframe to the value of the next keyframe.

Flip Horizontal: Flips the current selection horizontally.

Flip Vertical: Flips the current selection vertically.
Flip
Flip Scale X: Once your draw ing layer is rotated, the original horizontal andvertical axes change. The Flip Scale X and Flip Scale Y w ill perform a flip on
your draw ing layer follow ing its original axis.Remembers the original X-axis of408

Harmony 22 Premium Reference Guide

the layer and flips the element follow ing it.

Flip Scale Y: Remembers the original Y-axis of the layer and flips the element
follow ing it.

Set Ease for Multiple
Parameters

Linear Motion

Opens the Set Ease for Multiple Parameters dialog box w here you can change
the velocity of selection functions.

Transforms a curved path to a linear path removing tension, bias, andcontinuity.

Lock in Time

Indicates Indicates w hether the point is locked to a specific frame (keyframe)or only locked to a specific position and the curve can flow through it freely asother points are being added, moved, or adjusted (control point).

No Z Dragging

Keeps the Z value constant w hen you drag a character using the Transform orTranslate tool.

Substitute Draw ing
Previous

Replaces the draw ing or cell's symbol on the current frame by the next
draw ing.

Substitute Draw ing Next

Select Previous
Keyframe /Point

Select the previous keyframe/point.

Select Next Keyframe/PointSelect Next Keyframe /Point

Lock: Locks Locks one or a multiple selection of layers.

Unlock: Unlocks Unlocks one or a multiple selection of locked layers.

Lock

Lock All: Locks Locks all the layers in the Timeline view .

Unlock All: Unlocks Unlocks all the layers in the Timeline view .

Lock All Others: Locks Locks every layer except the selected ones.

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Reset

Returns Returns the value of the selected element to the initial value of theactive tool. For example, if the Rotate tool is active, the transformation angle
w ill be reset to 0 and if the Transform tool is active, all the transformation
values w ill be reset.

Reset All

Resets Resets all transformations on the current frame in a selected layer.
Your keyframe w ill remain, but all the values w ill return to the starting value.
All transformations are reset regardless of the tool you're using.

Reset All Except Z

Resets Resets all transformations on the current frame except the Z position.
This is useful w hen doing cut-out animation. Cut-out puppets often have aparticular Z ordering for the different view s of a character. You might w ant toreset the transformation, but not necessarily the Z position.

Animation Tools

Transform

Allow s you to select draw ing layers and position, rotate, scale and skew them.

TranslateLets you move the selected element along the X and Y axes.

RotateTurns a selected element around its pivot point.

Scale

Increases or decreases the size of a selected element. You can scale an object
up to make it larger or dow n to make it smaller. Press Shift to scale theelement w hile maintaining its proportions.

Maintain Size

Keeps elements the same size aspect ratio in the Camera view as you movethem tow ards or aw ay from the camera.

Reposition Draw ing

Lets you reposition, scale, rotate or skew all draw ing strokes on every draw ing
included in a layer.

Spline Offset

Lets you Lets you reposition the visual trajectory w ithout offsetting or
modifying your animation. By default, the trajectory is located at 0,0,0 fields. If
your elements w ere draw n in a different location than the centre of thedraw ing area, it w ill look like the trajectory is not aligned w ith your draw ing.
Also, if you have several elements attached to one trajectory, you might w ant
your trajectory to be at a different location to represent the group's motion
better.

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Timeline View Menu
The Timeline View menu lets you modify layers, keyframe and timing.

How to access the Timeline menul

In the upper-left corner of the Timeline view , click the menu

Parameter

button.

Description

ImportFrom Scanner

Imports draw ings from a TW AIN scanner.

ImagesImports bitmap images w hich you can choose to vectorize.

SoundsLets you import sound files into your project.

Cut cells from Xsheet

Removes selected objects. You can then paste the object or its properties toanother object.

Copy cells fromXsheetCopies selected objects and properties.

Paste

Places an object you cut or copied into the location you select in a view .

Paste Special

Lets you copy and paste selected draw ings into a different layer or paste theselection in the same layer to duplicate the draw ings.

Paste Special Again

Pastes new draw ings w ith the previous Paste Special settings.

Paste Cycle

Cycles a portion of an animation. You can increase or decrease the number ofcycles to paste and select a type of cycle: Normal, Reverse, Forw ard-Reverse andReverse-Forw ard.

Paste Reverse

Reverses the timing of draw ings or keyframes in range of selection after copying.

Edit

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DeleteRemoves selected objects.

Modify Paste Presets

Lets you modify existing presets w hen pasting keyframes and exposures. There
are three presets you can modify: the default presets for both key frames andexposures, key frames only and exposures only.

Select All

Selects all draw ing objects in the current draw ing w indow in the Draw ing,
Timeline and Camera view s. This helps you manage multiple objects as one
w hen moving them.

Deselect All

Deselects all selected objects in the Draw ing and Camera view s.

Invert Selection

Deselects the currently selected items and selects all other items that w ere notselected. For example, if some lines are selected in a draw ing, this command w illdeselect them and select any other lines in the draw ing that w ere not selected.

Select Synced Layers

Selects all the layers synced to the selected layer. The selected layer must be a
synced in order for this option to be enabled.

Select Child Skipping
Effects

Lets you select the first element parented to the selected peg element in theTimeline view skipping effects in the hierarchy.

Select Child

Lets you select the first element parented to the selected peg element in theTimeline view .

Select Children

Lets you select all elements parented to the selected peg element in the Timelineview .

Select Parent
Skipping Effects

Lets you select the parent of the selected element in the Timeline view skipping
effects in the hierarchy.

Select Parent

Lets you select the parent of the selected element in the Timeline view .

Select Previous
Sibling

Lets you select the previous element (above current element) in the Timelineview .

Select Next Sibling

Lets you select the next element (below current element) in the Timeline view .

Lock

Lock: Locks Locks one or a multiple selection of layers.

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Unlock: Unlocks Unlocks one or a multiple selection of locked layers.

Lock All: Locks Locks all the layers in the Timeline view .

Unlock All: Unlocks Unlocks all the layers in the Timeline view .

Lock All Others: Locks Locks every layer except the selected ones.

Timeline Tag: You can tag elements in the Timeline or Node view s to view only
those elements. W hen you tag elements, an asterisk appears beside the item in
the Timeline view . Once your elements are tagged and you have sw itched over toView Tagged Layers mode, the Timeline view w ill display only tagged elements.
The red bar on the left of the layers indicates you are in this view mode.
Tag
Timeline Untag: Untags selected layer in the Timeline view .

Timeline Untag All: Untags all tagged elements.

Timeline Untag All Others: Untags all elements except the selected one.

Mark Current Frame: Places a scene marker on the current frame on w hich theplayhead is parked. The marker appears in the frame counter area of the Timelineview . You can customize the colour of the scene marker and add text to display as
a tooltip w hen you hover over the marker—see .

Scene Markers

Create Scene Marker: Creates a scene marker from a selected frame range in theframe counter area of the Timeline view .

Edit Scene Marker: Lets you edit an existing scene marker.
NOTE: It's important to select the entire length of the scene marker, otherw ise
the Timeline Scene Marker dialog box w ill not open for editing.

Delete Scene Marker: Removes an existing scene marker.

Share Functions

Lets you share an existing function curve. By default, all function curves can only
be used and modified using their original parameter. If you w ant another layer orparameter to use the same function curve, you must share it.

View

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Cycle to Next View
Mode

Displays the new view mode.

Normal View Mode

Displays the Normal view mode, the default in the Timeline view . It show s
everything connected to the chosen display. In this mode, anything not connectedto the currently set default display w ill not be show n in the Timeline view . This
also means that you cannot add certain elements to the Timeline view , as bydefault, w hen added they are not connected to any display or composite node.
An example of such an element is a peg.

Selection Only Mode

Displays only elements currently selected in the Camera or Node view . This
makes it easier to concentrate on one or a few elements at a time.

Lets you see only elements w hich have been assigned a Tagged status. An itemthat has been tagged w ill appear in the Timeline view w ith a small asterisk
beside its name.
View Tagged Layers

Once your elements are tagged and you have sw itched over to View Tagged
Layers mode, the Timeline view w ill display only tagged elements. The red baron the left of the layers indicates you are in this view mode. W hile in this mode,
the asterisks are not displayed beside the tagged elements.

Show Functions

Centre on Selection

Scrolls the layers list to the currently selected layer. This is useful if you w ant toselect a layer in the Camera view , then manipulate its timing Timeline view .

Change Track Colour

Opens the colour picker w indow to modify the colour of the selected layer.

Default Track Colour

Resets the layer colour.

Collapse/Expand

Toggles betw een expanding and collapsing all parent layers in the Timelineview .

Collapse All

Collapses all parented layers in the Timeline view .

Expand All

Expands all parented layers in the Timeline view .

Set Tempo Marker

Lets you set a marker that synchronizes your animation w ith a musical score. This
lets you reproduce the FPB (Frames Per Beat) and use the tempo signature as
tempo markers. The Xsheet view lets you pace your animation according to thetempo or beat of the soundtrack music or to any rhythmic sound, such as the414Harmony 22 Premium Reference Guide

ticking of a clock or w ater leaking from a spout. See .

LayersAdd Synced Draw ing Layer

Sync Layer W ith

Creates a new draw ing layer w hose timing is synced immediately w ith thecurrently selected draw ing layer.

Opens the Convert to Synced Draw ing Layer dialog box. In this dialog box, every
other draw ing layer in the project can be selected, parented and have its timing
synced to the currently selected layer.

Unsync Layer

Unsyncs the parent layer of a synced pairing, w hen the child layer is selected.

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Top View Menu
The Top View menu lets you position elements in 3D space, set parameters for animation and accessanimation tools—see Top View on page 1330.

How to access the Top menul

In the upper-left corner of the Top view , click the menu

Commandbutton.

Description

Edit

Cut Draw ing Object

Removes selected objects. You can then paste the object or its properties toanother object.

Copy Draw ing Object

Copies selected objects and properties.

Paste

Places an object you cut or copied into the location you select in a view .

Delete Draw ing Object

Removes selected objects.

Select All

Selects all draw ing objects in the current draw ing w indow in the Draw ing,
Timeline and Camera view s. This helps you manage multiple objects as one
w hen moving them.

Deselect All

Deselects all selected objects in the Draw ing and Camera view s.

Invert Selection

Deselects the currently selected items and selects all other items that w ere
not selected. For example, if some lines are selected in a draw ing, thiscommand w ill deselect them and select any other lines in the draw ing thatw ere not selected.

Select Child

Lets you select the first element parented to the selected peg element in theTimeline view .

Select Children

Lets you select all elements parented to the selected peg element in theTimeline view .

Select Parent

Lets you select the parent of the selected element in the Timeline view .

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Select Previous Sibling

Lets you select the previous element (above current element) in the Timelineview .

Select Next Sibling

Lets you select the next element (below current element) in the Timeline view .

Zoom In

Zooms in the view .

Zoom Out

Zooms out the view .

Reset Zoom

Resets the view ’s zoom to its default position.

Reset Pan

Resets the view ’s pan to its default position.

Reset View

Resets the view to its default position.

Layer Properties

Show s or hides the Layer Properties view .

Camera Cone

Displays the camera cone.

Control

Displays the controls of the selected element.

Hide All Controls

Hides the controls of the selected element.

Enable Playback

Plays back your animation in the Perspective view .

View

Animation

AnimateAnimateCurrent
Frame

Animate Onion
Skin Range

W hen this option is selected, every time you use theTransform,
Advanced Animation orInverse Kinematic tools to manipulate
an element in your scene, the position of the element w ill be stored in a
keyframe at the current frame. This allow s you to animate elements in yourscene w ithout creating keyframes manually.

W hen this option is selected, if you use theTransform or

Advanced Animation tools to make transformations to an element in your417

Chapter 2: Menus

scene, the transformations w ill be stored as keyframes at the beginning and at
the end of the current Onion Skin range, as w ell as on every existing keyframe
in-betw een. This can be useful if you w ant to reposition an element that you
have already animated, but only during a specific range of frames, w hich you
can define by enabling Onion Skin and setting the Onion Skin range to coverthat range of frames.

W hen this option is selected, if you use theAnimate Off

Transform or

Advanced Animation tools to make transformation to an element in yourscene, the transformations w ill affect the element throughout the w hole
scene. This can be useful if you w ant to reposition an element after you havealready animated it.

Insert Keyframe

Adds a keyframe to the selected cell in the Timeline view .

Insert Control Point

Set Stop-Motion
Keyframe

Converts the selected keyframes to stop-motion keyframes. Betw een a stopmotion keyframe and the next keyframe, Harmony does not generate any
animation and the element remains static until the next keyframe.

Converts the selected keyframes to motion keyframes. W ith motion
Set Motion Keyframe

keyframes, Harmony generates the interpolation betw een the motion
keyframe and the next keyframe. This means that a value for each frame
betw een the keyframes is calculated by Harmony to progress from the valueof the previous keyframe to the value of the next keyframe.

Flip Horizontal: Flips the current selection horizontally.

Flip Vertical: Flips the current selection vertically.

Flip

Flip Scale X: Once your draw ing layer is rotated, the original horizontal andvertical axes change. The Flip Scale X and Flip Scale Y w ill perform a flip on
your draw ing layer follow ing its original axis.Remembers the original X-axis of
the layer and flips the element follow ing it.

Flip Scale Y: Remembers the original Y-axis of the layer and flips the element
follow ing it.

Set Ease for Multiple
Parameters

Opens the Set Ease for Multiple Parameters dialog box w here you can change
the velocity of selection functions.

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Linear Motion

Lock in Time

Indicates Indicates w hether the point is locked to a specific frame (keyframe)or only locked to a specific position and the curve can flow through it freely asother points are being added, moved, or adjusted (control point).

No Z Dragging

Substitute Draw ing
Previous

Replaces the draw ing or cell's symbol on the current frame by the next
draw ing.

Substitute Draw ing Next

Select Previous
Keyframe /Point

Select the previous keyframe/point.

Select Next Keyframe/PointSelect Next Keyframe /Point

Lock: Locks Locks one or a multiple selection of layers.

Unlock: Unlocks Unlocks one or a multiple selection of locked layers.

Lock

Lock All: Locks Locks all the layers in the Timeline view .

Unlock All: Unlocks Unlocks all the layers in the Timeline view .

Lock All Others: Locks Locks every layer except the selected ones.

Reset

Returns Returns the value of the selected element to the initial value of theactive tool. For example, if the Rotate tool is active, the transformation angle
w ill be reset to 0 and if the Transform tool is active, all the transformation
values w ill be reset.

Reset All

Resets Resets all transformations on the current frame in a selected layer.
Your keyframe w ill remain, but all the values w ill return to the starting value.
All transformations are reset regardless of the tool you're using.

Reset All Except Z

Resets Resets all transformations on the current frame except the Z position.
This is useful w hen doing cut-out animation. Cut-out puppets often have a419

Chapter 2: Menus

particular Z ordering for the different view s of a character. You might w ant toreset the transformation, but not necessarily the Z position.

Animation Tools

Transform

Allow s you to select draw ing layers and position, rotate, scale and skew them.

TranslateLets you move the selected element along the X and Y axes.

RotateTurns a selected element around its pivot point.

Scale

Increases or decreases the size of a selected element. You can scale an object
up to make it larger or dow n to make it smaller. Press Shift to scale theelement w hile maintaining its proportions.

Maintain Size

Keeps elements the same size aspect ratio in the Camera view as you movethem tow ards or aw ay from the camera.

Lets you Lets you reposition the visual trajectory w ithout offsetting or
modifying your animation. By default, the trajectory is located at 0,0,0 fields. If
your elements w ere draw n in a different location than the centre of theSpline Offset

draw ing area, it w ill look like the trajectory is not aligned w ith your draw ing.
Also, if you have several elements attached to one trajectory, you might w ant
your trajectory to be at a different location to represent the group's motion
better.

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Xsheet View Menu
The Xsheet View menu lets you modify columns, keyframe and timing.

How to access the Xsheet menul

In the upper-left corner of the Xsheet view , click the menu

Parameter

button.

Description

File

Images: Imports bitmap images w hich you can choose to vectorize.

ImportFrom Scanner: Imports draw ings from a TW AIN scanner.

Sounds: Lets you import sound files into your project.

Print

Prints the exposure sheet so you can take it to your animation table, provide a
copy to the animator, or create your Xsheet skeleton directly in Harmony.

Cut cells from Xsheet

Removes selected objects. You can then paste the object or its properties toanother object.

Copy cells fromXsheetCopies selected objects and properties.

Paste

Places an object you cut or copied into the location you select in a view .

Paste Special

Lets you copy and paste selected draw ings into a different layer or paste theselection in the same layer to duplicate the draw ings.

Paste Special Again

Pastes new draw ings w ith the previous Paste Special settings.

Paste Cycle

Cycles a portion of an animation. You can increase or decrease the number ofcycles to paste and select a type of cycle: Normal, Reverse, Forw ard-Reverse andReverse-Forw ard.

Edit

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Paste Reverse

Reverses the timing of draw ings or keyframes in range of selection after copying.

DeleteRemoves selected objects.

Select All

Selects all draw ing objects in the current draw ing w indow in the Draw ing,
Timeline and Camera view s. This helps you manage multiple objects as one
w hen moving them.

Deselect All

Deselects all selected objects in the Draw ing and Camera view s.

Insert Mode

Adds a new value or a new value sequence over existing ones, the new values
are inserted betw een the old ones. The existing timing sequence is pushed dow n
the column. The Insert mode opposite of the Overw rite mode, w hich is the Xsheet
default mode.

Gestural Drag Mode

Lets you drag a cell to any other frame in the same column or into anothercolumn.
This feature does not apply to Annotation columns.

Send to Function
View

Sends selected objects to the Function view w here you can edit and adjust its
function curve and parameters.

Zoom In Xsheet

Zooms in the view .

Zoom Out Xsheet

Zooms out the view .

Reset Zoom

Resets the view ’s zoom to its default position.

Reset Pan

Resets the view ’s pan to its default position.

Reset View

Resets the view to its default position.

View

Set Tempo Marker

Collapse Selection:
Expand/Collapse
Expand Selection:

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Collapse All:

Expand All:

Column Properties

Lets you rename a column, and enable or disable a column. To view additional
properties, select Edit > Preferences from the top menu. In the Preferences
dialog box, select the Advanced tab, then select the Advanced Element Mode
option.

Show Column List

Column Types
Manager

Lets you add advanced column types to create particular animation paths. W hen
you create these columns, they are not linked automatically to any particulardraw ing layer. You can create a motion path using these columns and then link or
unlink several draw ing or peg layers to it.

Show Thumbnails

Displays column thumbnails making it easier to identify a particular column. This
option displays a small thumbnail picture of the current frame below the column
header.

Show Selection

Set Columns W idth

Lets you change the column w idth (in pixels) and set it as the default.

All Columns to
Default W idth

Returns all columns to their default w idth of 100 pixels.

Change Columns
ColourLets you customize the colour of the column by selecting one from the SelectColour dialog box. The colour you select is also reflected in the correspondng
layer in the Timeline view .

Default Column
ColourRemoves the colour you assigned to a column (if any).

Hide Selected
Columns

Hides selected columns.

Unhide All Columns

Displays all columns.

Show Hidden
Columns

Displays columns that w ere previously hidden.

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Enable Playback

Plays back your animation in the Perspective view .

Columns

Add Columns

Lets you add a column. You can specify the column name, type, and set draw ing
layer options in the Add Column dialog box that opens.

Delete Columns

Removes the selected column. You have the option to delete the associateddraw ing files and element folders.

Clone Selected
Columns: Draw ings
Only

Clone Selected
Columns: Draw ings
and Timing

Duplicate Selected
Columns

Creates a copy of the selected column that is linked to the original. If a draw ing is
modified in the original or cloned column, both w ill be updated. How ever, cloned
columns can have different timings.
You can clone the draw ings only or both the draw ings and timing.

Creates an independent copy of the selected column. This useful w hen you needto modify the element independently, including the timing (exposure). Changes
to the original element do not propagate to the duplicate.

There are tw o methods of merging draw ings.
l

You can merge selected draw ings in adjacent elements. The columns andlayers w ill be left intact, and each new merged draw ing w ill reside in theframes of the left-most column or low er layer.

l

You can merge elements. All draw ings w ill be merged. Unused columns
and layers w ill be deleted, but the original draw ing files are still
accessible.

Merge Selected
Columns

FramesAdd Frames At Start
Adds the number of frames you specify to the end of the scene.
Add Frames At End

Add Frames Before
Selection
Adds the number of frames you specify before or after your selection.
Add Frames After

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Selection

Remove Selected
FramesDeletes the selected frames from your scene.

Draw ings

Create Empty
Draw ing

Creates Creates a draw ing in the selected cell, replacing any draw ing that may
already be exposed in that cell and the follow ing ones until it meets anotherdraw ing, key exposure or a blank cell.

Creates a duplicate of the selected draw ing in the layer. The duplicate draw ing
w ill be exposed at the selected frame instead of the original draw ing. Hence, thiscommand allow s you to instantly start w orking on a duplicate of the current
draw ing and retain the original.
Duplicate Draw ings

NOTE
W hen duplicating a draw ing, the exposure at the selected cell is replaced
w ith the new draw ing, up until the next key exposure.

Rename Draw ing

Lets you give a selected draw ing a new name.

Marks selected draw ings as one of the follow ing: Key, Breakdow n, In-betw een,
RetakeKey, RetakeBD or RetakeIB.
Mark Draw ing As

This helps to keep the Xsheet w ell organized w hile animating.
W hen w orking w ith several animators, directors or even other studios, thenecessity for retakes w ill often arise. Harmony gives you the possibility to marknew draw ings as either Retake Key, Retake Breakdow n, or Retake In-betw eens.

Substitute Draw ing
Previous
Replaces the draw ing or cell's symbol on the current frame by the next draw ing.
Substitute Draw ing
Next

Exposure

Increase

Adds Adds one more exposure to a selected cell; repeating this action adds anextra cell each time. This is an efficient w ay to extend a draw ing's exposure andis alw ays set in Insert mode. Increasing an exposure pushes the existing425

Chapter 2: Menus

exposure forw ard.

Decrease

Decreases exposure of a selected cell by one; repeating this action decreases one
exposure adds an extra cell each time. This is an efficient w ay to shorten adraw ing's exposure. Decreasing an exposure pulls in the existing exposure.

Set Exposure toLets you set the exposure to 1, 2, 3 or a custom exposure.

Extend Exposure

Lets you extend the length of a selected cell.

Add Key Exposure

Adds a key exposure to the selected cell.

Remove Key Exposure

Removes key exposures from the selected cells.

W hen w orking w ith draw ings to adjust the timing of a mouth in a lipsync, forexample, and forcing the use of specific key exposures, unnecessary key
exposures w ill be created. You can delete these duplicates w ithout affecting therest of the draw ing. The first draw ing of the selection w ill be used for the range.
Remove Duplicate
Key Exposure

NOTE
Duplicate key exposures may occur w hen pasting w ith the Enforce Key
Exposure option selected.

Fill Empty Cells

Lets you Fills the empty frames in the selection w ith the exposure just before. For
example, if you select a range of frame that starts w ith an exposed draw ing andthen ends w ith empty cells, all of the empty cells in the selection w ill be filled
w ith the exposed draw ing just before the empty cells.

Insert Blank Cell

Adds Adds an empty cell betw een other cells.

Clear Exposure

Removes the exposure from the selected cell.

Clear Exposure andPull

Replaces the exposure from the selected cell w ith exposures that follow it.

Fill Selection

Lets you Lets you fill the same value over an entire selection. The selection canbe over one cell, a cell range in one column, a cell range over many columns, anentire column, or many columns. You can use numbers, w ords, letters, or any
alphanumeric value.

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Sequence Fill

Lets you Lets you create a numbered sequence over a selection. The sequencecan be forw ard, backw ard, single, double or higher increment, as a cycle, and soon. The selection can be over one cell or a cell range in one column or more or an
entire column or many entire columns.

Fill Cells Randomly

Lets you Lets you fill in random values over a selection. You can give a maximum
and a minimum value and create a range for Harmony to choose the random
values from. The selection can be over one cell or a cell range in one column or
more or an entire column or many entire columns.

Hold Exposure

Lets you expose a draw ing for three, four, or five cells and so on.

MotionInsert Keyframe

Insert Keyframe andDuplicate Draw ing

Delete Keyframes

Deletes the selected keyframes.

Go to Previous
Keyframe

Go to Next Keyframe

Set Stop-Motion
Keyframe

Converts the selected keyframes to stop-motion keyframes. Betw een a stopmotion keyframe and the next keyframe, Harmony does not generate any
animation and the element remains static until the next keyframe.

Set Motion Keyframe

Converts the selected keyframes to motion keyframes. W ith motion keyframes,
Harmony generates the interpolation betw een the motion keyframe and the next
keyframe. This means that a value for each frame betw een the keyframes iscalculated by Harmony to progress from the value of the previous keyframe tothe value of the next keyframe.

Morphing

Create Morphing

Allow s you to create and configure a morphing sequence, w hich w ill
automatically generate the in-betw eens betw een tw o draw ings in the current
layer.

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Chapter 2: Menus

Delete Morphing

Once a cell is selected in a morphing sequence, deletes the entire sequence
betw een the tw o keyframes.

Insert Morphing Key
Draw ing

Creates a morphing keyframe from a selected morphing frame.

Convert Morphing toDraw ing

Lets Lets you convert your morphing inbetw eens to real draw ings you can edit.
This is useful w hen manually editing a morphing sequence or if you prefer tohave animation timing in double frame (on tw os) instead of single frame (onones).

Lip-Sync

Change Mouth Shapeto

Lets you change the mouth shape to one of the follow ing: A, B, C, D, E, F, G, X.

Auto Lip-Sync
Detection

Generates a sound detection for lip-sync.

Map Lip-Sync

Automatically maps Automatically maps draw ings in an element to the mouth
chart you have generated for a sound. This can save time w hen you are lipsynching a voice track.

Sound Display

Sound NameShow s the name of the sound file, as w ell as the file format. The line running
vertically through the column frames betw een the same file name indicates acontinuity of the same sound file in these frames.

Mouth Shapes

Show s the letter (or name depending on the w ay you named your character's
different mouth positions) in the column's frames. There is only one mouth
position allotted per frame and this position should correspond to the sound fileafter performing a lip-sync.

W aveform

Show s a vertical display of the sound file's actual w aveform. In the column
header, in the field under the column name, you can type in a percentage to zoom
in or zoom out on the w aveform, or pass the scroll cursor
W aveform

icon.

Sound Edit

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Insert Blank Cell

Places an empty cell betw een other cells.

Clear Exposure andPull

Replaces the exposure from the selected cell w ith exposures that follow it.

Annotation

Import FileLets you import an image file in an Annotation column.

Change Pen Colour

Lets you change the pen colour by selecting one from the Select Colour dialog
box.

Pen W idth

Lets you select a pen preset or change the pen w idth (in pixels).

Eraser W idth

Lets you modify the w idth of the Eraser tool.

Erase All

Removes all text and draw n annotations. Annotations that you type in cannot be
erased using this method.

Erase Selected
ImagesRemoves images you select in the Annotation column.

Erase Selected Texts

Removes text you select in the Annotation column.

Enable Draw ing

Lets you draw in the Annotation column using your mouse or pen tablet.

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Chapter 3: Nodes / Layers

Chapter 3: Nodes / Layers
The Node view is a visual representation of how every element in your scene, be it draw ing layers, pegs,
effects and others are combined together to form the final composited image. It allow s you to rig the elements
in your scene together and add a w ide range of effects to your scene. Getting to know how to use the Nodeview is important especially for rigging cut-out models, adding effects to scene or managing the w ay yourscene is composited, rendered and displayed in Harmony.

3D Nodes437

3D Kinematic Output Node

438

Flatten Node

441

Render Maya Batch Node443

Subnode Animation Node448

Z Buffer Smoothing Node452

Combine Nodes

454

Blending Node455

Composite Node461

Composite-Generic Node466

Cutter Node472

Highlight Node

474

Image Sw itch Node478

Matte-Composite Node480

Tone Node

483

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Transformation Sw itch Node487

Constraint Nodes

489

Constraint Sw itch Node491

Dynamic Spring Node494

Multi-Points Constraint Node499

Static Transformation Node502

Three-Points Constraint Node505

Transformation Gate Node508

Transformation Limit Node510

Tw o-Points Constraint Node516

Deformation Nodes

522

Articulation Node524

Auto Fold Node527

Auto Muscle Node529

Bone Nodes

533

Curve Node537

Deformation Composite Node

541

Deformation Root Node544

Deformation Scale Node

545

Deformation Sw itch Node

550

Deformation Uniform Scale Node552

Deformation W ave Node554

Fold Node557

Game Bone Node561

Glue Node563

Kinematic Output Node565

Mesh W arp Node566

Offset Node570

Point Kinematic Output Node572

Connections

573

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Chapter 3: Nodes / Layers

Refract

578

Stick Node580

Turbulence Node582

W eighted-Curve Node586

Properties

587

W eighted Deform Node588

W eighted-Line Node592

Properties

593

W eighted-Point Node594

Properties

595

Filter Nodes

596

Anti-Flicker Node598

Auto-Patch Node600

Bloom Node602

Blur-Box Node606

Blur-Directional Node609

Connection

610

Layer Properties

611

Blur-Gaussian Node613

Blur-Radial Node616

Blur-Radial-Zoom Node618

Blur-Variable Node622

Brightness Contrast Node624

Channel Selector Node626

Channel Sw ap Node628

Chroma-Keying Node630

Colour Banding Node636

Colour Art Node639

Colour Curves Node Properties

641

Colour Fade Node

647

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Palette Overrides

648

Individual Colour Overrides

650

Colour Levels Node654

Colour-Override Node657

Colour-Scale Node662

Colour Selector Node664

Contrast Node667

Dither Node669

Focus Node671

Focus Multiplier Node674

Gamma Node676

Glow Node679

Grain Node

683

Greyscale Node685

Hue-Saturation Node687

Increase Opacity Node694

Layer Selector Node697

Line Art Node

700

Luminance Threshold Node702

Matte-Blur Node705

Matte-Resize Node708

Median Node710

Motion Blur Node713

Motion-Blur-Legacy Node717

Negate Node

720

Overlay Layer Node722

Pixelate Node724

Remove Transparency Node726

RGB Difference Keyer Node728

Shadow Node

733

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Chapter 3: Nodes / Layers

Transparency Node736

Underlay Layer Node738

Generator Nodes

741

Animated Matte Generator Node742

Burn-In Node753

Colour-Card Node757

Element / Draw ing Node760

Connection

761

Field Chart Node778

Gradient Node783

Grid Node789

Lens Flare Node792

Turbulent Noise Node795

Group Nodes

799

Group Node

800

Multi-Port-In Node801

Multi-Port-Out Node802

Miscellaneous Nodes

803

External Node804

Master Controller Node807

Note Node813

OpenGL Bypass Node814

OpenGL-Cache-Lock Node816

Pre-Render Cache Node819

Connection

820

Render Preview Node824

Script Node825

Visibility Node828

Move Nodes

829

Apply Image Transformation Node

830

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Apply Peg Transformation Node833

Camera Node837

OrthoLock Node839

Peg Node

841

Shake Node843

Transform-Loop Node847

Quadmap Node

850

Quake Node853

Output Nodes

856

Crop Node857

Display Node860

Multi-Layer W rite Node861

Scale Output Node865

W rite Node867

Particle Nodes

881

3D Region

883

Baker

885

Baker Composite

888

Bounce889

Explosion

891

Gravity

893

Image Fracture

895

Kill

901

Move Particles

903

Orbit

905

Planar Region

908

Random912

Region Composite

913

Repulse914

Rotation Velocity

915

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Chapter 3: Nodes / Layers

Sink

918

Size

919

Sprite Emitter

921

System Composite

931

Velocity

932

Visualizer

935

Vortex937

W ind-Friction

939

Shading Nodes940

Ambient Occlusion Node941

Cast Shadow Node945

Light Position Node952

Light Shader Node954

Light Shader Properties - Surface Light Tab

958

Normal Map Node959

Normal Map Converter Node963

Shape Curve Node965

Shape Line Node968

Shape Render Node970

Surface Map Node973

Layer Properties

974

Surface Normal Node977

Tone Shader Node979

Tone Share Properties - Surface Light tab

982

Volume Object Node983

Plugin Nodes

985

Sparkle986

Selection Preset Note Node989

Sound Layer

990

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3D NodesThe nodes found in the 3D category are used to handle and render 3D objects such as animating the subnodes or rendering using Maya.
3D Kinematic Output Node

438

Flatten Node

441

Render Maya Batch Node443

Subnode Animation Node448

Z Buffer Smoothing Node

452

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Chapter 3: Nodes / Layers

3D Kinematic Output Node
A 3D Kinematic Output node can be used to connect the animation for a subnode to another node. This allow s
to use a subnode's animation on other elements in the scene, as if it w as part of a hierarchy of peg and thesubnode w as the parent peg.

Connection
The 3D Kinematic Output node must be connected under a Subnode Animation node, from w hich it w ill takeone of the subnode's animation, and then connected as a parent of the node on w hich it must apply thatanimation.

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TIP
You can quickly create a 3D Kinematic Output node by selecting a subnode in the 3D Graph view ,then clicking on the Add 3D Kinematic Ouput

button. The 3D Kinematic node w ill be connectedunder the model's Subnode Animation node, and configured to apply the selected subnode's
animation to its child. It must then be connected to a child element in the Node view .

NOTE
It is not possible to animate the subnodes of a 3D model w ithout a Subnode Animation node.
Hence, the 3D Kinematic Output node must be connected under a Subnode Animation node, andnot directly under a 3D model—see Subnode Animation Node on page 448.

Properties
The Subnode Name attribute of a 3D Kinematic Output node determines w hich of the 3D model's subnodew ill be used to animate the node's child.

Parameter

Description

Allow s you to enable or disable the node. W hen disabled, a node has no
Enable/Disablevisible effect on the rendered image, nor on the preview in the Camera,
Perspective, Side and Top view s.

Colour Sw atch

Sets the colour of the layer in the Timeline view and of the node in the
Node view .

Allow s you to enter a name for the node.
Name
It is recommended to use the name of the subnode follow ed by - Output.

Subnode Name

Use this field to enter in the part of the 3D model w hose movements you

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Chapter 3: Nodes / Layers

w ould like to track. Entering the name of the 3D model subnode into thisfield is w hat lets the 3D Kinematic Output node know w hich part of themodel to read.

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Flatten Node
The Flatten node is used to transform 3D objects into flat planes w hen ordered in the Composite node. That
plane can then be moved arouned like any other draw ing. Instead of intersecting w ith 2D layers, the 3D object
w ill either be behind or in front.

W hen all objects are at the same distance (z value) from the camera, the order is based on the Composite
ports. W hen elements are placed at different distances from the camera, the z axis value overrides thecomposite port ordering.

Connection
The Flatten Node takes a 3D image in its input port and outputs a 2D image.

Layer Properties
Parameter

Description

Enable/Disable

Allow s you to enable or disable the node. W hen disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top view s.

Colour Sw atch

Sets the colour of the layer in the Timeline view and of the node in the Node view .

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Chapter 3: Nodes / Layers

Parameter

Description

Name

Allow s you to enter a name for the node.

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Render Maya Batch Node
By default, 3D models imported in Harmony are rendered using OpenGL. The Maya Batch Render can be used
to render a 3D model connected to it through Autodesk Maya, then output the rendered image to the scene sothat it can be composited. It can be configured to use one of several of the rendering engines supported by
Maya, such as RenderMan, Mental Ray and Maya Softw are.

NOTE
The Maya Batch Render node is basically a Script Node pre-configured to take the input image andprocess it through the renderMayaBatch() built-in function of the Harmony scriptinginterface—see Script Node.

Connection
The MayaBatchRender node takes a 3D model in its input port, and outputs a 2D rendered image w hen thescene is rendered.

NOTE
The Maya Batch Render node does not affect the OpenGL preview of the scene in the Camera
view . To see the effect of the Maya Batch Render node in Harmony, you must set the preview
mode of the Camera view to Render View

mode.

Configuration
For the Maya Batch Render node to w ork, the follow ing conditions must be met:l

The path to Autodesk Maya and, if needed, to RenderMan, must have been set on your machine using
the TB_Set_3dRenderer_Paths.js script w hich is bundled w ith Harmony.

l

The original Maya project in w hich the 3D model w as created must be in the element folder of the 3Dmodel you imported into your Harmony scene, and must have the same file name as the 3D model you
imported, but w ith the appropriate extension. Additionally, the model's textures should also be in theelement folder.

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Chapter 3: Nodes / Layers

In the follow ing example, the 3D model is a Filmbox (.fbx) model that w as imported in a Harmony
scene into an element named Ship. The .fbx file w as named Ship-1.fbx. Hence, for the Maya Batch
Render node to render it, the original Maya project must be in the folder of the Ship element. Since theMaya project has the extension .ma and the 3D model is named Ship-1.fbx, the Maya project must
be named Ship-1.ma:

NOTES
l

You can also make the Maya Batch Render node source the Maya project from its original
location—see Specifications Tab on page 445.

l

For detailed steps on how to use the Maya Batch Render node, refer to the 3D Integration
chapter of the User Guide.

Layer Properties

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Parameter

Description

Enable/Disable

Allow s you to enable or disable the node. W hen disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top view s.

Colour Sw atch

Sets the colour of the layer in the Timeline view and of the node in the Node view .

NameAllow s you to enter a name for the node.

Attributes Tab

Parameter

Description

Specify the rendering engine to use. The follow ing engines are supported:l'renderMan' (or 'reyes')l'renderManRIS' (or 'RIS')l'arnold'

l'mentalRay'l'mayaSoftw are' (or 'maya')

Renderer

Specifications Tab

The specification tab is used to define the attributes in the Attributes tab as w ell as the input and output portsof the node. By default, it is configured to have one input image port, one output image port, and a Rendererparameter in the Attributes tab, w hich allow s you decide w hich rendering engine to use to render the 3Dmodel. The follow ing is the default Specifications script for the Maya Batch Render node:445

Chapter 3: Nodes / Layers<specs><ports><in type="IMAGE"/><out type="IMAGE"/></ports><attributes><attr type="string" name="renderer" value="" tooltip="If this attribute is not set, then the Maya</attributes></specs>

By default, the Maya Batch Render node expects the Maya project for the 3D model to be in the same
directory as the 3D model itself, w ith the same file name, but a different extension. How ever, you can add
another attribute to the node w hich allow s you to specify the path to the Maya project to use for rendering the
3D model. To do this, add the bolded line to the Specifications tab:<specs><ports><in type="IMAGE"/><out type="IMAGE"/></ports><attributes><attr type="string" name="renderer" value="" tooltip="If this attribute is not set, then the Maya
<attr type="string" name="OriginalMayaFileName" value="" tooltip="Write your project path here"/></attributes></specs>

After changing the content of the Specifications tab, you must save, close and re-open the scene before you
can see the new OriginalMayaFileName field in the Attributes tab. You can then type in the path to the Maya
project that the Maya Batch Render node should render.

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NOTES
l

The path should include the name of the project file as w ell as its extension.

l

You must use forw ard slashes (/) to separate the directories in the path, even on W indow s, likein this example:
C:/Users/username/Documents/MyProject.mal

You can use a relative path. The path is relative to the element folder containing the 3D model
used in the Harmony scene. For example, ../../ points to the scene directory.

Softrender Tab

This tab contains the script to execute w hen the scene is rendered. By default, it contains this single function:
renderMayaBatch();This function takes the 3D model in the input image and renders it using Autodesk Maya, using the renderingengine specified in the Attributes tab. To do this, it uses the original Maya project for the 3D model andinstructs Autodesk Maya to render it, but w ith the transformations in position, angle and scale applied to it in
the current frame of the Harmony scene. Autodesk Maya then produces an OpenEXR (.exr) image w ith deep
pixels, w hich Harmony integrates into the scene and composites it w ith other elements and effects.

NOTE
The other tabs in the Maya Batch Render node properties are the standard tabs for a Script node.
This is because the Maya Batch Render node is just a Script node set up to execute
renderMayaBatch();. For more information, see Script Node on page 825.

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Subnode Animation NodeW hen manipulating 3D models, by default, it is only possible to animate the transformation on the w holemodel. Transformations on their individual parts (subnodes) are static. In order to be able to animate thesubnodes in a 3D model, it must be connected to a Subnode Animation node, w hich w ill store the animation
information for individual subnodes and apply it to the model.

Connection
The Subnode Animation node takes a 3D model in its input port. As soon as a 3D model is connected to a
Subnode-Animation node, its subnodes become animatable individually. Once you start animating the model's
subnodes, the node outputs the 3D model w ith its subnodes animated.

The parameters for each subnode that is animated w ill appear in the node's parameters in the timeline.

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TIP
You can add the parameters for a subnode to the Subnode Animation node w ithout animating it
first. To do this, select the subnode, then click on the Make Properties Available

button in the

3D Graph view . This can be useful if you w ant to make a keyframe w ith the subnode's resting
position before animating it.

Layer Properties
All animatable 3D model subnodes appear in a list in the Subnode Animation Layer Properties. Expand any of
the subnodes in the list to view its individual properties.

Click on any of the Function buttons

to open the Function Editor for that parameter.

If movements have already been created in the Camera view , you may not be able to edit some of the fields.
They just display the value of that parameter at the given position in the Timeline. If you w ould like to edit
these fields, change the field type to Local.

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Parameter

Description

Enable/Disable

Allow s you to enable or disable the node. W hen disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top view s.

Colour Sw atch

Sets the colour of the layer in the Timeline view and of the node in the Node view .

Name

The name of the node as it appears in the Node View and the Timeline view . Eachnode must have a name that is unique to its containing group.

3D Path: Lets you use a 3D path function to animate an element.
Separate: Lets you independently edit the different coordinate fields.
Path: W hen the 3D Path option is selected, lets you choose the path type. You
can do this form the field menu, located after the Function button

Position.

Path (x) Axis: Lets you type in a new East/W est coordinate corresponding to thedesired position.
Path (y) Axis: Lets you type in a new North/South coordinate corresponding to
the desired position.
Path (z) Axis: Lets you ype in a new Forw ard/Backw ard coordinate corresponding
to the desired position.
Velocity: W hen the 3D Path option is selected, lets you set the speed at w hichmovement occurs across the X, Y and Z axes.

Quaternion: Rotations made on the X, Y and Z axes are linked, as is the velocity
w hich acts on the three rotation functions simultaneously.
Euler Angles: Rotations can be made on the X, Y and Z axes independent of eachother; each has its ow n velocity.
3D Rotation: W hen the Quaternion option is selected, lets you choose the path
Rotationtype. You can do this form the field menu, located after the Function button.

(x) Axis: Lets you enter the horizontal rotation value in degrees.
(y) Axis: Lets you enter the vertical rotation value in degrees.
(z) Axis: Lets you enter the depth scale value in degrees.
Velocity: W hen the Quaternion option is selected, lets you set the speed at w hichrotation occurs across the X, Y and Z axes.

Scale

Locked: Resizes the element w hile keeping its ratio. The X and Y axes scale
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Separate: Resizes the element allow ing to modify the ratio (squash and stretch).
(x) Axis: Lets you enter the horizontal scale value.
(y) Axis: Lets you enter the vertical scale value.
(z) Axis: Lets you enter the depth scale value.
Scale in Fields: Instead of using the standard scaling units, w hen this option isenabled, images are scaled using field units, based on the traditional animation
field chart. Enter in the x, y, z values respectively in the fields below .

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Z Buffer Smoothing Node
Rendering engines such as Maya and Mental Ray output images in a format that uses a simple Z-buffer that
does not allow for proper antialiasing around the edges of the geometry. Hence, it is ultimately better forimage quality to render using RenderMan or Arnold if possible. Otherw ise, if a different rendering engine must
be used and there appears to be pixelated hard seams around 3D models, the Z Buffer Smoothing node can beused to smooth out the edges of the rendered model.

Connection
The Z-Buffer-Smoothing node takes the rendered 3D model output by a MayaBatchRender node as its input
image, and outputs the rendered 3D model w ith its edges smoothed.

Layer Properties

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Parameter

Description

Enable/Disable

Allow s you to enable or disable the node. W hen disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top view s.

Colour Sw atch

Sets the colour of the layer in the Timeline view and of the node in the Node view .

NameAllow s you to enter a name for the node.

Lets you define the range of clean pixels in the depth histogram w hen rendering
3D models. Only opaque or semi-transparent values are considered.
Histogram Range

Kernel Size

A low value means few er pixels are used in the depth calculations and may
flatten your object, w hile a higher value uses more pixels in the depth
calculations, but may not eliminate all the image artifacts.

Lets you determine the size of the matrix used for calculating the depth of a single
pixel. For example, for an operation w ith a kernel size of 3 pixels, Harmony uses
the pixels w ithin a 1-pixel radius to calculate the effect. A larger kernel sizemeans longer calculations.

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Combine Nodes
The nodes found in the Combine category are used to take tw o or more elements are combine them into a newimage.
Blending Node455

Composite Node461

Composite- Generic Node466

Cutter Node472

Highlight Node

474

Image Switch Node478

Matte- Composite Node480

Tone Node483

Transformation Switch Node

487

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Blending Node
T-COMP2-005-001
By default, layers are composited onto each other directly. This means that opaque pixels in front-most layers
hide pixels in layers further back, and semi-transparent pixels on front-most layers are blended w ith pixels
further back proportionally to their alpha ratio. This does the job for solid objects. How ever, some types oflayers and effects may look better w hen composited into the scene using more advanced approaches. The
Blending node can be used to composite an element, effect or composite using one of many different
algorithms that may make it look much better in the final render.

NOTE
The effect of the Blending node is only visible w hen the Camera view is in Render Preview
mode.

Connection
A Blending node can be connected under a layer, an effect or a composite to affect the w ay it w ill becomposited into the scene.

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Properties

Parameter

Description

Enable/Disable

Allow s you to enable or disable the node. W hen disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top view s.

Colour Sw atch

Sets the colour of the layer in the Timeline view and of the node in the Node view .

NameAllow s you to change the name given to the node.

Blend Mode

Choose the blending effect mode you w ish to apply to your layer.

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NOTE
Some of the available blending modes have a BETA or Legacy variant to them.
l

A BETA blending mode is one that has been recently added in Harmony
and w hich w as made to more closely resemble results obtained inprofessional photo editing softw are such as Adobe Photoshop.

l

A Legacy blending mode is a blending mode that w as present in older
versions of Harmony. Starting from Harmony 10, these blending modes
w ere enhanced by de-multiplying colours before compositing the image
then re-multiplying them. Their legacy version remain available to ensure
scenes created in older versions of Harmony do not render differently.

lNormal: Composites the image w ithout any specific blending effect.

lErase:Subtracts the overlay pixel's alpha from the underlay pixel, "cuttingout" the overlay from the underlay. The overlay pixel's colour information is
ignored.

lInvert:Inverts the underlay pixel proportionally to the alpha value of theoverlay pixel. The overlay image hence acts as a "matte" for an invert effect.

lReplace:Ignores the underlay pixel completely, outputting the overlay pixel
as if nothing existed behind it. This applies to all overlay pixels that have analpha value of at least 1, so the negative space of the overlay image w ill nothide the underlay image. If the overlay pixel is not fully opaque, it w ill bemixed w ith black.

lColour Burn: Darkens each channel in the underlay pixel w ith the darkness
value of the corresponding channel in the overlay pixel, by increasing thecontrast of the underlay pixel.

lDarken: For each channel, uses the value that is the darkest betw een theunderlay pixel and the overlay pixel.

lLinear Burn: Darkens each channel in the underlay pixel w ith the darkness
value of the corresponding channel in the overlay pixel, by reducing thebrightness of the underlay pixel.

lMultiply: Multiplies the value of each channel in the underlay pixel w ith thevalue of each channel in the overlay pixel, treating those values as ratios.
Multiplying anything w ith black w ill result in black, and multiplying anythingw ith w hite w ill leave the colour unchanged.

lColour Dodge: Lightens each channel in the underlay pixel w ith thebrightness value of the corresponding channel in the overlay pixel, bydecreasing the contrast of the underlay pixel.

lLighten: For each channel, uses the value that is the brightest betw een theunderlay pixel and the overlay pixel.

lLinear Dodge: Lightens each channel in the underlay pixel w ith thebrightness value of the corresponding channel in the overlay pixel, byincreasing the brightness of the underlay pixel.

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Chapter 3: Nodes / LayerslScreen: The reverse of multiply. Multiplies the reverse value of each channel
in the underlay and overlay pixel, treating those values as ratios. Multiplying
anything w ith w hite w ill result in w hite, and multiplying anything w ith black
w ill leave the colour unchanged.

lVividlight: This colour dodges overlay pixels w ith a value above 50% onto
underlay pixels, and colour burns overlay pixels w ith a value below 50%
onto underlay pixels. The brighter the overlay pixel is, the more intense thecolour dodging effect w ill be. The darker the overlay pixel is, the more
intense the colour burning effect w ill be.

lHardlight: This screens overlay pixels w ith a value above 50% onto underlay
pixels, and multiplies overlay pixels w ith a value below 50% onto underlay
pixels. The brighter the overlay pixel is, the more intense the screen effectw ill be. The darker the overlay pixel is, the more intense the multiplying
effect w ill be. Blending any colour w ith w hite or black w ill result in w hite or
black, and blending a colour w ith plain grey w ill leave the colour unchanged.

lLinearlight: This linear dodges overlay pixels w ith a value above 50% onto
underlay pixels, and linear burns overlay pixels w ith a value below 50% onto
underlay pixels. The brighter the overlay pixel is, the more intense the linear
dodging effect w ill be. The darker the overlay pixel is, the more intense thelinear burning effect w ill be.

lOverlay: Like hardlight, exept it screens or multiplies the underlay pixel over
the overlay pixel, based on the value of the underlay pixel.

l

Pin Light: For each channel, if the overlay pixel's value is above 50%, use thelightest pixel betw een the underlay and overlay pixels. If the overlay pixel's
value is below 50%, use the darkest pixel betw een the underlay and overlay
pixels.

lSoftlight: Each channel of the overlay pixel lightens or darkens thecorresponding channel of the underlay pixel on a softer scale. The effect is
proportional to how dark or bright the overlay pixel is, but inversely
proportional to how dark or bright the underlay pixel is.

lDifference: For each channel, this takes the darkest pixel among the overlay
and underlay pixels, subtract it from the lightest pixel, and outputs the result.

l

Divide: For each channel, this divides the value of the underlay pixel by thevalue overlay pixel. Both values are treated as ratios, so the resulting colour
is brighter. A w hite overlay pixel w ill leave the underlay colour unaffected,
and a black overlay pixel w ill alw ays result in w hite.

lExclusion: Adds the overlay and underlay pixel, then subtracts the multipliedvalue of both pixels tw ice. This results in an effect similar to Difference,
except that w hile the Difference mode produces consistently high contrast
pixels, the contrast of the resulting pixels w ith the Exclusion mode is
proportional to how dark or bright the overlay pixels are.

l

Subtract: For each channel, subtracts the value of the overlay pxiel from thevalue of the underlay pxiel. For example, if the underlay pixel is w hite, and458

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the overlay pixel is dark gray, the resulting pixel w ill be light gray. Likew ise,
if the underlay pixel is yellow , and the overlay pixel is red, the resulting pixel
w ill be green, as yellow is a mix of green and red.
lColour: Outputs a colour w ith the hue and saturation of the overlay pixel,
and the luminosity of the underlay pixel. The overlay layer can hence be used
to "colourize" the underlay layer.

l

Hue: Outputs a colour w ith the luminosity and saturation of the underlay
pixel and the hue of the overlay pixel.

l

Saturation: Outputs a colour w ith the luminosity and hue of the underlying
colour, and the saturation of the source colour.

lLuminosity:Outputs a colour w ith the hue and saturation of the underlay
pixel and the luminosity of the overlay pixel. This is the reverse of the Colour
blending mode.

lApply ClampingW ill clamp the colour values to the maximum and minimum
if they are outside this range. If 16-bit is selected as the Processing Bit Depth
in Colour Space, the maximum value w ill be clamped to 32767. If 32-bit isselected as the Processing Bit Depth, the maximum value w ill be clamped to
1.

l

No Clamping (HDR)No clamping is applied. This option is only effective
w hen Processing Bit Depth of the Colour Space is set to 32-bits per channel(float) and you do not w ant values to be clamped to 0 and 1. This option has

Clamping Modeno effect if the Processing Bit Depth is 16-bits per channel.

If you intend to export your scene in SW F format, you can use this option to choose
w hich blend mode to use for this effect in the exported Flash movie. Since Flashdoes not support all the blending modes supported by Harmony, this is left as aseparate option. You can ignore this option if you don't intend to export your scene in
SW F format.
lNormal: Composites the image w ithout any specific blending effect.

lMultiply: Multiplies the value of each channel in the underlay pixel w ith thevalue of each channel in the overlay pixel, treating those values as ratios.
Multiplying anything w ith black w ill result in black, and multiplying anythingw ith w hite w ill leave the colour unchanged.

lScreen: The reverse of multiply. Multiplies the reverse value of each channel
in the underlay and overlay pixel, treating those values as ratios. Multiplying
anything w ith w hite w ill result in w hite, and multiplying anything w ith black
w ill leave the colour unchanged.

lLighten: For each channel, uses the value that is the brightest betw een theunderlay pixel and the overlay pixel.

lDarken: For each channel, uses the value that is the darkest betw een theunderlay pixel and the overlay pixel.

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Chapter 3: Nodes / LayerslDifference: For each channel, this takes the darkest pixel among the overlay
and underlay pixels, subtract it from the lightest pixel, and outputs the result.

lAdd: Adds the colour values of each channel in the overlay pixel and theunderlay pixel. For example, adding tw o dark grey pixels w ith a value of 100
in each channel w ill result in a light grey pixel w ith a value of 200 in eachchannel. Likew ise, if one of the pixels is red and the other is green, theresulting pixel w ill be yellow .

lSubtract: For each channel, subtracts the value of the overlay pxiel from thevalue of the underlay pxiel. For example, if the underlay pixel is w hite, andthe overlay pixel is dark gray, the resulting pixel w ill be light gray. Likew ise,
if the underlay pixel is yellow , and the overlay pixel is red, the resulting pixel
w ill be green, as yellow is a mix of green and red.

lInvert: Inverts the underlay pixel proportionally to the alpha value of theoverlay pixel. The overlay image hence acts as a "matte" for an invert effect.

lOverlay:Like hardlight, exept it screens or multiplies the underlay pixel over
the overlay pixel, based on the value of the underlay pixel.

lHardlight: This screens overlay pixels w ith a value above 50% onto underlay
pixels, and multiplies overlay pixels w ith a value below 50% onto underlay
pixels. The brighter the overlay pixel is, the more intense the screen effectw ill be. The darker the overlay pixel is, the more intense the multiplying
effect w ill be. Blending any colour w ith w hite or black w ill result in w hite or
black, and blending a colour w ith plain grey w ill leave the colour unchanged.

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Composite Node
The Composite node allow s you to use several images and output a single image. You can compare that todoing pre-compositions in editing softw are. You can connect several draw ing, image generators and effectnodes in your Composite node and one bitmap (or vector in some cases) comes out of it.

Using Composites is necessary if you w ish to apply effects to several layers combined. For example, if you
w ant a character rig that is composed of several layers to appear transparent, you must connect all the layersof your character's rig to the same composite, and connect a Transparency effect to that composite.

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Properties

Parameter

Description

Allow s you to enable or disable the node. W hen disabled, a node has no visible
Enable/Disable

effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top view s.

Colour Sw atch

Sets the colour of the layer in the Timeline view and of the node in the Node view .

Name

The name of the node as it appears in the Node View and the Timeline view . Eachnode must have a name that is unique to its containing group.

l

As Bitmap: This is the default mode for composites. A bitmap composite
outputs a single composited image.

l

As Seamless Bitmap: mode w orks very similarly to bitmap mode, except
it prevents seams from appearing betw een vector shapes that havematching outlines or w hen vector draw ings are 3D-rotated and made tomesh together.

Mode

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NOTE
Shadow , Glow , Blending and Focus effects do not w ork w hen
connected to a Seamless Bitmap composite.

l

As Vector: This mode outputs a flat vector draw ing made of all theconnected draw ings. Vector composites should be used only w hennecessary, as they ignore any effect and bitmap information that is sent to
them.

l

Pass Through: This mode simply passes all the information sent to theComposite, including artw ork, effects and transformations, onto the nextcomposite as is, as a multi-layered image. This means that if an effect isapplied to the output of that composite, the effect w ill be applied
individually to each layer connected to that composite. Hence, a passthrough composite does not really perform any composition. It isessentially an organization tool.

NOTES

Input Orderingl

The cable coming from a Pass Through composite w ill bethicker and have a darker centreline. This can be useful toidentify areas of your node system that carry a lot of
information.

l

If a Composite set to Pass Through is at the bottom of thecomposite chain, it w ill act the same as a Bitmap composite.

2D: Elements connected in the node are composited based on their port ordering.
The Z-axis (forw ard-backw ard) values are ignored. The scaling value w ill becorrect, but the actual position on the Z-axis is ignored.

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You can use the 2D composite type to create effects such as a camera recording
overlay on your scene. Since you alw ays w ant this element to be in front
regardless of the other elementsè Z-axis position, you can set the option to 2D.

3D Flat: The Z-axis value of the elements connected in the Composite node areconsidered, so the visual representation is correct in the Camera view . The output
is a flat image.

3D: The Z-axis value of the elements connected in the composite node areconsidered, so the visual representation is correct in the Camera view . The image
is not flattened. The 3D aspect of the elements are kept. For example, if you
rotated elements on the three axes, the information is retained and elementscomposited in low er levels are able to intersect w ith the elements coming from a
3D Composite node.
The 3D Composite node should only be used in advanced cases. It is better to use
a Pass Through composite type than a 3D composite type. This w ay, all theelements are composited in the final Composite node.

Output Z: Identifies w hich element’s front-back value from the current
composition is applied to the entire composited image in the next operation. If you
select Portnumber, identify the appropriate port by its position using the Port For
Output Z menu.
Output Options
Port for Output Z: W hen using the Portnumber option in the Output Z menu, you
can select w hich port you w ant to use as the Z value for the Composite node. The
port used appears in a bright green colour on the Composite node. By default, theleftmost port is displayed in front and the rightmost port is displayed behind.

These options are active w hen you select the As Bitmap mode.
Bitmap Options
Apply Focus: Activates the Focus effect for this node in the composite operation.

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Focus Multiplier: The value entered in this field is used as a multiplier for theradius value specified in the Focus or Focus-Multiplier nodes.

These options are active w hen you select the As Vector mode.
Palette Name: W hen you render files using As Vector Composite nodes, use thisfield to set the name of the palette files that Toon Boom Harmony Premium w illcreate for them.
Vector Options

Flatten: Flattens vector draw ings into one vector draw ing file. Any transparency
w ill be lost in the process. This creates smaller vector files, but might increase thetime required to composite the draw ings. This can be useful w hen reusing
draw ings. Because they w ill be vector files, you can still apply vector-basedtransformations and effects.

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Composite- Generic Node
T-COMP2-005-002
The Composite-Generic node is a customizable effect that can be used to fit scenarios w here the colours andalpha values of elements must be processed and combined in very specific w ays. It can be configured toreproduce the effects of a Tone or Highlight node, or many of the blending effects available in the Blending
node, but it offers significantly more control the w ay the effect is applied.
Among other things, the Composite Generic can be configured to apply a simple blending effect. How ever,contrary to the Blending node, the Composite Generic node does not composite its input image onto every
element that is behind it in the scene. Rather, it composites one image, connected to its left input port, onto
another, connected to its right input port. The resulting composited image is then composited onto the scene
as normal.
Another interesting capability of the Composite Generic node is that it can use the colours and the alpha ofeither or both the overlay and the underlay image to make the output image. W ith the Colour Operation andAlpha Operation parameters, the colours and alpha values can be composited in different w ays.

NOTE
In Harmony, colours w ith an alpha value are premultiplied w ith black. This means that their actual
values in the back-end are different than w hat they appear to be in the rendered image, as they are
multiplied by their alpha values. . Hence, mixing a colour operation and alpha operation that are
not meant to w ork together may not only have undesired results on the w ay the overlay image isblended into the underlay image, it may even have undesired results on the colour composition ofelements behind the Composite Generic node.

Connection
The Composite Generic node has tw o input ports and one output port. It w ill composite the image connected
to its left input port (the overlay) onto the image connected to its right input port (the underlay) based on its
properties, and w ill output the resulting composited image.

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Properties

Parameter

Description

Enable/Disable

Allow s you to enable or disable the node. W hen disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top view s.

Colour Sw atch

Sets the colour of the layer in the Timeline view and of the node in the Node view .

Name

The name of the node as it appears in the Node View and the Timeline view . Eachnode must have a name that is unique to its containing group.

The algorithm used to composite the colours of the underlay and overlay images
together. Note that the w ay the alpha of the under and overlay images arecomposited depends entirely on the Alpha Operation parameter.

NOTE
Some of the available blending modes have a BETA or Legacy variant tothem.
l

A BETA blending mode is one that has been recently added in Harmony
and w hich w as made to more closely resemble results obtained inprofessional photo editing softw are such as Adobe Photoshop.

l

A Legacy blending mode is a blending mode that w as present in older
versions of Harmony. Starting from Harmony 10, these blending modes
w ere enhanced by de-multiplying colours before compositing the image
then re-multiplying them. Their legacy version remain available toensure scenes created in older versions of Harmony do not renderdifferently.

Colour Operation

In the follow ing descriptions, the underlay image is the image connected to the467Chapter 3: Nodes / Layers

right input port of the node, and the overlay image is the image connected to theleft input port of the node.
Right: Only outputs colour values from the underlay image and ignores colour
values from the overlay image.
Left: Only outputs colour values from the overlay image and ignores colour
values from the underlay images.
Apply W ith Alpha: Composites the overlay pixel onto the underlay pixel
proportionally to its alpha value. This is the standard composition techniquew hen layers are connected to a composite.
Apply Tone Highlight: Applies the colour of overlay pixel the same w ay a Toneor Highlight effect w ould apply its colour to the underlay pixel.
Apply Add / Apply Add Legacy:Adds the colour values of each channel in theoverlay pixel and the underlay pixel. For example, adding tw o dark grey pixels
w ith a value of 100 in each channel w ill result in a light grey pixel w ith a value of
200 in each channel. Likew ise, if one of the pixels is red and the other is green, theresulting pixel w ill be yellow .
Apply Matte For Overlay: Multiplies the colour values of the underlay image w ith
the transparency ratio of the overlay image. This uses the overlay image as a"matte" to remove colours from the underlay image. You can then combine theresulting image w ith the colour values of the other image element by connecting
this Composite Generic node to another Composite Generic node w ith its Colour
Operation parameter set to Apply Overlay Into Matte. This is useful if the matte of
the overlay and the colours of the overlay are to be stored in separate images.
Apply Overlay Into Matte: Multiplies the colour values of the overlay by thealpha values of the underlay image, then adds the resulting colour to the colour
values of the underlay image. This is useful if you have darkened an area of anunderlay w ith a matte using a different Composite Generic w ith its Colour
Operation parameter set to Apply Matte for Overlay. This parameter w ill take thecolours from the overlay and apply them on the area darkened by the matte.
Apply Transparency: Multiplies the colour values of the underlay image w ith thetransparency ratio of the overlay image. This setting is designed to be combined
w ith the Apply Transparency Matte alpha operation. How ever, it is technically thesame as Apply Matte For Overlay.
Apply Multiplicative Tone: Multiplies the value of each channel in the underlay
pixel w ith the value of each channel in the overlay pixel, treating those values as
ratios. Multiplying anything w ith black w ill result in black, and multiplying
anything w ith w hite w ill leave the colour unchanged.
Multiply Colours: Multiplies the value of each channel in the underlay pixel w ith
the value of each channel in the overlay pixel, treating those values as ratios.
Multiplying anything w ith black w ill result in black, and multiplying anything w ith
w hite w ill leave the colour unchanged.
Divide Colours / Divide Colours Legacy: For each channel, this divides the value468

Harmony 22 Premium Reference Guideof the underlay pixel by the value overlay pixel. Both values are treated as ratios,
so the resulting colour is brighter. A w hite overlay pixel w ill leave the underlay
colour unaffected, and a black overlay pixel w ill alw ays result in w hite.
Lighten / Lighten Legacy / BETA Lighten: For each channel, uses the value thatis the brightest betw een the underlay pixel and the overlay pixel.
Softlight / Softlight Legacy / BETA Softlight: Each channel of the overlay pixel
lightens or darkens the corresponding channel of the underlay pixel on a softer
scale. The effect is proportional to how dark or bright the overlay pixel is, butinversely proportional to how dark or bright the underlay pixel is.
Hardlight / Hardlight Legacy / BETA Hardlight: This screens overlay pixels w ith
a value above 50% onto underlay pixels, and multiplies overlay pixels w ith avalue below 50% onto underlay pixels. The brighter the overlay pixel is, the more
intense the screen effect w ill be. The darker the overlay pixel is, the more intense
the multiplying effect w ill be. Blending any colour w ith w hite or black w ill resultin w hite or black, and blending a colour w ith plain grey w ill leave the colour
unchanged.
Overlay / Overlay Legacy / BETA Overlay: Like hardlight, exept it screens or
multiplies the underlay pixel over the overlay pixel, based on the value of theunderlay pixel.
Linear Light: This linear dodges overlay pixels w ith a value above 50% onto
underlay pixels, and linear burns overlay pixels w ith a value below 50% onto
underlay pixels. The brighter the overlay pixel is, the more intense the linear
dodging effect w ill be. The darker the overlay pixel is, the more intense the linear
burning effect w ill be.
Pinlight: For each channel, if the overlay pixel's value is above 50%, use thelightest pixel betw een the underlay and overlay pixels. If the overlay pixel's value
is below 50%, use the darkest pixel betw een the underlay and overlay pixels.
Vividlight: This colour dodges overlay pixels w ith a value above 50% onto
underlay pixels, and colour burns overlay pixels w ith a value below 50% onto
underlay pixels. The brighter the overlay pixel is, the more intense the colour
dodging effect w ill be. The darker the overlay pixel is, the more intense the colour
burning effect w ill be.
Exclusion: Adds the overlay and underlay pixel, then subtracts the multipliedvalue of both pixels tw ice. This results in an effect similar to Difference, exceptthat w hile the Difference mode produces consistently high contrast pixels, thecontrast of the resulting pixels w ith the Exclusion mode is proportional to how
dark or bright the overlay pixels are.
Dodge: Lightens each channel in the underlay pixel w ith the brightness value ofthe corresponding channel in the overlay pixel, by decreasing the contrast of theunderlay pixel.
Burn: Darkens each channel in the underlay pixel w ith the darkness value of thecorresponding channel in the overlay pixel, by increasing the contrast of theunderlay pixel.

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Hue: Outputs a colour w ith the luminosity and saturation of the underlay pixel
and the hue of the overlay pixel.
Saturation: Outputs a colour w ith the luminosity and hue of the underlying
colour, and the saturation of the source colour.
Colour: Outputs a colour w ith the hue and saturation of the overlay pixel, and theluminosity of the underlay pixel. The overlay layer can hence be used to"colourize" the underlay layer.
Luminosity: Outputs a colour w ith the hue and saturation of the underlay pixel
and the luminosity of the overlay pixel. This is the reverse of the Colour blendingmode.

The factor by w hich to multiply each channel in the overlay image. You can set
this to a value betw een 0 and 1 to reduce the impact of the corresponding
channel in the overlay image, or to a value above 1 to increase it.
Intensity Red / Green / BlueNOTE
These parameters are only available w hen a BETA Colour Operation is
selected.

A value betw een 0 and 100 determining the opacity level of the overlay image
w hen composited onto the underlay image.
Opacity

NOTEThis parameter is only available for certain Colour Operation settings.

Right: The transparency of the output image is based on the alpha values of theunderlay image only.
Left: The transparency of the output image is based on the alpha values of theoverlay image only.
Apply: Combines the alpha values of the overlay and underlay image. W hen
combined w ith the Apply with Alpha colour operation, this results in standard
alpha-based compositing.
Alpha Operation
Add: The alpha value of each pixel is the sum of the alpha value of the underlay
pixel and of the alpha value of the overlay pixel.
Subtract: The alpha value of each pixel is based on the alpha value of theunderlay pixel subtracted by the alpha value of the overlay pixel.
Apply Transparent Matte: The alpha value of each pixel is based on the alphavalue of the underlay pixel, multiplied by the transparency of the overlay pixel,
effectively multiplying their transparency.

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Black: Outputs every pixel as fully transparent of both the output as fullytransparent, leaving behind only the effect of premultiplication of their colour
values onto the rendered image.
W hite: Sets the matte of the entire output image to w hite, so that it is fully
opaque. The bounding box of the output image w ill be filled w ith black and semitransparent pixels w ill be mixed w ith black.

Leftmost: Indicates that the Z value for the output image w ill be taken from thenode in the left port.
Rightmost: Indicates that the Z value for the output image w ill be taken from thenode in the right port.

Output Z

Backmost: Indicates that the Z value for the output image w ill be taken from theimage that is the farthest back in the scene.
Frontmost: Indicates that the Z value for the output image w ill be taken from theimage that is closest to the front of the scene.
Portnumber: Indicates that the Z value for the output image w ill be taken fromthe node in the selected port. Enter the appropriate port in the Port for Output Z
field.

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Cutter Node
T-HFND-010-009
The Cutter effect cuts out a portion of an image. To do this, it needs to be connected to the draw ing it isintended to cut as w ell as to a matte layer. The cutter w ill take the shape of the draw ing in the matte layer andcut this shape out of the draw ing layer. This is especially useful if you w ant to make a character disappear
betw een a background element, or if you w ant to cut out a hole in the middle of a character.
Like all effects that use a matte, the Cutter's effect has an Inverted parameter, w hich is disabled by default.
W hen enabled, the Cutter w ill have the reverse effect: Instead of cutting the matte's shape out of the draw ing,
it w ill cut everything outside of the matte's shape out of the draw ing, leaving only the parts of the draw ing
that are covered by the matte.
The Cutter effect can be used w ith 2D-3D integration. Rendered 2D draw ings, integrated w ith 3D models,display soft, anti-aliased edges, even w here the Cutter effect is applied.

Refer to the follow ing example to connect this effect:

Properties

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Parameter

Description

Enable/Disable

Allow s you to enable or disable the node. W hen disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top view s.

Colour Sw atch

Sets the colour of the layer in the Timeline view and of the node in the Node view .

NameAllow s you to enter a name for the node.

Inverted

W hen this option is enabled, the Cutter node w ill invert the matte shape to cut
the draw ing. Instead of cutting the image intersecting w ith the matte, it w ill cut
any artw ork outside of the matte shape.

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Highlight Node
T-HFND-010-009C
The Highlight node allow s you to brighten an image's area to simulate a light source. For this effect, you w illneed to create a matte to determine the shape and position of the highlight on a separate element, so that you
can blur the edges to create a softer effect. By adjusting the Highlight properties, you can control the type andamount of blur, as w ell as the colour of the Highlight effect.

Connection
The Highlight node takes an image of any type in the right (Image) input port, and a matte draw ing in the left
(Matte) input port. It outputs a version of the input image w ith a highlight applied over it everyw here w here
the input image and the matte draw ing intersect.

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Layer Properties

Parameter

Description

Enable/Disable

Allow s you to enable or disable the node. W hen disabled, a node has no visible effect on
the rendered image, nor on the preview in the Camera, Perspective, Side and Top view s.

Colour Sw atch

Sets the colour of the layer in the Timeline view and of the node in the Node view .

Name

The name of the node as it appears in the Node View and the Timeline view . Each node
must have a name that is unique to its containing group.

Truck Factor

Activated by default, this option readjusts the blur w hen the elements undergo a change
of depth or scale. W hen disabled, the effect's values w ill remain unchanged regardless of
depth or scale changes. It is recommended that this option be disabled w hen multiple
draw ings are composited and attached this effect.

Allow s you to choose betw een the follow ing blur types for the effect:l

Radial: The edges of the matte are blurred evenly around points that make up theedge of the matte.

l

Directional: The matte is blurred in the direction configured w ith the Directional
Angle and Directional Falloff Rate parameters.

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Parameter

Description

RadiusEnter a value for the size of the blur. The larger the value, the greater the blur effect. The
blur radius is affected by the draw ing scale and camera position.

If you set the Blur Type to Directional, this sets the angle of the blur. The value goes from 0
to 360, w ith 0 meaning w est, and angles going counterclockw ise. For example:

Directional Anglel0: Blurs the image to the w est.

l

90: Blurs the image to the south.

l180: Blurs the image to the east.

l

270: Blurs the image to the north.

The distance w here the blur fades from the edge of the image. Select a decimal value
betw een 0 and 1. For example:
Directional Falloff
Rate

Multiplicativel

0: Makes the blur fade out slow ly, distributing the blur evenly from the edge of thecharacter to the farthest edge of the blur.

l

1: Makes the blur fade out quickly. The blur is heaviest closer to the edge of theimage.

Multiplies the colours of the effect w ith the colours of the source image. This intensifies theeffect.

ColourRed

The amount of red to add to the colour of the source image.

Green

The amount of green to add to the colour of the source image.

Blue

The amount of blue to add to the colour of the source image.

Alpha

The alpha value of the effect.

Colour Sw atch

Opens the Colour Picker dialog, in w hich you can visually select a colour for the effect.

Intensity

Allow s you to set the factor by w hich to multiply the intensity of the effect. This parametercan take a decimal value betw een 0 and 1. At 1, the effect is fully applied. At 0, the effectis not visible.

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Parameter

Description

Matte

Invert Matte

Inverts the matte used to generate the effect. By default, the affect is applied to opaqueareas of the matte and transparent areas of the matte are ignored. W hen this option isenabled, the effect is applied to transparent areas of the matte and opaque areas of thematte are ignored.

Instead of using the colour in the Colour parameters, this uses the colours in the mattedraw ing to generate the effect.
Use Matte Colour

NOTE
The effect of this parameter is only visible in Render View

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Image Switch Node
T-COMP2-005-004
The Image Sw itch effect lets you use multiple effects, such as Colour Override, and choose w hich port w ill besent to rendering if you w ant to apply different variations of an effect that cannot be changed over time. You
then create multiple separate versions of the effect, connect them all to the Image Sw itch, and then if you
w ant to change to a different version of the effect at different points in your scene, you w ould add a curve andanimate the port number. Image Sw itch simply lets you change over time w hich port is being rendered.

Refer to the follow ing example to connect this effect:

Properties

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Parameter

Description

Enable/Disable

Allow s you to enable or disable the node. W hen disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top view s.

Colour Sw atch

Sets the colour of the layer in the Timeline view and of the node in the Node view .

NamePort Index

The name of the node as it appears in the Node View and the Timeline view . Eachnode must have a name that is unique to its containing group.

Sw itches from one image to another. There is no gradual animation from one
colour to another as you are only changing (over time) w hich port w ill berendered. Use w hole values.
Click the Function

button to open the Function editor to animate a parameterover time—see .

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Matte- Composite Node
T-COMP2-005-003
The Matte-Composite node is a type of composite that is specifically designed to combine different mattedraw ings into a single matte, w hich can then be connected to the matte port of an effect or draw ing node.
Contrary to a regular composite, the Matte-Composite node allow s deciding w hether each draw ing connected
to it is added, subtracted or intersected w ith the resulting composited matte, and each draw ing connected to it
can be composited as is, or inverted.

NOTE
Since the Matte-Composite node is meant to output mattes, it ignores colours and only composites
alpha levels. The output image w ill be in plain w hite, w ith varying degrees of transparency.

Connection
Like a regular composite, the Matte-Composite node can be connected to as many input images as needed,
and combines them together. Its output port should be connected to the matte port of an effect.

The matte is generated by creating a matte from the first draw ing connected to it, then compositing eachsubsequent draw ing on top of it. Like w ith a Composite node, the order in w hich connected draw ings arecomposited goes from right to left.
Each node connected to the Matte-Composite's input ports has its ow n composite mode as w ell as its ow n
invert setting. In the Node view , you can immediately tell the mode in w hich the node is applied by looking at
the symbol just below each input port:lAsign means the draw ing is added to the composite matte.

lAsign means the draw ing is subtracted from the composite matte.

lAsign means the draw ing is intersected w ith the composite matte.

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You can also tell w hether the node is composited as is if the sign is black on w hite
w hite on black, or inverted if the sign is.

TIP
In the Node view , you can quickly toggle betw een composite modes by double-clicking on thesymbol. This w ill cycle betw een Add, Add Inverted, Subtractand Intersect. If youw ant to set a connection to another combination of composite mode and invert setting, you must
do it in the layer properties of the Matte-Composite node.

Properties

Parameter

Description

Name

The name of the node as it appears in the Node View and the Timeline view . Eachnode must have a name that is unique to its containing group.

Input Parameters

Each input connection has its ow n set of Input parameters, w hich determines howeach node connected to the Matte-Composite node is composited into theresulting matte.

Each node connected to the Matte Composite node can be composited into theresulting matte in one of the follow ing w ays:Model

Add: The alpha of each pixel is added to the matte, resulting in combined
shapes.

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Chapter 3: Nodes / LayerslSubtract: The alpha of each pixel is subtracted from the matte. This cuts
the draw ing's shape out of the matte.

lIntersect: The alpha ratio of each pixel is multiplied by the alpha ratio of
the corresponding pixel on the matte. The resulting matte is made of theareas w here the draw ings intersect.

W hen enabled, the draw ing is composited onto the matte w ith its alpha values
reversed, as if its transparent pixels w ere opaque and its opaque pixels w ere
transparent. This means that the shape of the negative space of the draw ing w ill
be composited to the matte instead of its actual shape.

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Tone Node
T-COMP2-004-004
The Tone effect allow s you to add a dark-coloured region to your draw ing and simulate the shaded area aw ay
from a light source. To produce the tone effect, create a draw ing to control w here the tone w ill appear. The
Tone effect uses a matte to determine the shape and position of the tone on your draw ing and can be blurredat the edges to create a softer effect.

Connection
The Tone node takes an image of any type in the right (Image) input port, and a matte draw ing in the left
(Matte) input port. It outputs a version of the input image w ith a tone applied over it everyw here w here theinput image and the matte draw ing intersect.

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Layer Properties

Parameter

Description

Enable/Disable

Allow s you to enable or disable the node. W hen disabled, a node has no visible effect on
the rendered image, nor on the preview in the Camera, Perspective, Side and Top view s.

Colour Sw atch

Sets the colour of the layer in the Timeline view and of the node in the Node view .

Name

The name of the node as it appears in the Node View and the Timeline view . Each node
must have a name that is unique to its containing group.

Truck Factor

Activated by default, this option readjusts the blur w hen the elements undergo a change
of depth or scale. W hen disabled, the effect's values w ill remain unchanged regardless of
depth or scale changes. It is recommended that this option be disabled w hen multiple
draw ings are composited and attached this effect.

Allow s you to choose betw een the follow ing blur types for the effect:l

Radial: The edges of the matte are blurred evenly around points that make up theedge of the matte.

l

Directional: The matte is blurred in the direction configured w ith the Directional
Angle and Directional Falloff Rate parameters.

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Parameter

Description

RadiusEnter a value for the size of the blur. The larger the value, the greater the blur effect. The
blur radius is affected by the draw ing scale and camera position.

If you set the Blur Type to Directional, this sets the angle of the blur. The value goes from 0
to 360, w ith 0 meaning w est, and angles going counterclockw ise. For example:

Directional Anglel0: Blurs the image to the w est.

l

90: Blurs the image to the south.

l180: Blurs the image to the east.

l

270: Blurs the image to the north.

The distance w here the blur fades from the edge of the image. Select a decimal value
betw een 0 and 1. For example:
Directional Falloff
Rate

Multiplicativel

0: Makes the blur fade out slow ly, distributing the blur evenly from the edge of thecharacter to the farthest edge of the blur.

l

1: Makes the blur fade out quickly. The blur is heaviest closer to the edge of theimage.

Multiplies the colours of the effect w ith the colours of the source image. This intensifies theeffect.

ColourRed

The amount of red to subtract from the colour of the source image. To obtain a shadow
effect, the value must be negative.

GreenThe amount of green to subtract from the colour of the source image. To obtain a shadow
effect, the value must be negative.

Blue

The amount of blue to subtract from the colour of the source image. To obtain a shadow
effect, the value must be negative.

Alpha

The alpha value of the effect.

Colour Sw atch

Opens the Colour Picker dialog, in w hich you can visually select a colour for the effect.

Intensity

Allow s you to set the factor by w hich to multiply the intensity of the effect. This parametercan take a decimal value betw een 0 and 1. At 1, the effect is fully applied. At 0, the effect485

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Parameter

Description

is not visible.

Matte

Invert Matte

Inverts the matte used to generate the effect. By default, the affect is applied to opaqueareas of the matte and transparent areas of the matte are ignored. W hen this option isenabled, the effect is applied to transparent areas of the matte and opaque areas of thematte are ignored.

Instead of using the colour in the Colour parameters, this uses the colours in the mattedraw ing to generate the effect.
Use Matte Colour

NOTE
The effect of this parameter is only visible in Render View

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Transformation Switch Node
The Transformation-Sw itch node acts as a on and off sw itch for the deformation chains. It is used w henbuilding multi-pose (multiple deformation chains) rigs. the Transformation-Sw itch can also be used w ith othernode types than Deformation nodes. It can be used w ith any transformation nodes such as Peg and Quadmap
nodes.
Refer to the follow ing example to connect this effect:

The Transformation-Sw itch replaces the Deformation-Sw itch node.

Properties

Parameter

Description

Enable/Disable

Allow s you to enable or disable the node. W hen disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top view s.

Colour Sw atch

Sets the colour of the layer in the Timeline view and of the node in the Node view .

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Name

Use this field to rename the node.

Element Columns

Full Name: Select w hich element to connect to the node from the list of elementsthat already exist in your scene.
Drawing Path: Displays the full path to the current draw ing.

Name: Path to the file you w ant to link to.
Timing Column: Link to the column that contains the desired timing.
Timing Columns

Extension: W hen linking to a background file, enter its file name extension.
Field Chart: If you are importing traditional animation, select the size of the paper
on w hich the animation w as draw n.

Transformation Names

List the draw ing names associated to each transformation chain. You can enter
additional draw ings and separate the names w ith semi-colons (;).

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Constraint Nodes
Constraint nodes are a series of nodes that can be used to subject parts of a cut-out character rig to certain
physical constraints. Specifically, they are designed to add the follow ing capabilities for rigging and animation:lCreate points on draw ings w hich, w hen moved, w ill translate, rotate and scale the draw ing so that theparts of the draw ings those points are attached remain locked to those points.

l

Lock the different parts of a rig by their articulations. This makes it so moving a part of a rig that isconstrained to its adjacent parts w ill move those other body parts along it, and rotate the part being
moved as needed.

lAutomate a "spring" like movement based on a simple translation. Specifically, the Dynamic Spring
node is able to apply a delayed movement on a part of a character rig based on the movement of its
parents. This can also be w ielded to automate follow -through action for parts like hair, ears, w hiskers,
and such.

lLimit, sw itch betw een, turn on and off or interpolate different transformations applied by pegs ontoelements.

l

Bake transformations into the resting position of elements.

Constraint nodes use the pivot point of pegs connected to them to define their constraint points. Rigging w ith
constraint nodes is more complicated than rigging w ith a mere hierarchy of pegs and elements, as it requires
using the different nodes together, like building blocks, to define precisely the relationship betw een adjacentparts of a rig. They how ever allow the animator to pose and animate a character rig by moving the pivot pointsof its articulations rather than by transforming its individual layers, w hile the constraint nodes take care ofmaking the appropriate transformations to the adjacent body parts. The resulting procedure is potentiallymuch more natural and streamlined.
Harmony features the follow ing Constraint nodes:lTwo- Point Constraint: Constrains a draw ing betw een the pivot-point of tw o pegs. This node can be
configured to stretch and squash the draw ing it transforms automatically, as w ell as to stop stretchingor squashing the draw ing past specified limits. This can be especially useful for rigging limbs together
and allow the animator to manipulate them by their articulations.

lThree- Point Constraint: Constrains a draw ing betw een the pivot-point of three pegs.

lMulti- Point Constraint: Constrains a draw ing betw een the pivot-point of multiple pegs.

lDynamic Spring: Applies the movement of the parent peg w ith inertia and tension factors onto thechild element. This can be used to automatically generate life-like ease and overshoot, as w ell as
follow -through animation.

lTransform Limit: Filters the transformations from the parent node by multiplying each type oftransformation (ie: translations, rotation, scale, etc.) by a factor going from 0% to 100%, before
applying it to the child node.

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Chapter 3: Nodes / LayerslTransformation- Gate: This node can be used to dynamically select w hich one of severaltransformations from several connected parent nodes is applied to its child. It is also able to make aninterpolation betw een tw o transformations from tw o of its parents, and apply the interpolatedtransformation to its child. It can be used w ith constraint nodes or any other node that outputs atransformation, such as pegs and quadmaps.

lConstraint Switch: This node can be connected to the leftmost input port of any other constraint node
to temper its effect. It does so by applying a ratio ranging from 0% to 100% to the transformations
applied by the constraint node it is connected to. If connected to a Transformation-Gate, it can remotely
control w hich input port the Transformation-Gate uses to apply transformations to its child.

lStatic Constraint: Can be used to permanently store (or "bake") the transformation applied by its
parent or parents. Once transformations are baked into the node, it can be disconnected from theparent, then connected to a child to apply the baked transformation onto it, acting like a transformation
template or a resting position.

NOTE
Constraint nodes do not deform draw ings like deformation nodes do, they apply standardtransformations such as translations, rotations and scaling on them. The Multi-Point Constraint
can optionally apply a perspective (quadmap) transformation on elements.

Constraint Switch Node491

Dynamic Spring Node494

Multi- Points Constraint Node499

Static Transformation Node502

Three- Points Constraint Node505

Transformation Gate Node508

Transformation Limit Node510

Two- Points Constraint Node

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Constraint Switch Node
The Constraint Sw itch node is used to remotely affect the Value and/or Target Gate parameter of otherConstraint nodes.
Each node in the Constraint category has an Active parameter that can be set to a value ranging from 0 to 100.
This value is used to determine how much of the transformation calculated by a constraint node should
actually be applied to its child element. W hen set to 100, the transformation is fully applied. Then set to 0, thetransformation is not applied at all. W hen set to a value betw een 0 and 100, the effect the constraint node hason its child is proportionally tempered.
The Constraint Sw itch has its ow n Active parameter. W hen connected to a constraint node, the Active value ofthat constraint node is multiplied by the Active value of the Constraint Sw itch. For example, if a Constraint
Sw itch w ith an Active parameter set to 50 is connected to a Tw o-Points Constraint node w ith an Active
parameter of 50, the effective Active value of the Tw o-Points Constraint node w ill be 25, and only 25% of its
transformation w ill be applied. Likew ise, if the Active value of the Constraint Sw itch is set to 0, it w ill
effectively "sw itch off" the constraint node, and if it is set to any value below 0, it w ill reverse the effect of theconstraint node.
A Constraint Sw itch can also be used to remotely control the Target Gate parameter of a Transformation Gate.
A Transformation Gate takes several transformations as inputs and outputs one of the transformations. The
Target Gate is the numerical index of the port the Transformation Gate takes the transformation from w hen its
Value parameter is set to 100. The Target Gate for a Transformation Gate can be set w ithin its ow n properties,
but if a Constraint Sw itch is connected to it, the Constraint Sw itch's Target Gate parameter w ill override theTransformation Gate's Target Gate parameter.

Connection
The Constraint Sw itch node can be connected to the leftmost input port of any constraint node, except for theStatic-Transformation node. The input port for a Constraint Sw itch w ill be the same shade of aquamarine as
the Constraint-Sw itch node itself.

A Constraint-Sw itch node can be connected to several constraint nodes to control them simultaneously.

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Controls
W hen the control of a Transformation Sw itch is displayed, a slider displays in the Camera view w hich can beused to manually set the value of the Active parameter.

Properties

Parameter

Description

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Defines the influence applied to the constraint node the Constraint Sw itch node isconnected to. This value is multiplied w ith the value of the Active parameter ofthe constraint node to calculate its effective Active parameter.

ActiveFor example, if a Constraint Sw itch w ith an Active parameter set to 50 isconnected to a Tw o-Points Constraint node w ith an Active parameter of 50, theeffective Active value of the Tw o-Points Constraint node w ill be 25, and only
25% of its transformation w ill be applied. Likew ise, if the Active value of theConstraint Sw itch is set to 0, it w ill effectively "sw itch off" the constraint node,and if it is set to any value below 0, it w ill reverse the effect of the constraint
node.

Target Gate

If the Constraint Sw itch is connected to a Transformation Gate node, thisparameter overrides the Target Gate parameter. of the Transformation Gate.

GUI Offset

W hen displaying this node's control, a slider displays in the Camera view tocontrol the node's Active parameter. The follow ing parameters affect the w ay theslider is displayed.

(x) Axis

Offsets the horizontal position of the slider in the Camera view ..

(y) Axis

Offsets the vertical position of the slider in the Camera view .

GUI ScaleMultiplies the size of the slider in the Camera view . This parameter is set to 1 bydefault.

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Dynamic Spring NodeThe Dynamic Spring node takes the animated transformation from the parent node then applies tension andinertia to make it into a "spring" motion.
W hen filtered w ith a Dynamic-Spring node, a peg that performs a simple translation from point A to point B
w ith no ease-in or ease-out w ill result in an ease-in from point A, an ease-out to point B follow ed by a realistic
overshoot.

Connection
A Dynamic Spring node must be connected to a peg or other transformation node through its rightmost input
port. The spring effect w ill be applied to the transformation sent through this port.

Rigged together w ith a Tw o-Points Constraint node and another peg to offset the pivot point of the original,
you can automate the follow through action. In this example, the Movement-Peg node animates the Hairelement from its top part. The same animation is also sent through a Dynamic-Spring node, then a peg that
offsets the pivot point tow ards the bottom of the hair (via its ow n Pivot parameters) w hich results in the top of
the hair being pulled by a regular motion w hile the bottom follow s through w ith realistic ease and overshoot.

The spring effect the Dynamic Spring applies is based on the motion of the entire hierarchy of its parents, notjust on the motion of its immediate parent. This may cause undesired effects. For example, if a Dynamic-Springis connected to a hand draw ing, and the forearm the hand is rigged to rotates, the hand w ill track behind the
motion of the arm and appear detached from its w rist. This can be cancelled out by using the middle port of
the Dynamic-Spring node. This port is used to cancel out the spring effect of another motion before applying
the spring to its element. Hence, in this example, you w ould circumvent this issue by connecting the forearm
peg to the middle port of the dynamic spring.

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NOTE
The same effect can be achieved using the Ignore Parents and Parent Name properties of the
Dynamic Spring node.

At last, the leftmost port of the Dynamic-Spring node can be connected to a Constraint Sw itch, the Active
parameter of w hich is multiplied against the Active parameter of the Dynamic Spring node to reduce or disable
its effect.

Properties

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Parameter

Description

The percentage of influence the Dynamic Spring node has on thetransformation.
ActiveIf a Transformation Sw itch node is connected to the Dynamic Spring node, theActive parameters of the Transformation Sw itch and the Dynamic Spring nodes
w ill be multiplied together.

W hen enabled, the Dynamic Spring node w ill only perform a movement w hen
its ow n attributes have a keyframe or an interpolation. This option can be
useful if, for example, the animation must be done on tw os or threes. You canenable this option, then add stop-motion keyframes on the Dynamic Spring
node in the Timeline view on every frame w here you w ant it to update the childelement's position. The latter w ill remain static betw een keyframes.

Match Animation on Active
Attribute

In the example below , the Match Animation on Active Attribute option has
been enabled, and stop-motion keyframes have been added to the Dynamic
Spring node to match the timing of the hand's animation. The frames are a lightshade of blue w here the Dynamic Spring node applies a movement to the childelement, and are grey w here it does not.

NOTE
The Dynamic Spring node w ill animate on ones after its last keyframe.
Hence, to animate on tw os, you must add keyframes on the Dynamic
Spring node until it completely stops moving the element. The animationof the Dynamic Spring node often stops several frames later than the
animation of the parent peg, because it adds an extra overshoot amovement.

Tension(X/Y/Z/Scale/Skew /Rotate)

The tension applied to each parameter of the animation. The higher it is, themore the child element w ill appear to "snap" to the position of the original
movement.

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TIP
You can set the Tension for all parameters to the same value by creating
a function for the Tension X parameter, then linking every other Tension
parameter to that function. If you create a single keyframe in this function,
the parameter w ill remain constant throughout the scene.

The inertia applied to each parameter of the animation. The higher it is, themore the child element w ill appear to be w eighted against the spring effect.

TIP
You can set the Inertia for all parameters to the same value by creating afunction for the Inertia X parameter, then linking every other Inertia
parameter to that function. If you create a single keyframe in this function,
the parameter w ill remain constant throughout the scene.

Inertia(X/Y/Z/Scale/Skew /Rotate)

Ignore Parents

If this property is set to any value but 0, the Dynamic Spring w ill go up its ow nhierarchy up to the value of this property, and consider the node at this level to497

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be the "Ignored parent". The transformations applied by this parent and all its
parents w ill not be taken in account for the spring effect.

NOTE
This has the same effect as connecting one of the node's parents to its
middle port.

If the Ignore Parents property is set to any value but 0, this property w ill also
be used in determining w hich parent to consider as the "Ignored parent". W henlooking up the parent hierarchy of the Dynamic Spring node, if it finds any node
w ith a matching name, it w ill consider it the "Ignored parent", and thetransformations applied by this parent and all its parents w ill not be taken inaccount for the spring effect.

NOTE

Parent’s Name

W hen both the Ignore Parents and the Parent's Name parameters are set,the "Ignored parent" w ill be the first node in the Dynamic Spring node's
parent hierarchy that either matches the name of the Parent's Name
parameter or the parent level in the Ignore Parents parameter.

TIP
This parameter only w orks if the Ignore Parents parameter is set to any
value but 0. If you w ant the ignored parent to only be matched by its
name and not its level in the hierarchy, you can set the Ignore Parents
parameter to an improbably high number (ie: 100 or 1000), and set the
Parent's Name to the name of the parent to ignore.

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Multi- Points Constraint Node
The Multi-Points Constraint translates, rotates and scales a draw ing to make it follow the pivots of the pegs
that are connected to it. Optionally, it can also apply a perspective transformation on the element.

Connection
The Multi-Points Constraint node must be connected to at least tw o Peg nodes, and can be connected to as
many Peg nodes as needed. The pivot point of each peg w ill define the resting position of one of the points
used to transform the draw ing connected under it. W hen one of the pegs is moved, the Multi-Points
Constraint w ill transform the draw ing so that it follow s the pivot point of that peg.

NOTE
The resting position of the points is based on the pivot point of the peg. The pivot point of a peg
can be set by selecting the peg w ith the Translate, Rotate, Scaleor Skew

tool, thenclicking and dragging the pivot in the Camera view , or by entering its coordinates in the layer
properties of the peg.

Only the position of the pegs is considered by the Multi-Point Constraint. The position of the peg connected to
the rightmost input port on the Z-axis w ill be applied to the element.
Optionally, the Multi-Point Constraint node can be connected to a Constraint-Sw itch, w hich can be used toreduce the effect of the Multi-Point Constraint node on the element it is connected by setting its Active
parameter betw een 0 and 100.

Controls
W hen the controls of the Multi-Points Constraint are displayed, the position of the points are displayed w ith
blue squares linked by a green line.

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These points are only a visual representation and cannot be manipulated.

How to animate an element connected to a Multi- Points Constraint
1. In the Tools toolbar, select the Transform tool or press Shift + T.
2. Do one of the follow ing:lSelect one of the pegs the Multi-Point Constraint is connected to, then move the peg byclicking and dragging the centre point in the Camera view .

lIn the layer properties of the element, disable the Animate Using Animation Tools option.
Then, select the element, and click and drag the element near one of the points. The pointthat is the closest to the mouse cursor w ill be automatically selected and moved.

Optionally, the leftmost input port of a Multi-Points Constraint node can be connected to a Constraint-Sw itch,w hich can be used to reduce the effect of the Multi-Points Constraint node on the element it is connected by
setting its Active parameter betw een 0 and 100.

Parameter

Description

The percentage of influence the constraint has on its child element. If set to 100,
the element w ill follow the points closely. If set to 0, the element w ill not beaffected by the constraint.
ActiveIf a Transformation Sw itch node is connected to the Multi-Points Constraint node,
the Active parameters of the Transformation Sw itch and the Multi-Points
Constraint nodes w ill be multiplied together.

This parameter defines w hat happens if one of the pegs defining the constraint
points is moved on the Z-axis:l

Ignore 3D Transform: The element w ill be constrained to the vertical andhorizontal position of the pegs, and w ill ignore their position on the Z axis.

lAllow 3D Transform: The element w ill be 3D-rotated to follow theposition of the pegs in the 3D space.

lProject to Plane: The element w ill be constrained in 2D, but w ill be madeFlatten Type500

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to follow the perceived position of the points from the camera's point ofview . This means the 3D position of the points w ill be projected on a 2D
plane that is parallel to the camera.

NOTE
This projection is based on the position of the primary point peg on
the Z-axis. Hence, if the three pegs are on a different position on the
Z-axis, there may be a perceived offset betw een the position of the
non-primary points and their effect on the element.

If enabled, internal points w ill be ignored by the Multi-Point Constraint.
The envelope used to transform the element is alw ays a convex shape. If any
point connected to the Multi-Points Constraint is not an extreme point in its
resting position, it is considered an internal point.

Ignore Internal Points

If this option is enabled, the Multi-Point Constraint node w ill apply a perspective
deformation to the draw ing instead of scaling, rotating and skew ing the draw ing
to try to make it track the points.

Allow Perspective Transform

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Static Transformation Node
The Static Transformation node can be used to store, or "bake" the transformation from its immediate parent
or from its entire hierarchy of parents, then be connected to a node to apply this transformation to it. The
transformation the node stores cannot be animated nor reset. It can hence be used to act as a sort of "resting"position for an element, w ithout having to apply the required transformations to the element or to its parent
peg.

Connection
To store transformations into a Static Transformation node, you must first connect a node containing thesetransformations to its input port.

Once the transformations from the parent node have been baked into the Static Transformation node via its
layer properties, you must disconnect the Static Transformation node from its parent, then connect it to a childso that this transformation is applied to it.

The Static-Transformation node w ill also dynamically apply its parent's transformations onto the child on topof its ow n static transformations, so it can be used as an intermediary in a rig.

Properties
The layer properties of the Static Transformation allow you to bake the transformations of its parent or parent
hierarchy into its ow n attributes. Optionally, you can also fine-tune the stored transformation.

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Parameter

Description

Bake Immediate Parent's
Transformations

Copies the transformations applied by its parents at the current frame into its
ow n attributes, making the node into a static template of the immediate parent
peg's transformations.

Bake All Incoming
Transformations

Bakes the transformations of the node's entire hierarchy of parents added up into
its ow n attributes, making the node into a static template of all thetransformations applied by its parents combined into a single set of coordinates.

ActiveIf unchecked, the node w ill not apply transformations to its child.

The static transformations baked into the node:l(x) Axis: The horizontal translation baked into the node.

l(y) Axis: The vertical translation baked into the node.

l(z) Axis: The translation on the Z-axis baked into the node.

lLocked: Use a single value for the scale factor baked into the node,preserving the child's proportions.

lSeparate: Use a separate value for the horizontal, vertical and depth scale
factors.

Static Transformations

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Invert Transformationsl(x) Axis: The horizontal scale factor baked into the node.

l(y) Axis: The vertical scale factor baked into the node.

l(z) Axis: The depth scale factor baked into the node.

l

Scale in Field: W hen checked, the scale factor w ill be expressed in a
proportion based on the amount of fields for the scene's camera.

l(x) Axis: The rotation around the X-axis baked into the node.

l(y) Axis: The rotation around the Y-axis baked into the node.

l(z) Axis: The rotation around the Z-axis baked into the node.

l

Skew X: The skew angle on the X-axis baked into the node.

l

Skew Y: The skew angle on the Y-axis baked into the node.

l

Skew Z: The skew angle on the Z-axis baked into the node.

If checked, all transformations baked into the node w ill be applied negatively.

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Three- Points Constraint Node
The Three-Points Constraint translates, rotates and scales a draw ing to make it follow the pivots of the threepegs connected to it.

Connection
The Three-Points Constraint node must be connected to three Peg nodes. The pivot point of each peg w ill
define the resting position of one of the points used to transform the draw ing connected under it. W hen one ofthe pegs is moved, the Three-Points Constraint w ill transform the draw ing so that it follow s the pivot point ofthat peg.

NOTE
The resting position of the points is based on the pivot point of the peg. The pivot point of a peg
can be set by selecting the peg w ith the Translate, Rotate, Scaleor Skew

tool, thenclicking and dragging the pivot in the Camera view , or by entering its coordinates in the layer
properties of the peg.

Optionally, the leftmost input port of a Three-Points Constraint node can be connected to a Constraint-Sw itch,w hich can be used to reduce the effect of the Three-Points Constraint node on the element it is connected by
setting its Active parameter betw een 0 and 100.

Controls
W hen the controls of the Three-Points Constraint are displayed, the position of the three points are displayed
w ith blue squares linked by a green line.
These points are only a visual representation and cannot be manipulated.

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How to animate an element connected to a Three- Points Constraint
1. In the Tools toolbar, select the Transform tool or press Shift + T.
2. Do one of the follow ing:lSelect one of the pegs the Three-Points Constraint is connected to, then move the peg byclicking and dragging the centre point in the Camera view .

lIn the layer properties of the element, disable the Animate Using Animation Tools option.
Then, select the element, and click and drag the element near one of the points. The pointthat is the closest to the mouse cursor w ill be automatically selected and moved.

Properties

Parameter

Description

The percentage of influence the constraint has on its child element. If set to 100,
the element w ill follow the three points closely. If set to 0, the element w ill not beaffected by the constraint.
ActiveIf a Transformation Sw itch node is connected to the Three-Points Constraint
node, the Active parameters of the Transformation Sw itch and the Three-Points
Constraint nodes w ill be multiplied together.

This parameter defines w hat happens if one of the pegs defining the constraint
points is moved on the Z-axis:

Flatten Typel

Ignore 3D Transform: The element w ill be constrained to the vertical andhorizontal position of the pegs, and w ill ignore their position on the Z axis.

lAllow 3D Transform: The element w ill be 3D-rotated to follow theposition of the pegs in the 3D space.

lProject to Plane: The element w ill be constrained in 2D, but w ill be madeto follow the perceived position of the points from the camera's point ofview . This means the 3D position of the points w ill be projected on a 2D
plane that is parallel to the camera.

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NOTE
This projection is based on the position of the primary point peg on
the Z-axis. Hence, if the three pegs are on a different position on the
Z-axis, there may be a perceived offset betw een the position of the
non-primary points and their effect on the element.

By default, only the position of the points is used to transform the element. Since
those points are defined by pegs, these pegs can also be subjected to scale, angle
and skew transformations that w ould be normally ignored by the Three-Points
Constraint node. This parameter can be used to apply the other transformations
done on the peg of the primary point on the element, rather than ignoring them.
lTranslate: Ignores the transformations done on the primary peg, only
applies the transformations required for the element to track the threepoints.

lTransform: Applies the transformations calculated by the Three-Points
Constraint node to make the element to track the three points, thenapplies the scale, angle and skew values of the primary peg on top of
them.

l

Local Transform: Applies the scale, angle and skew values of the primarypeg on the element, then applies the transformations calculated by theThree-Points Constraint node for the element to track the three points.

Transform TypeDefines w hich one of the ports, and hence, w hich one of the pegs the node isconnected to, is used to define the primary point.
The primary point affects the other parameters in the follow ing w ays:l

W hen the Flatten Type is set to Ignore 3D Transform or Project to Plane,
the position of the element on the Z-axis w ill be the one of the primarypoint.

l

W hen the Flatten Type is set to Project to Plane, the position of the
primary point on the Z-axis is used as the plane on w hich to project the 3D
positions of the points.

l

If the Transform Type is set to Transform or Local Transform, the scale,angle and skew transformations of the primary peg w ill be applied to theelement.

Primary Port

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Transformation Gate Node
The Transformation Gate can be connected to several pegs, or any node that outputs a geometrictransformation, and dynamically select w hich one of these nodes controls its child element. For example, it ispossible to connect tw o pegs to the Transformation Gate, and have the first peg transform the child elementof the Transformation Gate for the first half of the scene, then the second peg transform the child element forthe second half of the scene.
The Transformation Gate is also able to make an interpolation betw een tw o of the input transformations, andapply this combined transformation to its child.

Connection
The Transformation-Gate can be connected to as many nodes that output as transformation, such as Pegs,
Quadmaps or other Constraint nodes, as needed.

In the Node view , the colour of the input ports indicate w hich ports are active. The lightest input port is thetarget gate, w hich is the gate from w hich the transformation applied to the child element is sourced. The
darkest input port is the default gate. The other ports are ignored.
If the Active parameter of the node is set to any value betw een 0 and 100, the shade difference betw een thetarget gate and default gate w ill fade. This indicates that the transformations going through the target gate
and default gate are combined to create the transformation applied to the child element.
Optionally, a Transformation-Gate node can also be connected to a Constraint-Sw itch node, w hich can beused to multiply the Active parameter of the Transformation-Gate and override its Target Gate parameter.

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Properties

Parameter

Description

ActiveThe percentage of the transformation sent to the target gate that is applied to thechild element. If set to 100, only the transformation sent through the target gate
w ill be applied. If set to 0, only the transformation sent through the default gate
w ill be applied. If set to any value betw een 0 and 100, an interpolation of thetransformations sent through the target gate and the default gate w ill be
generated and applied to the child element.

The index of the input port referred to as the target gate.
The input ports are numbered starting from 0. In the node view , they are orderedfrom right to left. Set this parameter to 0 to make the rightmost input port thetarget gate, to 1 to make the second rightmost port the target gate, etc.
Local Target Gate

NOTE
If the Transformation Gate is connected to a Constraint Sw itch, the Target
Gate parameter of the Constraint Sw itch w ill override this value.

The index of the input port referred to as the default gate.
Default Gate

The input ports are numbered starting from 0. In the node view , they are orderedfrom right to left. Set this parameter to 0 to make the rightmost input port thetarget gate, to 1 to make the second rightmost port the target gate, etc.

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Transformation Limit Node
The Transformation Limit node can be used as an intermediary betw een tw o nodes to limit the effect of theparent peg's transformations onto the child, by applying a ration to the transformations applied to the parent
before applying them to the child. This ratio can be set for each coordinate in the node's properties and can be
animated.

NOTE
This node is designed to limit 2D and 3D translations, but not 3D rotations or scaling.

Connection
The Transformation Limit node must be connected to its parent peg by its right input port, and must beconnected to the peg or element it w ill apply the transformation to via its output port. Transformations appliedby the parent peg w ill be recalculated by the Transformation Limit node, then applied on its child.

The transformations that are processed by the Transform Limit node are not the ones of its immediate parent,
but rather, the ones of the entire hierarchy of parents it is connected to combined. If you need theTransformation-Limit node to only process the transformations of one or some of its parents and ignore theparents past a certain point in the hierarchy, simply connect the first parent the Transformation-Limit node
should ignore to its middle input port.

The effect of the Transformation Limit node on the transformation can be tempered by low ering its Active
parameter. The Transformation Limit node can also be connected to a Constraint Sw itch node, the Active
parameter of w hich w ill be multiplied w ith the Active parameter of the Transformation limit node, and hence
can also be used to temper its effect on its child.

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Controls
Because the Transformation Limit node can significantly influence the position of its child element relative toits peg pivot, the Transformation Limit has its ow n pivot point. The position of this pivot can be set in its layer
properties, but can also be set visually by displaying its control in the Camera view and dragging it to thedesired position using the Transform tool.

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Properties

Parameter

Description

ActiveThe percentage of influence the Transformation Limit node has on thetransformation before it applies it to the child. For example, if its Translate X
parameter is set to 50, and its Active parameter is set to 50, the effective
Translate X limit w ill be 75.

Sw itch Effects

Defines w hich coordinate limits the Active parameter affects. If set to Active
value, it w ill affect the limits for all coordinates. If set to XYZ Translation, Scale,
Rotation, Scale/Skew or Skew, it w ill affect the limit on the corresponding
coordinates. If the Transformation-Limit node is connected to a Constraint Sw itch,
this parameter w ill also dictate the effect of the sw itch.

Translate X

The percentage of the parent's horizontal translation to apply to the child.

Translate Y

The percentage of the parent's vertical translation to apply to the child.

Translate Z

The percentage of the parent's translation on the Z axis to apply to the child.

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RotateThe percentage of the parent's rotation to apply to the child.

Skew

The percentage of the parent's skew to apply to the child.

Scale X

The percentage of the parent's horizontal scale to apply to the child.

Scale YThe percentage of the parent's vertical scale to apply to the child.

Allow Flipping

If disabled, the child element w ill not be flipped w hen one of the parent's scaletransformations is negative.

Uniform Scale

Averages the horizontal and vertical scale factors to preserve the proportions of
the child.

If this property is set to any value but 0, the Transformation Limit node w ill go up
its ow n hierarchy up to the value of this property, and consider the node at thislevel to be the "Ignored parent". The transformations applied by this parent andall its parents w ill not be affected by the Transform Limit.
Ignore Parents

NOTE
This has the same effect as connecting one of the node's parents to its
middle port.

If the Ignore Parents property is set to any value but 0, this property w ill also be
used in determining w hich parent to consider as the "Ignored parent". W henlooking up the parent hierarchy of the Transformation Limit node, if it finds any
node w ith a matching name, it w ill consider it the "Ignored parent", and thetransformations applied by this parent and all its parents w ill not be taken inaccount for the spring effect.
Parent’s Name

NOTE
W hen both the Ignore Parents and the Parent's Name parameters are set,the "Ignored parent" w ill be the first node in the node's parent hierarchy thateither matches the name of the Parent's Name parameter or the parent levelin the Ignore Parents parameter.

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TIP
This parameter only w orks if the Ignore Parents parameter is set to any
value but 0. If you w ant the ignored parent to only be matched by its nameand not its level in the hierarchy, you can set the Ignore Parents parameterto an improbably high number (ie: 100 or 1000), and set the Parent's Nameto the name of the parent to ignore.

Affects how the translations are applied in the 3D space.
l

Allow 3D Translate: The parent's translation on the Z-axis w ill beaffected by the Translate Z parameter, then applied to the Z axis positionof the child, as w ith other parameters. This is the default behavior.

l

Project 3D Translate to Plane: The parent's translation on the Z-axis w ill
be projected on the X and Y translations based on the position of thecamera. This gives the illusion that the apparent position of the elementfrom the point of view of the camera changes realistically depending on its
position on the Z-axis, but w ithout actually moving it on the Z-axis andhence w ithout changing its order relative to other elements.

lProject and Scale 3D Translate to Plane: The parent's translation on the
Z-axis w ill be projected on the X and Y translations and on the X and Y
scales, based on the position of the camera. This gives the illusion that theapparent position and size of the element from the point of view of the

Flatten Typecamera changes realistically depending on its position on the Z-axis, but
w ithout actually moving it on the Z-axis and hence w ithout changing its
order relative to other elements.

Affects how Skew of the parent is applied to the child.
l

Skew Applied as Rotation: Adds the value of the skew calculated by theTransformation Limit node to the rotation applied to the child.

l

Skew Ignored by Rotation: Processes the skew and rotation coordinates
separately. Because the effect of these parameters is intertw ined, thismay w ield unexpected results, but w hich may be preferable w hen
transformations are fine tuned and manually calculated.

l

Skew Optimized for Rotation: Processes the skew and rotation
coordinates together before applying them to the child element. The
result w ill look more like w hat the human eye w ould guess the element
w ould look like w ith a limit applied to its rotation and skew .

Skew TypeThe follow ing parameters affect the pivot point used to apply the transformations
calculated by the Transformation Limit node.
Control Position
2D Path: The horizontal and vertical position of the pivot point are stored in asingle function of control points. This makes the trajectory curvilinear and the514Harmony 22 Premium Reference Guide

pace of the movement set to a velocity function.
Separate: The horizontal and vertical position of the pivot point are stored inseparate functions of coordinates. This makes a trajectory w here each point isjoined by a straight line and each coordinate can have its ow n curve.

Path: If the 2D Path option is selected, this allow s you to create or link to a 2D
Path function.
(x) Axis: The position of the pivot point on the horizontal axis.
(y) Axis: The position of the pivot point on the vertical axis.

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Two- Points Constraint Node
The Tw o-Points Constraint translates, rotates and scales a draw ing to make it follow the pivots of the tw opegs connected to it. Hence, it allow s an animator to position an element (for example, a limb) by moving thetw o points at its extremities (the articulations).

Contrary to Three-Points Constraint and Multi-Points Constraint nodes, Tw o-Points Constraint can
automatically stretch and squash the element they are connected to depending on the distance betw een thetw o points. This effect can be fine-tuned in the layer properties of the Tw o-Point Constraint node.

Connection
The Tw o-Points Constraint node must be connected to tw o Peg nodes. The pivot point of each peg w ill define
the resting position of one of the points used to transform the draw ing connected under it. W hen one of thepegs is moved, the Tw o-Points Constraint w ill transform the draw ing so that it follow s the pivot point of that
peg.

NOTE
The resting position of the points is based on the pivot point of the peg. The pivot point of a peg
can be set by selecting the peg w ith the Translate, Rotate, Scaleor Skew

tool, thenclicking and dragging the pivot in the Camera view , or by entering its coordinates in the layer
properties of the peg.

It is possible to rig multiple Tw o-Points Constraint nodes together in order to connect adjacent parts of acharacter rig by their articulation. For example, the upper and low er part of an arm or a leg could be rigged
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Optionally, the leftmost input port of a Tw o-Points Constraint node can be connected to a Constraint-Sw itch,w hich can be used to reduce the effect of the Tw o-Points Constraint node on the element it is connected by
setting its Active parameter betw een 0 and 100.

TIP
It is recommended to disable the Animate Using Animation Tools property of the element theTw o-Points Constraint node is connected to. This w ill allow the animator to animate the Tw oPoints Constraint by selecting the element, then clicking and dragging near one of the tw o points
using the Transform tool. The Tw o-Points Constraint w ill automatically select the closest point to
the mouse cursor and move it.

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Controls
W hen the controls of the Tw o-Points Constraint are displayed, the position of the tw o points are displayed
w ith blue squares linked by a green line.
These points are only a visual representation and cannot be manipulated.

How to animate an element connected to a Two- Points Constraint
1. In the Tools toolbar, select the Transform tool or press Shift + T.
2. Do one of the follow ing:lSelect one of the pegs the Tw o-Points Constraint is connected to, then move the peg byclicking and dragging the centre point in the Camera view .

lIn the layer properties of the element, disable the Animate Using Animation Tools option.
Then, select the element, and click and drag the element near one of the tw o points. The
point that is the closest to the mouse cursor w ill be automatically selected and moved.

Properties

Parameter

Description

ActiveThe percentage of influence the constraint has on its child element. If set to 100,
the element w ill follow the tw o points closely. If set to 0, the element w ill not beaffected by the constraint.
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the Active parameters of the Transformation Sw itch and the Tw o-Points
Constraint nodes w ill be multiplied together.

Defines how much the Tw o-Points Constraint node should preserve the w idth ofthe child element w hen the distance betw een the points causes it to stretch or
squash.

Volume Modifier

If set to 100, the w idth of the element w ill increase w hen squashed anddecreased w hen stretched based on the Volume Max and Volume Min
parameters. If set to 0, the element w ill alw ays have the same w idth regardlessof how much it is stretched or squashed. The value can be set to a number
betw een 0 and 100 to reduce the effect of the volume modifications, to a number
above 100 to increase it, or to a negative number to reverse the volume
modification logic.

The maximum w idth of the element w hen squashed.
Volume Max

This value represents a percentage of the element's original w idth. If set to 0, nominimum w idth w ill be applied.

The minimum w idth of the element w hen stretched.
Volume Min

The value represents a percentage of the element's original w idth. If set to 0, no
maximum w idth w ill be applied.

The minimum distance betw een the tw o points. If the points are brought closer
together than their minimum distance, the element w ill stop transforming.
Distance Min
This value represents a percentage of the distance betw een the tw o points w hen
in their respective resting positions.

The maximum distance betw een the tw o points. If the points are brought farther
from each other than their maximum distance, the element w ill stop transforming.
Distance Max
This value represents a percentage of the distance betw een the tw o points w hen
in their respective resting positions.

Skew Modifier

W hen set to 0, the element is rotated to follow the tw o points. If set to 100, theelement w ill skew to follow the tw o points. If set betw een 0 and 100, theelement w ill be transform w ith a combination of rotation and skew ing to follow
the tw o points.

Smoothing

W hen the tw o points are moved aw ay from each other and reach their maximum
distance, this value w ill adds an extra buffer of distance that the tw o points canreach before the element stops stretching. In this buffer, the w ay the element
stretches is tapered, making it stop stretching smoothly instead of abruptly.

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This value represents a percentage of the distance betw een the tw o points w hen
in their respective resting positions.

Point BalanceThis parameter comes in effect w hen the tw o points are being moved at a
distance exceeding their maximum distance. If set to 0, the element w ill stop
stretching and remain locked against the primary point. If set to 100, the element
w ill stop stretching and remain locked against the second point. If set to a value
betw een 0 and 100, the element w ill be moved betw een both points, at a
distance from the primary point that is proportional to this setting.

This parameter defines w hat happens if one of the pegs defining the constraint
points is moved on the Z-axis:l

Ignore 3D Transform: The element w ill be constrained to the vertical andhorizontal position of the pegs, and w ill ignore their position on the Z axis.

lAllow 3D Transform: The element w ill be 3D-rotated to follow theposition of the pegs in the 3D space.

lProject to Plane: The element w ill be constrained in 2D, but w ill be madeto follow the perceived position of the points from the camera's point ofview . This means the 3D position of the points w ill be projected on a 2D
plane that is parallel to the camera.

Flatten TypeNOTEThis projection is based on the position of the primary point peg on
the Z-axis. Hence, if the tw o pegs are on a different position on the
Z-axis, there may be a perceived offset betw een the secondary
point and its effect on the element.

By default, only the position of the points is used to transform the element. Since
those points are defined by pegs, these pegs can also be subjected to scale, angle
and skew transformations that w ould be normally ignored by the Tw o-Points
Constraint node. This parameter can be used to apply the other transformations
done on the peg of the primary point on the element, rather than ignoring them.
lTranslate: Ignores the transformations done on the primary peg, only
applies the transformations required for the element to track the tw opoints.

lTransform: Applies the transformations calculated by the Tw o-Points
Constraint node to make the element to track the tw o points, then applies
the scale, angle and skew values of the primary peg on top of them.

lLocal Transform: Applies the scale, angle and skew values of the primarypeg on the element, then applies the transformations calculated by theTw o-Points Constraint node for the element to track the tw o points.

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Defines w hich one of the ports, and hence, w hich one of the pegs the node isconnected to, is used to define the primary point, leaving the other port for thesecondary point.
The primary point affects the other parameters in several w ays:

Primary Portl

The Point Balance parameter ranges from 0 to 100, w ith 0 making theelement balance tow ards the primary point and 100 making it balance
tow ards the secondary point.

l

W hen the Flatten Type is set to Ignore 3D Transform or Project to Plane,
the position of the element on the Z-axis w ill be the one of the primarypoint.

l

W hen the Flatten Type is set to Project to Plane, the position of the
primary point on the Z-axis is used as the plane on w hich to project the 3D
positions of the points.

l

If the Transform Type is set to Transform or Local Transform, the scale,angle and skew transformations of the primary peg w ill be applied to theelement.

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Deformation Nodes
The Deformation nodes category includes all the nodes w hich are used to make deformers. In Harmony,
deformers are made of chains of deformation nodes connected in a hierarchy. By default, deformation chains
made w ith the Rigging tool are created in groups by default to avoid cluttering the Node and Timeline view s.
Each deformation node represents a point in a deformation chain.
This category also includes nodes that are made to deform draw ings w ithout being part of a deformation
chain, such as the Mesh W arp node.
Articulation Node524

Auto Fold Node527

Auto Muscle Node529

Bone Nodes

533

Curve Node537

Deformation Composite Node

541

Deformation Root Node544

Deformation Scale Node

545

Deformation Switch Node

550

Deformation Uniform Scale Node552

Deformation W ave Node554

Fold Node557

Game Bone Node561

Glue Node563

Kinematic Output Node565

Mesh W arp Node566

Offset Node570

Point Kinematic Output Node572

Connections

573

Refract

578

Stick Node580

Turbulence Node582

W eighted- Curve Node586

Properties

587

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W eighted Deform Node588

W eighted- Line Node592

Properties

593

W eighted- Point Node594

Properties

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Articulation Node
The Articulation node is no longer used in the current release of Harmony. This node is still available forcompatibility purposes w ith previous deformation rigs.
The Articulation node is used betw een tw o bones (legacy) to create a joint w here the limb or element w illrotate. The current Bone and Game Bone nodes include the articulation parameters.

Properties

Parameter

Description

Enable/Disable

Allow s you to enable or disable the node. W hen disabled, a node
has no visible effect on the rendered image, nor on the preview in the
Camera, Perspective, Side and Top view s.

Colour Sw atch

Sets the colour of the layer in the Timeline view and of the node in
the Node view .

Name

Use this field to rename the node.

Resting Parameters

Rest Radius

Lets you set the resting radius of the articulation (size of the circle).

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Resting Orientation

Lets you set the resting rotation angle value of the articulation.

Rest Bias

Lets you set the resting bias value of the articulation, w hich can also
be seen as the steepness of the articulation. The smaller the bias
value, the smoother the articulation angle, and the larger the bias
value, the more angular the articulation is.

Deformation Parameters

RadiusLets you set the radius of the articulation (size of the circle). W hen
animated, this value w ill be connected to a function.

Orientation

Lets you set the rotation angle value of the articulation. W hen
animated, this value w ill be connected to a function.

Bias

Lets you set the bias value, w hich can also be seen as the steepnessof the articulation. W hen animated, this value w ill be connected to afunction.

Region of Influence

Influence Fade RadiusThis defines the size of the fade area around the actual region of influence's
boundaries.

W hen the Symmetric Ellipse of Influence option is enabled, this field controls theLeft and Right transversal radius values. W hen disabled, it controls the size of theleft transversal radius. By default, this value is set to 2.
Transversal Influence Radius
Left

Transversal Influence Radius
Right

W hen the Symmetric Ellipse of Influence option is enabled, this field becomesinactive. The Left Transversal radius value is automatically applied to the Right
Transversal. W hen the Symmetric Ellipse of Influence option is disabled, it
controls the size of the Right Transversal radius. By default, this value is set to 2.

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Longitudinal Influence
Radius Begin

Longitudinal Influence
Radius End

W hen the Symmetric Ellipse of Influence option is enabled, this field becomesinactive. The End Longitudinal value is automatically applied to the Begin
Longitudinal value. W hen the Symmetric Ellipse of Influence option is disabled, it
controls the size of the Begin Longitudinal radius. By default, this value is set to0.25.

W hen the Symmetric Ellipse of Influence option is enabled, this field controls
both the Begin and End Longitudinal radius values. W hen this option is disabled,
it controls the size of the End Longitudinal radius. By default, this value is set to
0.25.

Enabled by default. The shape of the ellipse w ill be symmetrical on both thetransversal and longitudinal radii. In this case, use the Transversal Influence
Symmetric Ellipse Influence

Radius Left field to set the transversal radius value and use the Longitudinal
Influence Radius End field to set the longitudinal radius value. The tw o otherfields w ill remain unused unless you disable the Symmetric Ellipse Influence
option. In that case, you can set up different radius sizes for the four radii
directions.

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Auto Fold Node
The AutoFold node lets you automatically fix the folding area of a deformer, so no line overlap occurs. If yourdraw ing pieces are separated on different layers, you w ill not need the AutoFold node. The AutoFold node issimilar to the Fold node, but since it's automated, it is optimized to fit the most standard folding point w ith
few er controls to set up. You can also avoid this issue by separating your draw ing onto tw o layers or
separating your draw ing in tw o pieces using the Cutter tool and repasting it in place in the same draw ing.

Connect the AutoFold node directly under the Deformation node w hich is causing the unw anted line effect, forexample the forearm.

Properties

Parameter

Description

Enable/Disable

Allow s you to enable or disable the node. W hen disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective, Side

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and Top view s.

Colour Sw atch

Sets the colour of the layer in the Timeline view and of the node in the Node view .

Name

Name this field to rename the node.

Type 1 to enable it or 0 to disable the effect.
Enable AutoFold

If you connect this option to a function, then you can enable or disable the effectat a specific point in your animation.

Sets the length of the fold axis line.

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Auto Muscle Node
The Auto-Muscle node is used to simulate muscle movement. This w ill allow your characters to flex theirmuscles w hen they lift something or to create muscle tone w hen they move. W hen the Auto-Muscle node isconnected to a Bone Deformer that is rotated, the draw ing is automatically inflated to simulate muscle
movement in the limb.

NOTE
Connect the Auto-Muscle node above the draw ing you w ant to add a muscle to and after the Bonechain.

Properties

Parameter

Description

Enable/Disable

Allow s you to enable or disable the node. W hen disabled, a node has no visible effect on
the rendered image, nor on the preview in the Camera, Perspective, Side and Top view s.

Colour Sw atch

Sets the colour of the layer in the Timeline view and of the node in the Node view .

Name

Use this field to rename the node.

Muscle Left

This option is enabled by default. W hen enabled, the left side of the Bone Deformer w ill
inflate as the articulation is rotated tow ard the direction of the Bone Deformer. Disable thisoption if you do not w ant the left side of the bone to inflate.

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The default value of the starting position of the left muscle is set to -2. This means it w ill
start at the deformer situated tw o steps before the position w here the Auto-Muscle isconnected. You can change the starting point by typing the number corresponding to thedeformer node.

Left Start

Left Span

This parameter controls the length (muscle length) over w hich the effect node w ill beapplied to the left side of the deformer. By default the setting is 1, representing the lengthof the deformer to w hich it is applied.

This parameter controls the physical size of the left muscle. Increase the value to make themuscle bigger, decrease the value to make it smaller.

Left Amplitude

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This option is enabled by default. W hen enabled, the right side of the Bone Deformer w ill
inflate as the articulation is rotated tow ard the direction of the Bone Deformer. Disable thisoption if you don't w ant the right side of the bone to inflate.

Muscle Right

This option is enabled by default, allow ing each side of the Bone Deformer to inflate tofollow the rotation of the articulation. Enable this option to synchronize the right muscle
w ith the left so both muscles inflate w hen the articulation is rotated to the left.

Same as Left

Right Start

The default value of the starting position of the right muscle is set to -2. This means it w ill
start at the deformer situated tw o steps before w here the Auto-Muscle is connected, in
this case, Bone. You can change the starting point by typing the number corresponding to
the deformer node.

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Right Span

This parameter controls the length (muscle length) over w hich the effect node w ill beapplied to the right side of the deformer. By default the setting is 1, representing thelength of the deformer to w hich it is applied.

Right Amplitude

This parameter controls the physical size of the right muscle. Increase the value to makethe muscle bigger, decrease the value to make it smaller.

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Bone Nodes
The Bone node is one of the main nodes used to build a deformation rig. Each Bone node consists of a bone
and an articulation. You can chain Bone nodes to create a skeleton chain for your character. The Rigging tool
can be used to create and connect those nodes automatically.

Properties

Parameter

Descriptions

Enable/Disable

Allow s you to enable or disable the node. W hen disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective,
Side and Top view s.

Colour Sw atch

Sets the colour of the layer in the Timeline view and of the node in the Nodeview .

Name

The name of the node as it appears in the Node View and the Timeline view .
Each node must have a name that is unique to its containing group.

Resting Parameters Rest Offset(x) AxisThis is the bone x-axis (horizontal) coordinates for the resting position.

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Chapter 3: Nodes / Layers(y) AxisThis is the bone y-axis (vertical) coordinates for the resting position.

Rest RadiusThis is the articulation's radius value (articulation size) for the resting position.

Rest Orientation

This is the bone's orientation angle for the resting position.

Rest Bias

This is the articulation's bias (roundness and smoothness) for the resting
position.

Rest Length

This is the bone's length for the resting position.

Deform Parameters Offset

2D Path

W hen this option is enabled, the X and Y-axis parameters are controlled by thesame 2D path function.

Separate

W hen this option is enabled, the X and Y-axis parameters are individual one
from another.

Path

W hen using a 2D Path, this field displays the name of the function.

(x) AxisThis is the bone X-axis (horizontal) coordinates for the animation position. Thisparameter can be linked to a function to be animated over time.

(y) AxisThis is the bone y-axis (vertical) coordinates for the animation position. Thisparameter can be linked to a function to be animated over time.

RadiusThis is the articulation's radius value (articulation size) for the animation
position. This parameter can be linked to a function to be animated over time.

Orientation

This is the bone's orientation angle for the animation position. This parametercan be linked to a function to be animated over time.

Bias

This is the articulation's bias (roundness and smoothness) for the animation
position. This parameter can be linked to a function to be animated over time.

LengthThis is the bone's length for the animation position. This parameter can belinked to a function to be animated over time.

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Region of Influence

Influence Fade RadiusThis defines the size of the fade area around the actual region of influence's
boundaries.

W hen the Symmetric Ellipse of Influence option is enabled, this field controls theLeft and Right transversal radius values. W hen disabled, it controls the size of theleft transversal radius. By default, this value is set to 2.
Transversal Influence RadiusLeft

W hen the Symmetric Ellipse of Influence option is enabled, this field becomesinactive. The Left Transversal radius value is automatically applied to the Right
Transversal. W hen the Symmetric Ellipse of Influence option is disabled, it controls
the size of the Right Transversal radius. By default, this value is set to 2.
Transversal Influence Radius
Right

Longitudinal Influence Radius
Begin

W hen the Symmetric Ellipse of Influence option is enabled, this field becomesinactive. The End Longitudinal value is automatically applied to the Begin
Longitudinal value. W hen the Symmetric Ellipse of Influence option is disabled, it
controls the size of the Begin Longitudinal radius. By default, this value is set to0.25.

W hen the Symmetric Ellipse of Influence option is enabled, this field controls boththe Begin and End Longitudinal radius values. W hen this option is disabled, it
controls the size of the End Longitudinal radius. By default, this value is set to 0.25.
Longitudinal Influence Radius
End

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Symmetric Ellipse Influence

Enabled by default. The shape of the ellipse w ill be symmetrical on both thetransversal and longitudinal radii. In this case, use the Transversal Influence Radius
Left field to set the transversal radius value and use the Longitudinal Influence
Radius End field to set the longitudinal radius value. The tw o other fields w ill
remain unused unless you disable the Symmetric Ellipse Influence option. In thatcase, you can set up different radius sizes for the four radii directions.

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Curve Node
The Curve node is one of the main nodes for building a deformation rig. You can chaining Curve nodes tocreate a Bezier handles skeleton. The Rigging tool can be used to create and connect the nodes automatically.

Properties

Parameter

Description

Enable/Disable

Allow s you to enable or disable the node. W hen disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective,
Side and Top view s.

Colour Sw atch

Sets the colour of the layer in the Timeline view and of the node in the Nodeview .

Name

The name of the node as it appears in the Node View and the Timeline view .
Each node must have a name that is unique to its containing group.

Resting Parameters Resting Offset(x) AxisThis is the curve x-axis (horizontal) coordinates for the resting position.

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Chapter 3: Nodes / Layers(y) AxisThis is the curve y-axis (vertical) coordinates for the resting position.

Resting Orientation 0This is the orientation for the first Bezier handle for the resting position.

Rest Length 0This is the length for the first Bezier handle for the resting position.

Resting Orientation 1

This is the orientation for the second Bezier handle for the resting position.

Rest Length 1

This is the length for the second Bezier handle for the resting position.

Deform Parameters Offset

2D Path

W hen this option is enabled, the X and Y-axis parameters are controlled by thesame 2D path function.

Separate

W hen this option is enabled, the X and Y-axis parameters are individual one
from another.

(x) AxisThis is the curve X-axis (horizontal) coordinates for the animation position.

(y) AxisThis is the curve Y-axis (vertical) coordinates for the animation position.

Orientation 0This is the orientation for the first Bezier handle for the animation position.

Length 0This is the length for the first Bezier handle for the animation position.

Orientation 1

This is the orientation for the second Bezier handle for the animation position.

Length 1

This is the length for the second Bezier handle for the animation position.

Envelope Parameters

Apply Parent Modifier's
Transformation

W hen this option is disabled, the deformation from the parent curves are nolonger affecting the current curve. Interesting effects can be achieved w hen
disabling this effect on the last child curve and rotating the Offset point. The
curve tail end w ill remain pinned on the spot w hile the rest of the curves
deforms.

Close Contour

W hen this option is enabled, the extrimity of the curve is snapped to the initial

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chain's Offset point. This creates an Envelope deformation. More than one
curve can be linked to the Offset point.

Region of Influence

Influence Fade RadiusThis defines the size of the fade area around the actual region of influence's
boundaries.

W hen the Symmetric Ellipse of Influence option is enabled, this field controls theLeft and Right transversal radius values. W hen disabled, it controls the size of theleft transversal radius. By default, this value is set to 2.
Transversal Influence RadiusLeft

W hen the Symmetric Ellipse of Influence option is enabled, this field becomesinactive. The Left Transversal radius value is automatically applied to the Right
Transversal. W hen the Symmetric Ellipse of Influence option is disabled, it controls
the size of the Right Transversal radius. By default, this value is set to 2.
Transversal Influence Radius
Right

Longitudinal Influence Radius
Begin

Longitudinal Influence RadiusEnd

W hen the Symmetric Ellipse of Influence option is enabled, this field becomesinactive. The End Longitudinal value is automatically applied to the Begin
Longitudinal value. W hen the Symmetric Ellipse of Influence option is disabled, it
controls the size of the Begin Longitudinal radius. By default, this value is set to0.25.

W hen the Symmetric Ellipse of Influence option is enabled, this field controls boththe Begin and End Longitudinal radius values. W hen this option is disabled, it
controls the size of the End Longitudinal radius. By default, this value is set to 0.25.

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Symmetric Ellipse Influence

Enabled by default. The shape of the ellipse w ill be symmetrical on both thetransversal and longitudinal radii. In this case, use the Transversal Influence Radius
Left field to set the transversal radius value and use the Longitudinal Influence
Radius End field to set the longitudinal radius value. The tw o other fields w ill
remain unused unless you disable the Symmetric Ellipse Influence option. In thatcase, you can set up different radius sizes for the four radii directions.

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Deformation Composite NodeThe Deformation-Composite node is automatically added to a rig w hen creating a split deformation chain. It is
used to link the different nodes of a split deformation chain together before deforming the draw ing it is linked
to. You can customize its parameters to influence the result of the combination.

Properties
Parameter

Description

Enable/Disable

Allow s you to enable or disable the node. W hen disabled, a node has
no visible effect on the rendered image, nor on the preview in the
Camera, Perspective, Side and Top view s.

Colour Sw atch

Sets the colour of the layer in the Timeline view and of the node in the
Node view .

Name

Use this field to rename the node.

Output Kinematic Only

This option is disabled by default, allow ing the deformation chain to
output deformation and position information. This option should beenabled in order to output the chain information position only. This w ill
allow you to connect a part to the hierarchy w ithout it undergoing thedeformation applied to the rest of the chain.

This option is important if you have several deformation chains for one
element, as in the case of a character w ith multiple poses.
Output Selected Port Only•

W hen this option is enabled, it w ill only use the selected chain,w hich you w ill be able to define in the Output Kinematic Chain
options of the Deformation-Composite. In some situations, this541

Chapter 3: Nodes / Layers

option is enabled and setup automatically (For example, w hen
you are w orking w ith the Create Posed Deformer in Create
Deformation Above/Under enabled).
•

W hen this option is disabled, all the different chains for thiselement w ill be used at once.

Lets you select a deformation chain option to use. This parameter isused w hen the Output Selected Port Only option is enabled.

Rightmost: Only the first chain connected to the right of the composite
node w ill be used.
Output Kinematic Chain
Leftmost: Only the first chain connected to the left of the composite
node w ill be used.

Select: If you select this option, you can define w hich chain to output
according to the order they are connected from left to right.

Use First Connected Element’s Exposure as Key: Allow s thedeformation effect to automatically detect w hich deformation chain touse (subgroup) by detecting the exposure of the first element
connected to the deformation. This option is used in the case of amultiple pose rig.

Use Parent Composite’s Connected Element Exposure: W hen the
Output Kinematic Only option enabled, the information from the parent
element’s exposure is used to attach the child to the correct chain,follow ing w hich pose is exposed—see

Output Kinematic Chain Selection

W hen the Output Selected Port Only option is selected AND the Selectoption is used as the Output Kinematic Chain setting, this field defines
w hich deformation chain you w ant to use on your element. Select the542Harmony 22 Premium Reference Guide

number w hich corresponds to the left to right order that the chains areconnected to the Deformation-Composite node.

You can attach this value to a function and enable different chains overa period of time on specific frames. This value can be modified in theTimeline view by using the Deformation-Sw itch layer. Since theDeformation-Composite node is only visible in the Node view , the layer
has a reference to this parameter enabling you to easily edit the value
w hen w orking in the Timeline view .

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Deformation Root NodeThe Deformation-Root is used w hen creating manual legacy multi-pose rigs. It can be placed at the start of thedeformation chains. This node is no longer used for the current multi-pose rig structure.
You can modify the quality level of the Deformation effect in the Deformation-Root Layer Properties w indow :Properties

Parameter

Description

Enable/Disable

Allow s you to enable or disable the node. W hen disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top view s.

Colour Sw atch

Sets the colour of the layer in the Timeline view and of the node in the Node view .

Name

Use this field to rename the node.

Defines the number of slices the graphic is split into and used w hen undergoing a
deformation. The higher the quality level, the more slices are created and thesmoother the deformation applied to the graphic. There are five levels of quality:

Quality•Low•

Medium•High•

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Deformation Scale Node
The deformers can only be scaled along the centre axis to adjust the length of the limb. The DeformationScale can be used in combination w ith a Bone or Curve deformer to scale a draw ing so it follow s the opposite
direction of the deformer axis (the w idth). For example, w hen combined w ith function curves this can be used
to create advanced muscle effects. All these settings can be animated over time.

How to set up the Deformation- Scale effect node
1. In the Node view , navigate to the node to w hich you w ant to add a Deformation-Scale effect.
2. In the Node Library view , select a Deformation-Scale node and drag it to the Node view .
3. Connect the Deformation-Scale node directly under the low er deformer node of your chain.

4. In the Node view , select the Deformation-Scale node and select View > Show > Control to display
its controls in the Camera view .

TIP
You can animate the different parameters of the Deformation-Scale node. To do this,make sure the Animate mode is set tobefore you manipulate it.

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NOTE
If the controls are too far aw ay from the deformer, you can change the default displayof the Deformation-Scale and Deformation-Uniform-Scale controls in the Preferences
dialog box to bring them closer.

5. Click on the square yellow button of the Deformation-Scale node to open the Layer Properties
w indow .

Properties

Parameter

Description

Enable/Disable

Allow s you to enable or disable the node. W hen disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top view s.

Colour Sw atch

Sets the colour of the layer in the Timeline view and of the node in the Node view .

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Name

Use this field to rename the node.

This series of options controls the left scaling deformation.

Scale Left

This option is enabled by default. It allow s the left side of the deformer to be scaled.
In the Camera view , the dark blue controls are used for the left side. If you disable
this option, the controls w ill be hidden and no scaling deformation w ill occur for thisside.

Left Fade In

The value is set to 0 (no fade) by default. Increase the value to add a fade effect tosmooth the transition betw een the starting point of the scale and the area before it.

Left Fade Out

The value is set to 0 (no fade) by default. Increase the value to add a fade effect tosmooth the transition betw een the Left Span point of the scale and the area after it.

Defines the starting point of the left scale deformation. The default value is 0 andrepresents the Deformation-Root. Each main control point count for +1.
Move the first blue arrow along the deformer’s central axis to set the starting pointof the Deformation-Scale and the last arrow to set the length (span) of thetransformation.

Left Start

Left Span

Defines the length of the left scale effect.

Defines the start of the left scale effect.
Left Start Scale

Drag the square scaling curve control points aw ay and forw ard from the deformer
axis to set the scaling value at the starting and ending point.

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Left End Scale

Defines the end of the left scale effect.

Defines the starting position of the left handle.
Drag the tw o middle blue arrow s along the deformer’s centre axis to set the positionof the curve handles.

Left Start Handle Position

Left End Handle Position

Defines the ending position of the left handle.

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Defines the starting position of the left scale handle.
To modify the scaling value of the curve, drag the tw o control handles aw ay andforw ard from the deformation axis.

Left Start Handle Scale

Left End Handle Scale

Defines the ending position of the left scale handle.

This option is enabled by default. It allow s the right side of the deformer to be
Scale Right

Same as Leftscaled. In the Camera view , the light blue controls are used for the right side. If you
disable this option, the controls w ill be hidden and no scaling deformation w ill occur
for this side.

This option is disabled by default. It means that the left and right sides w ill use
different scaling parameters. If you enable this option, the right side controls w ill behidden in the Camera view and the left parameters w ill be used for both side for asymmetrical scaling effect.

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Deformation Switch NodeThe Deformation-Sw itch (Legacy) node acts as a on and off sw itch for the deformation chain. It is used w henbuilding legacy multi-pose rigs. It is also the node w hich controls the Region of Influence Fade area. The
Deformation-Sw itch also displays a Kinematic Chain Selection Reference option, w hich allow s you to modify
the chain selection directly in the Timeline view .
The Deformation-Sw itch has been replaced w ith the Transformation-Sw itch node.

Properties

Parameter

Description

Allow s you to enable or disable the node. W hen disabled, a node has no visible
Enable/Disable

effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top view s.

Colour Sw atch

Sets the colour of the layer in the Timeline view and of the node in the Node view .

Name

Use this field to rename the node.

Defines the quality of the deformation effect w hen your draw ings are stretchedand deformed. There are five levels of quality:

Vector Quality

Influence Fade Exponent

•

Low

•

Medium•High•

Very High (default value)•

ExtremeA value of 1 is similar to a linear curve. A higher value w ill result in an ease-in
type of curve. A low er value w ill result in an ease-out type of curve.

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Fade Inside Region

This option is disabled by default. The fade effect w ill occur outside the zone ofinfluence. Enable this option to have the fade effect inside the Zone of Influence.

Enable Deformation

Acts as an on/off sw itch for the deformation. The value of this field is set to 1 bydefault, w hich means the deformation is enabled. Enter a value of 0 to disable it.

Kinematic Chain Selection
Reference

Determines w hich chain is selected and used at a specific frame. It is a reference
to the option in the Deformation-Composite node. Having this reference in the
Deformation-Sw itch node allow s you to use and modify the chain selection value
directly in the Timeline view since the Deformation-Composite node is only
visible in the Node view .

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Deformation Uniform Scale NodeThe Deformation-Uniform-Scale effect node let you create the squash and stretch effect on your animateddeformation rig. You can scale the rigged element on the opposite axis of the deformer (w idth).

How to use the Deformation- Uniform- Scale node
1. In the Node view , navigate to the deformation node to w hich you w ant to add a DeformationUniform-Scale node.
2. In the Node Library view , select the Deformation-Uniform-Scale node and drag it to the Node view .
3. Connect the Deformation-Uniform-Scale node directly below the low est deformation node in yourchain.

4. Connect the Deform-Uniform-Scale node to all the draw ing nodes it should scale.
5. In the Node view , select the Deformation-Uniform-Scale node.
6. Display the Uniform Scale controls in the Camera view by pressing Shift + F11.
7. In the Camera view , drag the handle to resize the w idth of the limb. You can also use the Scale field
to enter a specific value. These parameters can be animated over time.

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NOTE
If the controls are too far aw ay from the deformer, you can change the default display of the
Deformation-Scale and Deformation-Uniform-Scale controls in the Preferences dialog box tobring them closer.

Properties

Parameter

Description

Allow s you to enable or disable the node. W hen disabled, a node has no
Enable/Disablevisible effect on the rendered image, nor on the preview in the Camera,
Perspective, Side and Top view s.

Colour Sw atch

Sets the colour of the layer in the Timeline view and of the node in the
Node view .

Name

The name of the node as it appears in the Node View and the Timeline view . Eachnode must have a name that is unique to its containing group.

Scale

Use this field to type in the value to resize the w idth of the limb.

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Deformation W ave NodeThe Deformation-W ave effect deforms the chain by adjusting the scaling in a w aveform style. It can be used toanimate a w ave deformation effect on your deformation chain over a period of time.

How to use the Deformation- W ave effect
1. In the Node view , navigate inside the Deformation node to w hich you w ant to add a DeformationW ave effect.
2. In the Node Library view , select an Deformation-W ave node and drag it to the Node view .
3. Connect the Deformation-W ave node to your deformation chain.
A w ave deformation is applied to the limb or art connected to the deformation chain.

4. In the Node view , open the Layer Properties w indow of the Deformation-W ave node.

Properties

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Parameter

Description

Enable/Disable

Allow s you to enable or disable the node. W hen disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top view s.

Colour Sw atch

Sets the colour of the layer in the Timeline view and of the node in the Node view .

Name

Use this field to rename the node.

W ave Left

This option is enabled by default, allow ing the Deformation-W ave effect to be
applied on the left side of the deformer chain. Disable this option to prevent theeffect from being applied.

Left Start

Defines the length of the left w ave effect.

Left Span

Defines the starting point of the left w ave deformation. The default value is 0 andrepresents the root point. Each main control point count for +1.

Left Offset Deformer

This is the parameter you may w ant to connect to a function. It controls the offsetof the deformation on the left side and allow s you to create a fluid w ave
animation along the deformer axis.

Left Amplitude

Controls the height of the left w ave effect.

Left Offset Scaling

Used to apply an offset value to the amplitude of the left w ave. The w ave w ill be
lifted and become higher, or dropped and become low er, depending w hether thevalue is increased or decreased.

Left Period

Controls the interval of occurrence of the left w aves. By default the value is 1,
meaning that a w ave w ill occur for every deformer. If you decrease the value to0.5, it w ill result in a w ave occurring every half deformer.

W ave Right

By default this option is enabled, allow ing the Deformation-W ave effect to be
applied on the right side of the deformer chain. Disable this option to prevent theeffect from being applied.

Same as Left

This option is disabled by default. It allow s the left and right size of the
Deformation-W ave to be controlled separately. Select this option if you w ant theeffect to be symmetrical and controlled by the left side parameters.

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Right Start

Defines the starting point of the right w ave deformation. The default value is 0
and represents the Deformation-Root. Each main control point count for +1.

Right Span

Defines the length of the right w ave effect.

Right Offset Deformer

This is the parameter you might w ant to connect to a function. It controls theoffset of the deformation on the right side, allow ing you to create a fluid w ave
animation along the deformer axis.

Right Amplitude

Controls the height of the right w ave effect.

Right Offset Scaling

Used to apply an offset value to the amplitude of the right w ave. The w ave w ill
be lifted and become higher, or dropped and become low er, depending w hether
the value is increased or decreased.

Right Period

Controls the interval of occurrence of the right side w aves. By default the value is1, meaning that a w ave w ill occur for every deformer. If you decrease the value at
0.5 it w ill result in a w ave occurring every half deformer.

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Fold Node
The Fold effect is used w hen bending a deformation further than the draw ing is able to take it. This may resultin an unw anted overlap of the line art at the junction of the articulation or deformation. The Fold effect lets you
control certain parameters that w ill help eliminate the unw anted line effect. You can also avoid this issue by
separating your draw ing onto tw o layers or separating your draw ing in tw o pieces using the Cutter tool andrepasting it in place in the same draw ing.

The Fold effect w orks best w ith the Curve deformers.

How to set up the Fold node
1. In the Node view , navigate to the Deformation node causing the unw anted overlap (in this case, anarticulation).
2. In the Node Library view , select the Fold node and drag it to the Node view .
3. Connect the Deformation-Fold node directly under the deformation effect node w hich is causing
the unw anted line effect.

4. In the Node view , select the Deformation- Fold node.
5. From the top menu, select View > Show > Control or press Shift + F11 (W indow s/Linux) or ⌘ +F11 (macOS) to display its controls in the Camera view .
6. In the Tools toolbar, select the Transform

tool.

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7. In the Camera view , set up the Deformation-Fold. You can also set these parameters directly in the
Deformation-Fold properties:‣

Click on the fold axis and rotate it to match the angle of the bend articulation.

‣

Use the middle arrow to position the axis along the deformer’s central line. It should be in thecorner of the bending area.

‣

Use the right and left arrow s to control the appearance of the tw o overlapping lines.

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Use the axis’s square handle to lengthen or shorten the axis.

8. If your character moves a lot and you need to adjust the fold at different positions to follow thelimb animation, you can set up the Deformation-Fold node in a different position over time. To beable to do this, make sure that the Animate mode is set to

Animate Current Frame in the Tools

toolbar.
9. You can also enable/disable the Deformation-Fold node over time by connecting a function to the
Enable Fold parameter in the Layer Properties. A value of 1 enables the effect, a value of 0 disables
the effect.

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Game Bone Node
The Bone node is one of the main node used to build a deformation rig. Each Bone node consists of a bone andan articulation. Chaining Bone nodes w ill create a skeleton chain for your character. The Rigging tool can beused to create and connect those nodes automatically.

Parameter

Descriptions

Resting Parameters Rest Offset(x) AxisThis is the bone X-axis (horizontal) coordinates for the resting position.

(y) AxisThis is the bone Y-axis (vertical) coordinates for the resting position.

Rest RadiusThis is the articulation's radius value (articulation size) for the resting position.

Rest Orientation

This is the bone's orientation angle for the resting position.

Rest Length

This is the bone's length for the resting position.

Deform Parameters Offset

2D Path

W hen this option is enabled, the X and Y axis parameters are controlled by thesame 2D path function.

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Separate

W hen this option is enabled, the X and Y axis parameters are individual from eachother.

Path

W hen using a 2D Path, this field displays the name of the function curve.

(x) AxisThis is the bone X-axis (horizontal) coordinates for the animation position. Thisparameter can be linked to a function curve to be animated over time.

(y) AxisThis is the bone Y-axis (vertical) coordinates for the animation position. Thisparameter can be linked to a function curve to be animated over time.

RadiusThis is the articulation's radius value (articulation size) for the animation position.
This parameter can be linked to a function curve to be animated over time.

Orientation

This is the bone's orientation angle for the animation position. This parameter canbe linked to a function curve to be animated over time.

LengthThis is the bone's length for the animation position. This parameter can be linked
to a function curve to be animated over time.

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Glue Node

The Glue effect lets you repair the cracks that appear betw een joints during animation.
The Glue node has three ports:•

Left Port (Matte): Receives the matte.

•

Middle Port (Port A): Receives the element that w ill not be used to fill the joint.

•

Right Port (Port B): Receives the element that w ill be used to fill the joint.

For most effects w ith the Glue node, the default options are sufficient. How ever, you can modify these options
using the Glue editor.

Glue Properties
Parameter

Description

Invert Matte

Activate this option to invert the matte used to fill the joint. If you w ant to use the"B" element as the matte, you must select this element.

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Parameter

Description

Bias

Indicates the tendency to favour the static or moving element. Set to 0, it favours
element A; set to 1 it favours element B; set to 0.5 it is in betw een A and B.

TensionIndicates how tight the joint w ill be. Set to 1, the tension has no effect; set lessthan 1, the tension decreases; set greater than 1, the tension increases.

Type

From this menu, select the type of joint to create. You can choose from among
Curve (default), Line and Corner.

Use Z for Composition Order

You can use this option to choose the draw ing w ith the higher front-back value tocreate the joint.

A Over B

Indicates w hich image is rendered on top in the final image. By default, A is
rendered on top of B, w hich indicates that the image in the middle port (A) is
rendered on top of the image in the right port (B).

Spread A

By default, the image in port B is spread to fill the joint. You can use this option tochoose the image in the A port to create the joint. If you select this option, thedraw ing node must receive position information from the "B" element. Thus, youmust connect the Draw ing node of the "B" element to the Draw ing node of thematte.

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Kinematic Output Node
The Kinematic Output node lets you hook a separate element that you w ant to be linked to the deformation
chain but not be part of the deformation, such as a hand to an arm or an arm to the body. These elements w illfollow the movement of the chain just like a regular cut-out character hierarchy piece w ithout being influenced
by the deformation of the arm. If you don't use the Kinematic Output, the piece's pivot w ill not follow the
deformation.
Connect a Kinematic Output node below the deformation node you w ant your draw ing to follow .

NOTE
The Kinematic Output node can only rig a draw ing to a deformation point. To rig a draw ing to a
specific position in a deformation chain, see Point Kinematic Output Node on page 572.

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Mesh W arp NodeUse the Mesh W arp effect to distort your draw ings. W ith this node you can create effects such as a characterin a w arped mirror and looking through a glass jar. You can also animate the position of the grid to perform thedistortion over time.
The Mesh W arp node is a position node, same as a Peg node.

How to use the Mesh W arp Effect
1. In the Node Library, under the Filter tab, select the Mesh W arp node and drag it to the Node view .
2. In the Node view , connect the Mesh-W arp node to your draw ing or group nodes to deform.

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3. In the Node view , select the Mesh W arp node.
4. Select View > Show > Control or press Shift + F11 (W indow s/Linux) or ⌘ + F11 (macOS) to
display the deformation grid.

5. Move the intersection points and move the Bezier handles to deform the grid.

6. Grab the grid in the void spaces to pan it around. Using keyframes, you can animate its position
over time.

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Mesh W arp Properties
Use the Mesh W arp editor to adjust the grid size, deformation quality and the region of interest.

Parameter

Description

Row sIncrease or decrease the Row s value to change the amount of row s to use in the
deformation grid.

Columns

Increase or decrease the Columns value to change the amount of columns to use
in the deformation grid.

Region of Interest

Select the 2D Path option if you w ant both your X and Y curves to be controlled
by the same velocity function. Select the Separate option if you w ant your X and Y
curves to be independent and have independent velocity.

(x) AxisThis is the X position of the gird. This value can be animated overtime to move thegrid horizontally.

(y) AxisThis is the Y position of the gird. This value can be animated overtime to move thegrid vertically.

W idthThis is the w idth value of the gird. This value can be animated overtime to squash
or stretch the grid horizontally.

HeightThis is the height value of the gird. This value can be animated overtime to squash
or stretch the grid vertically.

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Deformation Quality

This is the quality of the w arm deformation. It ranges from Low to Extreme. The
higher the quality, the better the formation w ill look, but the longer it w ill take torender.

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Offset Node
The Offset node lets you position the root of your deformation chain. It is automatically added to yourdeformation rig w hen you create a Curve or Envelope deformation rig using the Rigging

Parameter

Description

Name

Use this field to rename the node.

(x) Axis

Sets the resting position on the X (east/w est) axis.

(y) Axis

Sets the resting position on the Y (north/south) axis.

Resting Orientation

Sets the rotation angle of the resting position.

tool.

Lets you choose the type of coordinates to use:
Offset Type

Separate: The tw o coordinates are set separately. If they are connected to afunction, each one w ill have its ow n function curve. This is the default setting.
2DPath: The tw o coordinates are set together w ithin a single 2D path function.

(x) Axis(y) AxisThis option is only available w hen the Type is set to Separate. It is used to set theactive position value of the Deformation-Root on the X (east/w est) and Y(north/south) axis.
You can enter the value, use the up and dow n arrow buttons to choose a value, or
use the Transform tool, w hen Setup mode is NOT enabled, to move thedeformation chain. Remember, that if you w ant to add a keyframe, you need toenable Animation mode from the Tools toolbar.

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Path

Orientation

This option is only available w hen the Type is set to 2D Path. It is used to set theactive position value of both the Y and X axis. Use the Transform tool w hen Setup
mode is NOT enabled to move the deformation chain along the 2D path.
Remember, if you w ant to add a keyframe, you need to enable the Animation
mode on the Tools toolbar.

Sets the rotation angle of the active position of the Deformation-Root. You canenter the angle, use the up and dow n arrow buttons to choose the desired value,
or use the Transform tool w hen Setup mode is NOT enabled to rotate thedeformation chain. Remember, if you w ant to add a keyframe, you need to enable
Animation mode on the Tools toolbar.

Apply Parent Modifier's
Transformation

W hen this option is disabled, the parent's deformations no longer affect thecurrent deformer.

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Point Kinematic Output Node
The Point Kinematic Output node is a more advanced version of the Kinematic Output node. It tracks a pointthat can be placed anyw here on a deformation curve, and moves the draw ing that is attached to it so that itremains stuck on that deformation curve, w ithout deforming the draw ing itself.

Additionally, it can:l

Make the angle of the draw ing match the angle of the curve at the point w here it’s rigged.

l

Scale the draw ing to make it match the size of the area of the curve the draw ing is rigged to.

l

Rig the draw ing to three points in the deformed draw ing, w hich can be useful for rigging a draw ing
somew here inside the deformed draw ing w ithout necessarily making it stick to the curve.

NOTE
A similar, simpler node, the Kinematic Output node, can be used to rig the position and angle of adraw ing to a deformation point w ithout any configuration. For more information, see Kinematic
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Connections
The Point Kinematic Output has a deformation input port (rightmost) and an offset transformation port
(leftmost). It takes the deformation sent to its rightmost port and outputs a transformation, w ithout any
deformation, through its only output port. If no deformation is attached to the node, the node w ill have noeffect in the rig.
W hen no node is connected to the offset transformation port, the positions that the node tracks w ithin the
deformation w ill be based on the tracking positions in the node’s properties. This is the most simple usage
scenario.

W hen a transformation module, such as a peg, is attached to the leftmost port, the tracking points w ill be
offset based on the attached transformation to the port.

The leftmost port can then be used to offset the tracking points in a rig based on the transformation of otherattached nodes in that rig.

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Layer Properties

Parameter

Description

The position of the central point used in all sampling types.
In One-Point Sampling, this point is used to track the translation in the deformation. In theother sampling-types, it is used to help define the transformation w ith the other relative points.

TIP
Main Position
Tracker

You can display this point in the Camera view and manipulate it w ith the Transform tool by
displaying the node’s controls. To do this, select the node in the Node View and do one of
the follow ing:l

In the Camera view toolbar, click on

Show Control .

l

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

lPress Shift + F11.

If you set the Sampling Type to use tw o or three points, you can also see and manipulate
the other points in the Camera view .

Tracker 2

The second sampling point is used in Tw o-Point Sampling, Tw o-Point Sampling w ith Scaling
and Three-Point Sampling.

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Parameter

Description

This point is used to help define the orientation in Tw o-Point Sampling, It helps to define theorientation and scale in Tw o-Point w ith Scale sampling, and helps to define the orientation,
scale and skew in Three-Point Sampling.

Tracker 3

The third sampling point is used in Three-Point Sampling. It helps to define the orientation,
scale and skew of the resulting transformation.

The Sampling Type defines the number of points that track the deformation and w hich are thenused to transform the attached draw ing, as w ell as how those points are used to transform thedraw ing.
lOne- Point Sampling: A single point, the Main Position Tracker, follow s thedeformation curve. It is used to translate draw ing so that it remains on the deformation
curve, but the draw ing is not rotated or scaled.

lTwo- Point Sampling: Uses tw o points, the Main Position Tracker and Tracker 2, totrack the deformation curve. The tw o points follow the position and angle of the curve.
As a result, the attached draw ing is translated to follow the deformation curve androtated to match its angle.

lTwo- Point Sampling with Scale: Uses tw o points, the Main Position Tracker andTracker 2, to track the deformation curve. The tw o points follow the position and angleof the curve, but also, their distance relative to each other changes w ith the length ofthe curve.

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Parameter

Description

As a result, the attached draw ing is translated to follow the deformation curve androtated to match its angle, but also, the draw ing’s scale on the axis betw een the Main
Position Tracker and Tracker 2 points w ill match the distance betw een those tw opoints. This distance changes as the curve becomes longer or shorter.
Additionally, scaling is applied to the draw ing on the perpendicular axis so as topreserve the draw ing’s volume. If the draw ing becomes smaller on the axis betw een
the Main Position Tracker and the Tracker 2 points, it w ill become larger on theperpendicular axis, and if it becomes larger on the axis betw een the Main Position
Tracker and the Tracker 2 points, it w ill become smaller on the perpendicular axis.

TIP
How much scaling is applied to the perpendicular axis is relative to the Volume
Modifier parameter. Setting it to a value betw een 0 and 1 can prevent theperpendicular scaling from deforming the draw ing too much, but it w on’t preserve
the entire volume of the draw ing. Setting its value to 0 w ill make it so no scaling isapplied to the perpendicular axis.

lThree- Point Sampling: Uses all three tracking points, the Main Position Tracker,
Tracker 2 and Tracker 3. It w ill translate, rotate, scale and skew the attached draw ing
as necessary to make it track all three points. The initial position of all three points w ill
define the regions of the draw ing that w ill be constrained to the deformation.

"This mode can be useful w hen rigging a draw ing inside the surface of a deformed

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Parameter

Description

draw ing. Instead of simply tracking along the deformation curve, it w ill transform adraw ing to best match the tracking points w ithin the deformed surface, such as theinside of an Envelope deformation or a Free Form Deformation.

The Volume Modifier is applied only w hen using the 2- Point with Scale sampling type.
W ith this sampling type, the draw ing is scaled on the axis betw een the Main Position Tracker
point and the Tracker 2 point based on the distance betw een those tw o points. The distance
betw een those points varies relative to the length of the deformation curve as it is modified. In
other w ords, the draw ing is stretched w hen the curve is made longer, and it is squashed w hen
the curve is made shorter.
To preserve the draw ing’s volume, a scale is also applied on the perpendicular axis. This scale
is automatically calculated so that the draw ing alw ays keeps the same volume. So as to giveyou control on this, the scaling applied on the perpendicular axis is proportional to the Volume
Modifier parameter.
A Volume Modifier set to 1.0 w ill result in a squash-and-stretch that preserves the volume of
the transformation. As the axis defined by the tw o tracking points is squashed, theperpendicular axis is stretched to preserve the volume. If the axis is stretched, then theperpendicular axis is squashed instead.

VolumeModifier

A Volume Modifier set to 0.0 w ill result in a transformation that does not attempt to preserve
the volume of the transformation. As the axis defined by the tw o tracking points is squashed,no scale is applied to the perpendicular axis.

You can set the Volume Modifier parameter to any value betw een 0 and 1 so as to mitigate theeffect of the perpendicular scaling and prevent it from deforming the draw ing too much, but
any value low er than 1 means the volume of the draw ing w ill not be fully preserved.

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Refract

Use the Refract effect to create effects such as ripples and heat haze. This effect is based on the refraction oflight, w hich occurs w hen a beam of light passes through media of different density, causing the light to refract
or change angles. This effect makes objects appear distorted or offset from their actual positions. If you
imagine an object in a pool of w ater the part beneath the surface of the w ater appears offset from its true
position.

This creates the effect of a volume passing over an image, refracting the light that bounces off the contents
below .
The refraction effect uses the matte's alpha values to taper the refractions. Hence, you can create a nicerefraction effect w ith a draw ing containing solid strokes if you run it through a Blur-Radial effect to blur its
alpha values.

You can make the ripple effect move across the image by hooking the matte draw ing to a peg and animating
the peg.

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Refract Properties

Parameter

Description

Name

Allow s you to change the name given to the node.

Invert Matte

Inverts the matte used to generate the effect. By default, the effect is applied tothe opaque areas of the matte draw ing. W hen this option is enabled, the effect isapplied to the transparent areas of the matte instead.

The amount of refraction to apply to the image.
Intensity
You can attach the value to a function curve to change its value over time.

The amount of depth to add to the refraction effect. W hen coupled w ith theHeightIntensity effect, this value can create the effect of bending the objects below therefraction matte.
You can attach the value to a function curve to change its value over time.

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Stick Node
The Stick node is available for compatibility w ith previous versions of deformation rigs. This node is the legacy
Bone node. W hen the Stick node is imported in the Node view , it is renamed Bone.

Parameter

Descriptions

Rest Length

This is the bone's length for the resting position.

LengthThis is the bone's length for the animation position. This parameter can belinked to a function to be animated over time.

Region of Influence

Influence Fade RadiusThis defines the size of the fade area around the actual region of influence's
boundaries.

W hen the Symmetric Ellipse of Influence option is enabled, this field controls theLeft and Right transversal radius values. W hen disabled, it controls the size of theleft transversal radius. By default, this value is set to 2.
Transversal Influence Radius
Left

Transversal Influence Radius
Right

W hen the Symmetric Ellipse of Influence option is enabled, this field becomesinactive. The Left Transversal radius value is automatically applied to the Right
Transversal. W hen the Symmetric Ellipse of Influence option is disabled, it controls
the size of the Right Transversal radius. By default, this value is set to 2.

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Longitudinal Influence Radius
Begin

W hen the Symmetric Ellipse of Influence option is enabled, this field becomesinactive. The End Longitudinal value is automatically applied to the Begin
Longitudinal value. W hen the Symmetric Ellipse of Influence option is disabled, it
controls the size of the Begin Longitudinal radius. By default, this value is set to0.25.

W hen the Symmetric Ellipse of Influence option is enabled, this field controls boththe Begin and End Longitudinal radius values. W hen this option is disabled, it
controls the size of the End Longitudinal radius. By default, this value is set to 0.25.
Longitudinal Influence RadiusEnd

Symmetric Ellipse Influence

Enabled by default. The shape of the ellipse w ill be symmetrical on both thetransversal and longitudinal radii. In this case, use the Transversal Influence Radius
Left field to set the transversal radius value and use the Longitudinal Influence
Radius End field to set the longitudinal radius value. The tw o other fields w ill
remain unused unless you disable the Symmetric Ellipse Influence option. In thatcase, you can set up different radius sizes for the four radii directions.

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Turbulence Node
The Turbulence effect is a mathematically generated effect that uses fractal noise to create turbulent
distortions in an image. You can see the effect w hen used w ith an image as the background. You can create
flow ing w ater, funhouse mirrors, and w aving flags.

For a detailed video tutorial by Adam Phillips, see
https://w w w .youtube.com/w atch?v=qVEQYNhHb2Q

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Turbulence Properties

Parameter

Description

The algorithm used to generate the noise:lPerlin: Creates pseudo random patterns. The greyscale contains acontinuity betw een different tones of grey.

lSimplex: Creates a more contrasted noise pattern w ith more variation
than Perlin. There is a smooth variation of intensity.

lSinusoidal: Creates a repeated w avelike pattern.

l

Sub Scaling: Applies Perlin noise tw ice. The second noise is added w here
dark areas appear in the original. The frequency of the second iteration ishigher so the noise is smaller.

Noise Type583

Chapter 3: Nodes / LayerslRocky: Uses the Perlin pattern but converts the very high and low values
to more moderate values. For example, the w hites become light greys andthe blacks become dark greys.

l

Small Bumps: Uses the Perlin pattern. The transitional grey areas
betw een blacks and w hites become inverted so they look like dark lines.
The extremes, black and w hite areas, become w hitish.

Transforms the noise pattern generated by the Noise type and controls the w ay
layers are composited. These are variations of the basic noise.
lTurbulent Twist: Applies a turbulent effect on the pattern so it changes
the transition betw een black and w hite by adding more modulation.

lFractional Brownian: Applies a basic application of noise and composites
by adding subsequent layer w ith the Complexity parameter.

lThreshold: Changes the dark greys into black values so there is more
black in the noise for higher contrast.

lInvert Threshold: Inverts all the values of the Threshold type so anegative image of it is created.

lTerrain: Adds contrast and converts the dark greys into w hite or lightgreys.

Fractal Type

Pinning

Constrains the effect w ithin the image boundaries.

AmountSpecifies the amplitude of displacement.

Frequency

The density of displacement appearing in the noise. A higher value produces agreater amount of displacement in a given area; a low er value produces a smaller
amount.

OffsetMoves the entire image.

Seed

This value determines the starting noise pattern on the first evolution of theeffect.

LockedApplies parameter value w hile retaining the X and Y ratio.

Separate

Allow s you to apply different parameter values to X and Y.

xy

W hen locked, applies parameter values to both X and Y. W hen separated, allow s
you to apply different value to X and Y.

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Evolution

Determines the displacement pattern over time.

Evolution Frequency

This factor makes the complexity iterations animate or transform at a higher
speed. In other w ords, the second, third, etc. passes, controlled by the Complexity
parameter, w ill mutate faster than the main one.

The number of noise layers that make up the noise. Each successive layer has ahigher frequency, resulting in a smaller noise effect. You can have up to sevenpasses. Increasing this number increases the depth and amount of detail in thenoise. Use Complexity w ith Sub Scaling w hen the value is 1 or greater.
Complexity

NOTE
Increasing the Complexity results in longer rendering times.

Gain

Controls the amount of opacity present in the iteration of noise. This also affects
the layer w hen using Sub Scaling. W ith a value of 0, you w ill not see the sub
noise. A value of 1 w ill show the sub noise just as strong as the main one. For
example, w ith w ater ripples, a higher amount of Gain w ill reveal more ripple or
subripples.

The factor by w hich the main noise is modified at each iteration of complexity. A
Sub Scaling:value of 1 make the tw o noises identical. A value of 2 makes the sub noise tw ice
as small. The next iteration w ould be 4 times smaller. Values must be greaterthan 1.

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W eighted- Curve NodeThe w eighted-curve node allow s you to deform a draw ing by assigning w eight to deformation points in a
deformation system, making the curves more precise and less likely to tear and artifact than w ith a standard
deformation point.
The w eighted-curve node also allow s for the customization of deformation points w ith options such as
Quadratic Bezier Curve, Cubic Bezier Curve, and Catmull-Rom Spline.
The W eighted-Curve node connects to the W eighted-Deform node as a deformation input. This means theW eighted-Curve node should attach to the left node port of the W eighted-Deform node. W hen adding yourpegs, be sure to attach a parent peg to each peg. The image below is an example of a netw ork for theW eighted-Curve node.

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Properties

Parameter

Description

Enable/Disable

Defines w hether the w eighted-curve node is enabled or disabled in the scene.

Name

The name of the node as it appears in the Node View and the Timeline view . Eachnode must have a name that is unique to its containing group.

The W eighted-Curve node has three options for Beziers:
Cubic Bezier Curve- A deformation based on four points. The middle tw o points
influence the curve.
Curve Type

Quadric Bezier Curve- A deformation point based on three points. The middle ofthe three points influences the curve.
Catmull- Rom Spline- Creates a deformation curve based on a spline w here thefirst and last points influence the curve shape. This is recommended to deformmovements expected to be continuous.

W eight

This value specifies the influence of the curve on the draw ing. A value of 100 w ill
constrain the draw ing to the curve. A low er value w ill cause the curve to haveless influence on the draw ing.

Minimum Distance.Defines the minimum distance at w hich the curve w ill have influence over theedge you are deforming.

Maximum DistanceDefines the minimum distance at w hich the curve w ill have influence over theedge you are deforming.

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W eighted Deform Node

The W eighted Deform node is a deformation node that creates a blended deformation from the regions
defined by multiple sources. The deformation blends the points in a draw ing or image based on the distance toa deformation source and is used to provide a clean deformed surface.

Connection
The W eighted Deform node acts as a composite for several kinds of transformations, and outputs thecomposited transformations onto a Draw ing node.

The rightmost input port of the W eighted Deform node is for the base transformation for the draw ing. This
port should be connected to w hat w ould have otherw ise been the parent peg of the child Draw ing node. For
example, if the node connected under the W eighted Deform node is Arm_R, then the peg Arm_R-P should beconnected to this port. It w ill pass this transformation onto the Draw ing node, but it w ill also composite theother transformations onto it.

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If you connect any other transformation or deformation (green) cable to the W eighted Deform node, an extra
input port (light green) w ill appear. Those transformations are composited together to make a w eighted
deformation that is applied to the child element. The follow ing transformations are supported:lDeformation nodes: Bone, Curve and Envelope deformations are converted by the W eighted Deform
node to deform the entire texture of the draw ing, instead of only deforming its outlines. This isespecially useful to create Envelope deformations around textured or detail-heavy draw ings.

l

Peg nodes: Pegs are used as deformation points to create a “cloth” like deformation. They w ork very
similarly to the Free Form Transformation node. The position of the peg’s pivot point acts as the resting
position of the point, and the actual position of the peg is the point’s offset.

Like all transformation and deformation nodes, the output port of the W eighted Deform node outputs atransformation and should be connected to the input port of an Draw ing node.

Layer Properties

Parameter

Description

Name

Pre-Blend
AmountThe blend amounts are used to define the rigidity of the deformation map. The values areadded at different points in the computation and result in a different result w hen used.
The Pre-Blend Amount is added w hen calculating the distance from the deformation regions.
It blends the regions by making the regions less influential w hen close to the contours.

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Parameter

Description

The Post-Blend Amount is added after calculating the deformation mapping of the w eightingof the W eighted Deform’s regional influences. It is used to round out the influence of thedeformation region by applying the value as an exponent to the calculated deformation
w eights.
A value of 0 w ill create a linearly interpolated deformation. A higher value w ill cause regions
further from the source to have increasingly less influence as it recedes from the control.

Post-Blend
AmountA negative value can be used to apply the blending inversely.

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Parameter

Description

Deformation
Quality

This is the quality of the deformation. It ranges from Low to Extreme. The higher the quality,
the better the deformation w ill look, but the longer it w ill take to render.

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W eighted- Line Node
The W eighted-Line node allow s you to lock a portion of the draw ing in place w hile deforming another area ofthe draw ing. For example, if you make a curve deformation, you may notice that other areas of the draw ing
may disappear, break, or tear as the deformation takes place. If you use the W eighted-Line node, desired areasof the draw ing w ill lock in place. You may use the W eighted-Line node w ith the W eighted-Curve andW eighted-Point node.
Similar to the W eighted-Curve, W eighted-Draw ing, and W eighted-Point nodes, the W eighted-Line node isdesigned for high-quality deformations that are best for preserving the texture and integrity of a draw ing
object,
The W eighted-Line node connects to the W eighted-Deform node as a deformation input. This means theW eighted-Line node should attach to the left node port of the W eighted-Deform node. W hen adding yourpegs, be sure to attach a parent peg to each peg. The image below is an example of a netw ork for theW eighted-Line node.

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Properties

Parameter

Description

W eight

This value specifies the influence of the line on the draw ing. A value of 100 w ill
constrain the draw ing to the line. A low er value w ill cause the line to have lessinfluence on the draw ing.

Minimum DistanceDefines the minimum distance at w hich the w eighted-line w ill have influence
over the draw ing.

Maximum DistanceDefines the maximum distance at w hich the line w ill have influence over the
draw ing you are deforming.

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W eighted- Point Node
The W eighted-Point node allow s you to make deformations using a series of unconnected pegs that you may
assign w eight to. The main difference betw een the W eighted-Point node and the W eighted-Deform node is
the W eighted-Point node allow s you to that you further customize the influence of deformations by specifying
w eight values to each peg.
Similar to the nodes, the W eighted-Point node prioritizes the quality of deformations rather than speed. It is
recommended you use the w eighted-point node w hen you w ant to make precise single-point deformations
w hile preserving the texture and integrity of the draw ing object.
The follow ing image is an example of a netw ork for the W eighted-Point node.

.

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Properties

Parameter

Description

W eight

This value specifies the influence of the point on the draw ing. A value of 100 w ill
constrain the deformed area directly to the point. The low er the value, the lessinfluence the point w ill have on the draw ing, and there w ill be more of a distance
betw een the point and the deformation.

Minimum Distance.Defines the minimum distance at w hich the point w ill have influence over thearea you are deforming.

Maximum DistanceDefines the minimum distance at w hich the point w ill have influence over the area
you are deforming.

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Filter Nodes
Here is the list of the main filter effects available in Harmony.
Anti- Flicker Node598

Auto- Patch Node600

Bloom Node602

Blur- Box Node606

Blur- Directional Node609

Connection

610

Layer Properties

611

Blur- Gaussian Node613

Blur- Radial Node616

Blur- Radial- Zoom Node618

Blur- Variable Node622

Brightness Contrast Node624

Channel Selector Node626

Channel Swap Node628

Chroma- Keying Node630

Colour Banding Node636

Colour Art Node639

Colour Curves Node Properties

641

Colour Fade Node647

Palette Overrides

648

Individual Colour Overrides

650

Colour Levels Node654

Colour- Override Node657

Colour- Scale Node662

Colour Selector Node664

Contrast Node667

Dither Node669

Focus Node

671

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Focus Multiplier Node674

Gamma Node676

Glow Node679

Grain Node

683

Greyscale Node685

Hue- Saturation Node687

Increase Opacity Node694

Layer Selector Node697

Line Art Node

700

Luminance Threshold Node702

Matte- Blur Node705

Matte- Resize Node708

Median Node710

Motion Blur Node713

Motion- Blur- Legacy Node717

Negate Node

720

Overlay Layer Node722

Pixelate Node724

Remove Transparency Node726

RGB Difference Keyer Node728

Shadow Node733

Transparency Node736

Underlay Layer Node

738

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Anti- Flicker NodeUse the Anti-Flicker to compensate for flickering in your output to TV formats. The Anti-Flicker effect applies avertical blur to the rendered output. You should place the Anti-Flicker before a W rite node in the Node view .

Refer to the follow ing example to connect this effect:

Use the Anti-Flicker editor to control the amount of blur that is applied to rendered output. In the Radius field,
enter a value for the number of pixels to be considered in the blur.

Properties

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Parameter

Description

Name

The name of the node as it appears in the Node View and the Timeline view . Eachnode must have a name that is unique to its containing group.

RadiusSize of the blur. The larger the value, the greater the strength or reach of the blur.
The blur radius is affected by the draw ing scale and camera position. Click the
Edit Curve button to change these values over time by adjusting the function
curve.

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Auto- Patch Node
T-RIG-005-001
The Auto Patch node is used mainly w hen creating joint patches for cut-out puppets draw n w ith pencil lines
and painted in the Colour Art layer. Instead of removing a portion of the outline to attempt to create aseamless joint, you can draw complete pieces, and w ith the Auto Patch node, automatically create a perfectarticulation.

The requirements for this effect to w ork are:l

Draw ing outlines must be draw n in pencil lineslDraw ing outlines must be draw n in the Line Art layerlDraw ing fill colours must be painted in the Colour Art layer

Pencil lines are central vector lines. The vector is located along the centre of the line. This means that w hen
you paint a zone delimited by a pencil line, the colour fill w ill expand to the centre of the pencil line.

W hen using the regular patch technique, recommended for the brush line, the result w ith pencil lines is very
odd looking because the colour fill zone is bigger than the pencil line inner contour.

Instead of using the regular patch method, you can use the Auto Patch node. It w ill automatically extract the
Colour Art and clip it to the right size. Then, you can connect it in front of the piece to be covered.

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The node connection for the Auto Patch is quite simple. Once your basic character rigging is done, add theAuto Patch node to the joints you w ant to cover. There is no need to set any parameters.
Refer to the follow ing example to connect this effect:

Properties
Parameter

Description

Name

The name of the node as it appears in the Node View and the Timeline view . Eachnode must have a name that is unique to its containing group.

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Bloom Node
The Bloom effect is used to make a specular area blurrier on a bitmap image, such as street lamps at night.

Connection
The Bloom node takes an image of any type as its input and outputs an image in w hich pixels that pass thethreshold are softened, blurred and their gamma is adjusted.

Optionally, it can also be connected to a matte image. In this case, only the parts of the input image thatintersect w ith the matte w ill be affected by the effect.
The Bloom node is a combination of the Luminance Threshold, Cutter, Blur-Gaussian and Composite Genericnodes—see Luminance Threshold Node on page 702, Cutter Node on page 472 Blur-Gaussian Node on page613, and Composite-Generic Node on page 466.

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Layer Properties

Parameter

Description

Name

Allow s you to enter a name for the node.

ThresholdControls how much of the dark value to clamp off. A high value w ill keep only the bright areasof your image.

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Parameter

Description

Brings back the entire spectrum of luminance in areas defined by the threshold to avoid
having only bright values.

Soften Colours

Multiplies the gamma value to make the area brighter or darker. A value of 1 keeps the
gamma the same as the original image. You can use the gamma modification on the w hole
image if you use a threshold of 0 for example.

Gamma
Correction

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Parameter

Description

OutputGreyscale Matte

Allow s you output an image in levels of grey. This can be used in combination w ith a Blendingor Cutter node, or other effects that use greyscale mattes.

Invert Matte

Inverts the matte used to generate the effect. By default, the effect is applied to the opaqueareas of the matte draw ing. W hen this option is enabled, the effect is applied to thetransparent areas of the matte instead.

Truck Factor

Activated by default, this option readjusts the blur w hen the elements undergo a change of
depth or scale. W hen this option is deselected, the effect's values remain unchanged
regardless of any depth or scale changes. This option should be deselected w hen multiple
draw ings are composited and attached to this effect.

RadiusAdjusts the amount of blur applied to the image.

Quality

Controls the quality of the blur. A higher quality yields better results, but w ill be slow er torender.

Composite w ith
Source Image

Blends the area defined by the threshold w ith the original image.

Blend Mode

Defines the blending mode betw een the original image and the area defined by the thresholdto avoid having to add a Composite Generic node after the Bloom node.

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Blur- Box Node
T-COMP2-003-003
The Blur - Box effect is a quick and easy w ay to create a blurring effect. The Box blur changes the colour valueof each pixel based on the pixels next to it in the vertical and horizontal directions. The look of the blur issimilar to the look achieved using Gaussian blur, but renders much faster. This effect is useful w hen a fast
rendering time is important, and the quality of the blur is less important. Also, you can use a matte w ith thiseffect to isolate areas of the image.

Refer to the follow ing example to connect this effect:

For a detailed video tutorial by Adam Phillips, see
https://w w w .youtube.com/w atch?v=mHAnqqM2PyE

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Properties

Parameter

Description

Name

The name of the node as it appears in the Node View and the Timeline view . Eachnode must have a name that is unique to its containing group.

Activated by default, this option readjusts the blur w hen the elements undergo achange of depth or scale. W hen this option is deselected, the effect's values
Truck Factor

Repeat Edge Pixels

remain unchanged regardless of any depth or scale changes. This option should
be deselected w hen multiple draw ings are composited and attached to thiseffect.

Makes the blur algorithm operate as if the pixel values beyond the edge of thelayer are the same as the values of the edge pixels. This keeps edges sharp,
preventing them from darkening and becoming more transparent.

BlurrinessDirectional

Blurs according to the length, w idth, and angle you specify. For example, if acharacter is w alking east, the blur may fall to the w est.

RadiusSize of the blur. The larger the value, the greater the strength or reach of the blur.
The blur radius is affected by the draw ing scale and camera position. Click the
Edit Curve button to change these values over time by adjusting the function
curve.

LengthLength of the blur.

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Parameter

Description

W idthThickness of the blur.

Angle

The direction in w hich the blur is applied: sidew ays, up, dow n, 90 degrees, 45
degrees, and so on.

Bidirectional

Applies the blur on both sides of the pixel.

Fall OffThe distance w here the blur fades from the edge of the image. Select a value
betw een 0 and 1. A fall-off rate of 0 causes the blur to fade out slow ly,
distributing the blur evenly from the edge of the character to the farthest edge ofthe blur. A fall-off rate of 1 causes the blur to fade out quickly, so the blur isheaviest closer to the edge of the image.

Number of Iterations

The number of times the blur is applied to the image. A higher number of
iterations creates smoother transitions betw een colours and increases the blur,
but also increases render time.

Matte

Invert Matte

Inverts the matte used to generate the effect. By default, the effect is applied tothe opaque areas of the matte draw ing. W hen this option is enabled, the effect isapplied to the transparent areas of the matte instead.

Precision

Blurs the image the number of times the precision indicates at different radius(betw een 0 and the specified radius).

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Blur- Directional Node
T-COMP2-003-005
The Blur-Directional effect creates the effect of a motion blur that pulls and smears the image from one
contour edge to a different direction or angle. This effect is useful in creating the impression of speed, such as
the streaks of colour that follow a car travelling at high speed.

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Connection
The Blur-Directional node takes an image of any type as its input and outputs a blurred bitmap image.

Optionally, it can also be connected to a matte image. In this case, only the parts of the input image thatintersect w ith the matte w ill be affected by the effect.

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Layer Properties

Parameter

Description

Name

The name of the node as it appears in the Node View and the Timeline view . Eachnode must have a name that is unique to its containing group.

Truck Factor

Activated by default, this option readjusts the blur w hen the elements undergo achange of depth or scale. W hen this option is deselected, the effect's values
remain unchanged regardless of any depth or scale changes. This option should
be deselected w hen multiple draw ings are composited and attached to thiseffect.

RadiusSize of the blur. The larger the value, the greater the strength or reach of the blur.
The blur radius is affected by the draw ing scale and camera position. Click the
Edit Curve button to change these values over time by adjusting the function
curve.

Falloff Rate

The distance w here the blur fades from the edge of the image. Select a value
betw een 0 and 1. A fall-off rate of 0 causes the blur to fade out slow ly,
distributing the blur evenly from the edge of the character to the farthest edge ofthe blur. A fall-off rate of 1 causes the blur to fade out quickly, so the blur isheaviest closer to the edge of the image.

The angle of the blur. The value goes from 0 to 360, w ith 0 meaning w est, andangles going counterclockw ise. For example:

Angle

l

0: Blurs the image to the w est.

l

90: Blurs the image to the south.

l180: Blurs the image to the east.

l

270: Blurs the image to the north.

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Parameter

Description

Direction of trail

If you do not set an Angle for the direction of the blur, you can select a direction(north, south, east, or w est) from this menu. The calculations for this feature are
faster than the calculations for the Angle setting.

Ignore Alpha

Controls the leading edge of the blur. Deselect this option for a solid or hardleading edge on the blur.

Extra Final Blur

Adds a second blur after the Blur-Directional is created. If you have a BlurDirectional that begins at 0 and gradually gets stronger, deselect this option toensure a smooth progression.

Number of Iterations

The number of times the blur is applied to the image. A higher number of
iterations creates smoother transitions betw een colours and increases the blur,
but also increases render time.

Matte

Invert Matte

Inverts the matte used to generate the effect. By default, the effect is applied tothe opaque areas of the matte draw ing. W hen this option is enabled, the effect isapplied to the transparent areas of the matte instead.

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Blur- Gaussian Node
T-COMP2-003-002
The Blur-Gaussian effect softens the image, reducing the amount of noise and detail. The look of the Gaussian
blur is smooth, but does take some rendering time. This effect is useful w hen rendering time is less important,and quality is more important. Also, you can use a matte w ith this effect to isolate areas of the image.

For a detailed video tutorial by Adam Phillips, see
https://w w w .youtube.com/w atch?v=mHAnqqM2PyE
Refer to the follow ing example to connect this effect:613

Chapter 3: Nodes / Layers

Properties

Parameter

Description

Name

The name of the node as it appears in the Node View and the Timeline view . Eachnode must have a name that is unique to its containing group.

Truck Factor

Activated by default, this option readjusts the blur w hen the elements undergo achange of depth or scale. W hen this option is deselected, the effect's values
remain unchanged regardless of any depth or scale changes. This option should
be deselected w hen multiple draw ings are composited and attached to thiseffect.

Repeat Edge Pixels

Makes the blur algorithm operate as if the pixel values beyond the edge of thelayer are the same as the values of the edge pixels. This keeps edges sharp,
preventing them from darkening and becoming more transparent.

BlurrinessDirectional

Blurs according to the length, w idth, and angle you specify. For example, if acharacter is w alking east, the blur may fall to the w est.

BlurrinessAmount of blur applied to the layer.

Horizontal BlurrinessLength of the blur.

Vertical Blurriness

Thickness of the blur.

Angle

The direction in w hich the blur is applied: sidew ays, up, dow n, 90 degrees, 45
degrees, and so on.

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Parameter

Description

Bidirectional

Blurs in both horizontal and vertical directions.

Matte

Invert Matte

Inverts the matte used to generate the effect. By default, the effect is applied tothe opaque areas of the matte draw ing. W hen this option is enabled, the effect isapplied to the transparent areas of the matte instead.

Precision

Blurs the image the number of times the precision indicates at different radius(betw een 0 and the specified radius).

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Blur- Radial Node
T-HFND-010-007
The Blur-Radial effect creates an effect that softens, fogs or obscures the image evenly in all directions. Thiseffect is useful w hen you w ant to make cloudy images not realistically seen in detail, such as a draw ing object
that is farther back or in the background of your scene, usually blurry due to the law s of atmosphericperspective. Other uses include the general softening of objects such as snow , stars and shadow s that do notnaturally have a hard outline.

Refer to the follow ing example to connect this effect:

Properties

Parameter

Description

Name

The name of the node as it appears in the Node View and the Timeline view . Each

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Parameter

Description

node must have a name that is unique to its containing group.

Truck Factor

Activated by default, this option readjusts the blur w hen the elements undergo achange of depth or scale. W hen this option is deselected, the effect's values
remain unchanged regardless of any depth or scale changes. This option should
be deselected w hen multiple draw ings are composited and attached to thiseffect.

RadiusSize of the blur. The larger the value, the greater the strength or reach of the blur.
The blur radius is affected by the draw ing scale and camera position. Click the
Edit Curve button to change these values over time by adjusting the function
curve.

Quality

Select High for a slow and accurate operation or Low for a faster operation w ith amore raw look.

Matte

Inverts the matte used to generate the effect. By default, the effect is applied toInvert Mattethe opaque areas of the matte draw ing. W hen this option is enabled, the effect isapplied to the transparent areas of the matte instead.

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Blur- Radial- Zoom Node
T-COMP2-003-007
The Blur - Radial Zoom effect creates blurs around a centre point, simulating the look of a zooming or rotatingcamera. You can use a matte to isolate the area of the image from w hich you w ant the effect to radiate from.
For example, in the illustration below , a circular matte w as created to mask the eyeball and a Negate effectw as applied so the blur is outside the matte. Then the centre point w as positioned on the character's iris,
w hich is the centre of the matte.

For a detailed video tutorial by Adam Phillips, see
https://w w w .youtube.com/w atch?v=mHAnqqM2PyE
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Properties

Parameter

Description

Enable/Disable

Allow s you to enable or disable the node. W hen disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top view s.

Colour Sw atch

Sets the colour of the layer in the Timeline view and of the node in the Node view .

Name

The name of the node as it appears in the Node View and the Timeline view . Eachnode must have a name that is unique to its containing group.

Truck Factor

Activated by default, this option readjusts the blur w hen the elements undergo achange of depth or scale. W hen this option is deselected, the effect's values
remain unchanged regardless of any depth or scale changes. This option should
be deselected w hen multiple draw ings are composited and attached to thiseffect.

Focus

The focus point is the point from w hich the radial-zoom blur radiates. By default,
it is in the centre of the stage, but it can be positioned anyw here and it can also be

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Parameter

Description

animated.
If you w ant to animate the focus point, you can choose w hich type of function to
use to store the animation.
l

2D Path: The horizontal and vertical position are on the same function.
This makes the point move in a curvilinear trajectory betw een each
keyframe.

lSeparate: The horizontal and vertical position are on separate functions.
This makes the point move in a straight line betw een each keyframe and it
allow s you to modulate the trajectory differently on each axis.

NOTE
The position of the Focus point is also influenced by the transformation
information sent to the node's middle input (Focus Point) port. You can
attach a peg to the middle input-port and position or animate the focus point
by positioning or animating the peg.

(x) Axis

The horizontal position of the focus point.

(y) Axis

The vertical position of the focus point.

BlurrinessAmount of blur applied to the layer.

Constant: An equal, constant blur is applied on all pixels.
Variation

Linear: A gradual blur is applied on all pixels.
Quadratic: An exponential blur is applied on all pixels.

Direction

Lets you select preset blur types or create a custom blur.

Presets

A set of preset radial, zoom, and spiral blurs to get you started. You can thenadjust the type to customize the blur.

CustomCreate your ow n blur by entering a value for the direction of the blur lines.

Fall OffThe distance w here the blur fades from the edge of the image. Select a value
betw een 0 and 1. A fall-off rate of 0 causes the blur to fade out slow ly,
distributing the blur evenly from the edge of the character to the farthest edge ofthe blur. A fall-off rate of 1 causes the blur to fade out quickly, so the blur is620

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Parameter

Description

heaviest closer to the edge of the image.

Bidirectional

Applies the blur on both sides of the pixel.

QualityAffects the quality of the blur by defining how fine the reference radial grid is on
the image. This determines the w idth of all the w edges. A higher quality yields
achieve better results, but w ill be slow er to render.

Matte

Precision

Blurs the image the number of times the precision indicates at different radius(betw een 0 and the specified radius).

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Blur- Variable Node
T-COMP2-003-004
Use the Blur-Variable effect to create a radial blur that varies w ithin a single image based on the w hite andblack values in the matte you supply. You can set one blur value for the black regions in the matte, and anotherblur value for the w hite regions. The blur value for each grey region is interpolated betw een your black andw hite blur settings.

The follow ing example is a netw ork for a Variable Blur effect. A black and w hite copy of the character w as
used to create the effect. Use the Blur-Variable editor to control the blur value for the w hite and black radius.
Refer to the follow ing example to connect this effect:

Properties

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Parameter

Description

Name

The name of the node as it appears in the Node View and the Timeline view . Eachnode must have a name that is unique to its containing group.

Black radius

The amount of blur to apply to the black (transparent) values in the matte. Higher
values create more blur in the colour image's regions that correspond to the black
matte region.

W hite radius

The amount of blur to apply to the w hite (opaque) values in the matte. Higher
values create more blur in the colour image's regions that correspond to the w hitematte region.

Quality

Select High for a slow and accurate operation or Low for a faster operation w ith amore raw look.

Keep inside source image

This option confines the blur to the source image.

Matte

Inverts the matte used to generate the effect. By default, the effect is applied toInvert Mattethe opaque areas of the matte draw ing. W hen this option is enabled, the effect isapplied to the transparent areas of the matte instead.

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Brightness Contrast Node
The Brightness and Contrast effect allow s you to modify the brilliance or dullness of an image or to create agreater difference betw een the lights and darks of an image by increasing their respective intensities. Thiseffect can be used w hen an image appears too flat. Increasing the brightness or contrast can give a draw ing amore attractive and 3D quality. This can be useful if you w ant to push your background to the rear by making it
look dull and flat and pulling your foreground elements to the front by giving them a higher contrast.

Connection
The Brightness Contrast node takes an image of any type as its input and outputs an image w ith different
brightness and contrast parameters.

Optionally, it can also be connected to a matte image. In this case, only the parts of the input image thatintersect w ith the matte w ill be affected by the effect.

Layer Properties

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Parameter

Description

Name

The name of the node as it appears in the Node View and the Timeline view . Eachnode must have a name that is unique to its containing group.

Legacy Brightness

If you created this effect in an older version of Harmony, this option is enabled bydefault to prevent enhancements done to the effect in more recent versions ofHarmony from affecting the rendered image.

Brightness

A value less than 0 w ill darken the image; a value greater than 0 w ill brighten it.
Attach a Bezier or Ease function to change the brightness over time.

Contrast

A value less than 0 w ill reduce contrast; a value greater than 0 w ill increase
contrast. Attach a Bezier or Ease function to change the contrast over time.

Legacy Contrast

If you created this effect in an older version of Harmony, this option is enabled bydefault to prevent enhancements done to the effect in more recent versions ofHarmony from affecting the rendered image.

Matte

Invert Matte

Inverts the matte used to generate the effect. By default, the effect is applied tothe opaque areas of the matte draw ing. W hen this option is enabled, the effect isapplied to the transparent areas of the matte instead.

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Channel Selector Node
The Channel Selector effect allow s you to filter out some of the colour channels in an image.

Refer to the follow ing example to connect this effect:

Properties

Parameter

Description

Name

Allow s you to enter a name for the node.

Red

Allow s the red values to go through.

Green

Allow s the green values to go through.

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Parameter

Description

Blue

Allow s the blue values to go through.

Allow s the alpha values to go through.

Alpha

NOTE
W hen this parameter is disabled, the input image is composited w ith thescene as if the alpha value of each pixel w as the sum of the red, green andblue values.

Invert Matte

Inverts the matte used to generate the effect. By default, the effect is applied tothe opaque areas of the matte draw ing. W hen this option is enabled, the effect isapplied to the transparent areas of the matte instead.

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Channel Swap Node
The Channel Sw ap effect lets you take the image information from one channel and use it in another channel
to achieve interesting effects. You can extract the follow ing: red, green, blue, alpha values, hue, saturation,lightness, and luminance, as w ell as turn the information on or off.

For a detailed video tutorial by Adam Phillips, see
https://w w w .youtube.com/w atch?v=c4nvOTb3-Sc
Refer to the follow ing example to connect this effect:

Properties

Parameter

Description

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Name

The name of the node as it appears in the Node View and the Timeline view . Eachnode must have a name that is unique to its containing group.

Red Channel From

Allow s you to select from w hich channel to get the red values.

Green Channel From

Allow s you to select from w hich channel to get the green values.

Blue Channel From

Allow s you to select from w hich channel to get the blue values.

Alpha Channel From

Allow s you to select from w hich channel to get the alpha values.

Invert Matte

Inverts the matte used to generate the effect. By default, the effect is applied tothe opaque areas of the matte draw ing. W hen this option is enabled, the effect isapplied to the transparent areas of the matte instead.

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Chroma- Keying Node
The Chroma-Keying effect lets you create an alpha channel (transparency zone) for a bitmap image or image
sequence. For example, if you have a series of bitmap images w ith a character filmed on a green or blue
screen, you can use this node to create an alpha channel based on the screen colour and cut it out from yourimage sequence.

Refer to the follow ing example to connect this effect:

NOTES
l

The input image must be a bitmap image.

l

If a matte draw ing is connected to the Chroma-Keying node, only the parts of the input image
that intersect w ith the matte w ill be keyed out.

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Properties

Parameter

Description

Name

Allow s you to enter a name for the node.

ColourThe colour to filter out of the image. This should be set to the colour of the
background in the image.

ColourColour Sw atchl

Red: The red value of the background colour.

lGreen: The green value of the background colour.

l

Blue: The blue value of the background colour.

lAlpha: The alpha value of the background colour.

Opens the Colour Picker dialog, in w hich you can visually select a colour for theeffect.

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Parameter

Description

TIP
Since the Chroma Key node w orks better if its colour is set to the exact
colour of the background of your image, it is recommended to open the
Colour Picker dialog, then click and drag on the Dropperand drop it

over the background of your image to instantly select its background colour.

Matte

Black Point

Increases the transparent (black) portion of the Chroma Key matte. This w ill
reduce the edge of the visible image.

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Parameter

Description

Reduces the transparent (black) portion of the Chroma Key matte. This w illincrease the edge of the visible image.

W hite Point

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Parameter

Description

Allow s you to set the number of times the input image is blurred before it isprocessed, w hich smooths out the small areas.
Blur Passes

W hen blurring the matte edge's w ith the Blur Passes parameter, the Adjacent
Pixel parameter w ill blur the matte border w ith the next few pixels (amountindicated in the field) to create a nicer edge.

Adjacent Pixels per Pass

Invert Matte

If a matte draw ing is connected to the node, by default, only parts of the input
image that intersect w ith opaque areas of the matte draw ing are keyed out. If thisoption is enabled, only parts of the input image that intersect w ith transparent
areas of the matte draw ing are keyed out.

OutputThreshold Matte

Applies a threshold (tolerance) to the selected colour to be removed. The
Threshold amount is set in the Threshold field.

ThresholdIncreases or decreases the tolerance for the selected colour to be removed fromthe image. The higher the value, the more coloured pixels w ill be considered in
the Chroma-Keying matte. The pixel colour value w ill not have to be as close to
the RGB value as the one selected in the colour sw atch. A low er Threshold valuemeans the RGB values must be closer to the selected colour in order to be part of634

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Parameter

Description

the matte.

Cut Colour

Removes the selected colour from the image and leaves a transparent zone so
you can see the background and other layers behind the image. If the option isdisabled, the colour w ill remain, but an alpha channel is created that you can use
w ith any other nodes w ith a a Matte input.

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Colour Banding NodeUse the Colour Banding effect to add a colour banding visual effect to your elements. The node w ill associate
a flat colour to the different regions of your element. These regions are delimited according the alpha values
that are set up in the effect node and w hich w ill be recognized on the original element. You can use this effectto change the visual style of a particle node, for example, by giving it a more cartoonish look.

In this example, a Colour Banding node has been connected to a fire created w ith particle effects.
Refer to the follow ing example to connect this effect:

Properties
The Colour Banding node requires you to configure it w ith four colours, and to assign each of these colours
w ith a threshold. Colours w ith a high threshold w ill replace brighter areas of the input image, and colours w ith
a low threshold w ill replace its darker areas. Hence, the order in w hich you configure these colours does notmatter.

TIP
If you only w ant to use 1, 2 or 3 colours, you can exclude a colour by setting its threshold to 100.

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Parameter

Description

Name

The name of the node as it appears in the Node View and the Timeline view . Eachnode must have a name that is unique to its containing group.

The minimum value required in the source pixel for this colour to replace thesource image colour. The threshold can be set to a value betw een 0 and 100. A
high setting w ill make the colour replace brighter areas of the input image,w hereas a low setting w ill make it replace darker areas.
Threshold

Colours are applied on the output image in order of their threshold. The colour
w ith the low est threshold is applied first, then the one w ith the second low est
threshold is applied over it, follow ed by the one w ith the second highest
threshold and finally the one w ith the highest threshold.
Setting this parameter to 100 w ill remove the colour from the effect, allow ing you
to use less than four colours if preferred.

The colour w ith w hich to fill the zone that exceeds the threshold:
Colourl

Red: The amount of red in the colour.

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Parameter

DescriptionlGreen: The amount of green in the colour.

l

Blue: The amount of blue in the colour.

lAlpha: The amount of alpha in the colour.

Colour Sw atch

Opens the Colour Picker dialog, in w hich you can visually select a colour for the
zone.

Blur

The amount of blurriness to apply to the zone.

Invert Matte

Inverts the matte used to generate the effect. By default, the effect is applied tothe opaque areas of the matte draw ing. W hen this option is enabled, the effect isapplied to the transparent areas of the matte instead.

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Colour Art Node
The Colour-Art effect lets you isolate the colour art in a layer. Placing a Colour Art node after a draw ing nodein the Node view only displays the Colour Art output. You can connect the Colour-Art node after nodes of any
type. Any bitmap information w ill pass through the node and be processed.

This effect w ill only w ork if there is something on the Colour Art layer of the draw ing.
Refer to the follow ing example to connect this effect:

Properties

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Parameter

Description

Name

Allow s you to enter a name for the node.

W hen placing the node below a Composite node containing several draw ing
nodes, such as a cut-out character, you can use this option to flatten the extracted
result. For example, w hen extracting a series of outlines, parts that may havebeen hidden by colour fills might now be visible. Enable the Flatten option to cut
the extra artw ork. Harmony w ill use the colour fills to cut unnecessary artw ork. If
your zones are not painted, nothing w ill be cut. This option w orks w ith both pencil
lines and brush strokes.
Flatten

Apply to Matte Ports on
Input Effects

At times, you may have situations w here your node is placed below a Cutter nodeusing a mask input and a draw ing input. By default, the effect only processes thecolours in the draw ing input. The mask draw ing remains untouched. If you w ant
to also filter the mask draw ing, select the Apply to Matte Ports on Input Effects
option.

Antialiasing Quality

Smoothness setting applied to Colour-Art. Choose from Low (no antialiasing),
Medium Low , Medium and High (extensive antialiasing). The higher the setting,the greater the amount of antialiasing applied. Higher quality images require
more time to render and more memory from your system. Use a low er quality
w hen rendering a pencil test.

Antialiasing Exponent

Controls the extent of the area around the Colour-Art edges used in theantialiasing process. A higher value uses less area, resulting in sharper edges,
w hile a low er value uses more area, resulting in softer edges. If the Antialiasing
Quality value is set to Low (no antialiasing), this value is ignored.

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Colour Curves Node Properties
The Colour Curves properties presents a 4 x 4 grid, and a 12 x 18 grid w hen zoomed out. Since the Input and
Output values are separated w ithin a range of 0 and 1, w hich 0 represents 0% and 1 represents 100%, eachline of the grid represents a graduation of 25%. W hen zoomed out, the range for output values is betw een -1
and 2, so each line of the grid w ill represent a graduation of 8%.
By moving the control points and handles of the diagonal line that goes through the grid, you can modify the
curve and create a more progressive setup. But the main distinction betw een the Colour Curves node and theColour Levels node is the possibility to add more control point to the curve, w hich lets you create a more
complex setup that gives you more control over the image.

Parameter

Description

Enable/Disable

Allow s you to enable or disable the node. W hen disabled, a node has no visible effect on
the rendered image, nor on the preview in the Camera, Perspective, Side, and Top view s.

Colour Sw atch

Sets the colour of the layer in the Timeline view and of the node in the Node view .

NameAllow s you to change the name given to the node.

Channels

Lets you select w hich channel you w ant to modify:

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Parameter

Input

Descriptionl

RGB: Lets you modify every colour channel (red, green and blue) at the same timew ith a single curve.

lRed: Lets you modify only the red channel.

lGreen: Lets you modify only the green channel.

lBlue: Lets you modify only the blue channel.

lAlpha: Lets you modify only the alpha channel.

Lets you reduce the range of the input colours (by dragging left and right).

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Parameter

Description

Modifying the first control point to a higher input value w ill create a more contrasted
version of the picture. If the value is set near 1, every medium colour w ill become darker,
extremely light colours w ill stay visible and w hite w ill remain w hite. Once the input is set
to 1, only the w hite colour w ill remain.
For example, the first control point has an output of 0 and an input of 0.5 instead of 0.

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Parameter

Description

Modifying the last control point to a smaller input value w ill create a more contrast versionof the picture. If the value is set near 0, medium colours w ill become brighter, extremely
dark colours w ill stay visible and black w ill remain black. Once the input is set to 0, only
the w hite colour w ill remain.
For example, the first control point has an output of 1 and an input of 0.5 instead of 1.

OutputReducing the range of the output colours (dragging up and dow n) w ill reduce the levels in
the output image but w ill not clamp the upper and low er pixels (by interpolating thevalues to a low er overall range). The perceived contrast might drop, but that’s only
because the overall levels in the image have been reduced.

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Parameter

Description

Modifying the first control point to a higher output value lets you transform the image to abrighter version of it. The contrast in the picture w ill mostly remain the same.
For example, the first control point has an output of 0.5 instead of 0 and an input of 0.

Modifying the last control point to a smaller output value lets you transform the image to adarker version of it. The contrast in the picture w ill mostly remain the same.

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Parameter

Description

For example, the last control point has an output of 0.5 instead of 1 and an input of 1.

Allow s you to zoom out to the highest range of input values betw een 2.5 and -1.5, and thehighest range of output values betw een 2 and -1. To zoom out, drag the slider to the left.

Zoom Slider

Reset

Lets you reset all values of the first and last control point. It w ill also remove every added
control point.

W hen checked, the Output w ill clamp based on the values specified in the follow ing fields:
Maximum - The maximum value of brightness applied to the draw ing.
Clamp Output
ValuesMinimum - The minimum value of brightness applied to the draw ing.
The Output area cut off by the maximum and minimum values w ill appear grayed out, andany control points in this area w ill be cut out of the image.

Extrapolate Curve
BoundsW hen unchecked, the values w ill be clipped at the level of the control points.

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Colour Fade Node
The Colour-Fade effect allow s you to animate a change in colours for an element in your scene.
The Colour-Fade node w orks a lot like the Colour-Override node, in that it allow s you to replace the palettes
used by elements in your scene w ith different palettes, and to replace individual colours w ith different colours.
But it also has a “Fade” function, that has a value betw een 0 and 100, w hich interpolates betw een the original
colours and the replacement colours. Hence, by animating this function to go from 0 to 100 over a couple
frames, you can animate the transition betw een the original colours and the replacement colours.

Connection
To use the Colour-Fade node, simply connect it under the element, effect or composite on w hich you w ant toperform a colour fade. The Colour-Fade node w ill take the image sent to its input (top) port, and output theimage w ith the colour fade applied to it through its output (bottom) port.
Just like the Colour-Override node, the Colour-Fade node w orks by travelling up the node system to replace
the colours in the vector artw ork. Hence, it does not w ork w ith bitmap images, but it does w ork w ith vector
images connected to bitmap composites and bitmap effects.

Properties
The Layer Properties for the Colour-Fade node are similar to the Colour-Override node, except that it has a
Fade function and does not support overriding textures.

General Properties

Parameter

Description

Name

The name of the node as it appears in the Node View and the Timeline view . Each node musthave a name that is unique to its containing group.

Fade

An animatable function for the percentage of interpolation betw een the input image’s
original colours and the override colours. This parameter can be set to any value betw een 0
and 100. At 0, the input image preserves its original colours. At 100, the input image’s
colours are fully replaced by the override colours. At 50, the input image’s colour areinterpolated halfw ay tow ards the override colours.

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Parameter

Description

This allow s you to customize how the interpolation betw een the original colours and theoverride colours is calculated.
By default, colours are interpolated in RGB mode, w hich means that the red, green and blue
values are interpolated from their original values to their override values directly. This may
not produce the best results. You can choose betw een the follow ing colour spaces:

ColourInterpolationl

RGB (Red, Green & Blue): Interpolates from the original colour’s red, green and blue
values to the override colour’s red, green and blue values.

lHSV (Hue, Saturation, Value): Interpolates from the original colour’s hue, saturationand value to the override colour’s hue, saturation and value.

l

HSL (Hue, Saturation, Lightness): Interpolates from the original colour’s hue,saturation and lightness to the override colour’s hue, saturation and lightness.

NOTE
This parameter is not related to the colour space management functionalities ofHarmony, such as your scene’s colour space or the rendering colour space.

This option allow s selecting the type of interpolation used for the hue value and is available
w hen the Colour Interpolation is set to HSL or HSV. The follow ing options are available:lLinear: Interpolates the hue value linearly betw een 0 and 360. Provided for legacy
reasons.

l

Circular Shortest: Linear hue value interpolation from the source colour to thedestination colour using the shortest distance, passing through 360 to 0, and viceversa if shortest.

l

Circular Clockwise: Clockw ise value interpolation, w rapping around 360 to 0 if
necessary.

l

Circular Counterclockwise: Counterclockw ise value interpolation, w rapping around
0 to 360 if necessary.

Hue Interpolation

Palette Overrides
This section of the Colour-Fade node allow s you to fade from the input image’s original palettes to alternate
palettes.
For this to w ork, the colour sw atches in the original palette and in the alternate palette must have the same
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By “cloning” the palette, a new palette is created w ith sw atches that have the same colour IDs. You can
modify the colours in a cloned palette w ithout affecting the colours in the original palette. Hence, you
can fade from a palette to its clone.
To clone a palette, right-click on that palette in the Palettes list of the Colour view , and select Clone in
the context menu.

l

By “cloning” the original colour sw atches to a different palette. This can be useful in the case w here you
already cloned a palette, but added a new sw atch to the original palette. You can clone the new sw atchto the cloned palette and give it a different colour if needed.
To clone a colour sw atch, right click on that sw atch in the Colour view and select Copy in the context
menu. Then, select the palette w here you w ant to clone the sw atch, right-click in the sw atches list andselect Paste As Clones in the context menu.

Icon

Parameter

Description

Allow s you to add a palette that is located anyw here in your Harmony Server
database to the list of palettes that can be used as overrides.

Add database
paletteIf you’re w orking on an Harmony Stand Alone scene, this allow s you to add apalette that is located in your scene’s environment, job, scene or element
palettes to the list of palettes that can be used as overrides.

NOTE
Typically, a Harmony Stand Alone scene only has environment and job
palettes if it w as exported from a Harmony Server database w ith thosepalettes.

Add filesystem
paletteAllow s you to add a palette that is located anyw here in your w orkstation’s filesystem to the list of palettes that can be used as overrides.

Palettes

The list of palettes that can be added to the W hole Palette Overrides list. By
default, this list contains all of the scene palettes as w ell as palettes linked tothe elements affected by the Colour-Fade effect. Palettes can also be addedusing the Add database palette and Add filesystem palette buttons above.

Delete current
palette entry

Removes the currently selected palette from the W hole Palette Overrides list.

W hole PaletteOverrides

The list of palettes that w ill override the palettes in the input image. W hen apalette is added to this list, any colour in the input image that has the same
colour ID as any colour in one of the palettes in the list w ill be replaced w ith thecolour in that palette.

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Icon

Parameter

Description

For example, if your character uses the palette MyCharacter_Day, and you’vecloned that palette to create an alternate palette for this character named
MyCharacter_Night, adding MyCharacter_Night to this list w ill make theColour-Fade effect fade all of the colours from MyCharacter_Day to the colours
in MyCharacter_Night.
You do not need to add the original palette to any list in the Colour-Fade’s layer
properties. As long as the colours in the override palette have the same colour
IDs as the ones used in the input image, the Colour-Fade node w ill find theoriginal colours and replace them—see Palette Overrides on page 648.
To add a palette to this list, select it in the Palettes list, then click on the Add
button betw een the tw o lists.

Individual Colour Overrides
This section allow s you to fade specific colours in the input image to new custom colours.
Icon

Parameter

Description

Allow s you to pick a colour from the Camera or Draw ing view s. To do this, clickon the icon once, then click on the colour you w ant to select in the Camera or
Draw ing view . The colour’s palette w ill become selected in the Palettes list,
and the colour sw atch itself w ill become selected in the Colours list.
Colours
Eyedropper

NOTE
If the colour you clicked on is not in one of the palettes listed in the
Palettes list, it w ill not be selected. By default, the Palettes list only list
palettes that are used by the input image of the Colour-Fade node, so
make sure the node is properly connected to its input image in the NodeView .

Colours

The list of colours in the palette selected in the Palettes list in the section
above. Allow s you to select w hich colour to add to the Individual Colour
Overrides list.

Add

Adds the selected colour from the Colours list to the Individual Colour
Overrides list.

Delete current
entry

Removes the currently selected colour from the Individual Colour Overrides
list.

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Icon

Parameter

Description

The list of colours in the input image that the Colour-Fade effect must override.
To add a colour to the list:
1. Select the palette containing the colour in the Palettes list in the top left
corner.
2. Select the colour to override in the Colours list in the bottom left corner.
3. Click on the Add button betw een the Colours list and the Individual
Colour Overrides list.
The selected colour w ill be added to the list. To select w hat to do w ith thiscolour:1. Click on the drop-dow n arrow in the Mode column and select one of thefollow ing:
Individual
ColourOverrideslOverride Colour: If this colour is overridden by one of thepalettes in the W hole Palette Overrides list, this option w ill
prevent this specific colour from being overridden.

lColour Not Visible: Fades out the selected colour.

l

New RGB Only: Fades the selected colour to a new colour w ith
custom red, green and blue values, w ithout affecting thecolour’s alpha value.

l

New Alpha Only: Changes the colour’s alpha value w ithout
affecting its red, green and blue values.

l

New RGBA: Fades the selected colour to a new colour w ith
custom red, green, blue and alpha values.

2. If you’ve selected New RGB ONly, New Alpha Only or New RGBA, clickon the colour sw atch in the New column to open a Colour Picker dialog
in w hich you can select the new colour to replace the selected colour
w ith.

Render Selected Colours Only
This section allow s you to make the Colour-Fade node make all but a sub-set of colours in the input image
fade out.
Icon

Parameter

Description

Colours
Eyedropper

Allow s you to pick a colour from the Camera or Draw ing view s. To do this, clickon the icon once, then click on the colour you w ant to select in the Camera or
Draw ing view . The colour’s palette w ill become selected in the Palettes list,

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Icon

Parameter

Description

and the colour sw atch itself w ill become selected in the Colours list.

NOTE
If the colour you clicked on is not in one of the palettes listed in the
Palettes list, it w ill not be selected. By default, the Palettes list only list
palettes that are used by the input image of the Colour-Fade node, so
make sure the node is properly connected to its input image in the NodeView .

Colours

The list of colours in the palette selected in the Palettes list in the section
above. Allow s you to select w hich colour to add to the Render Selected
Colours Only list.

Add

Adds the selected colour from the Colours list to the Render Selected Colours
Only list.

Delete current
entry

Removes the currently selected colour from the Individual Colour Overrides
list.

This drop-dow n allow s you to select w hether Render Selected Colours Only
mode of the Colour-Fade node is enabled:
Render All /Render Selected
Colours Only
drop-dow n

Apply to Matte
Ports on Input
EffectslRender All: All colours in the input image are rendered.

lRender Selected Colours Only: Only the colours in the Render Selected
Colours Only list are rendered, regardless of w hether or not they are
overridden w ith a different colour. Other colours are filtered out andappear invisible.

If the output image of the Colour-Fade effect is connected to the Matte port ofany effect, by default, even if the Colour-Fade effect is configured to only
render selected colours,

The list of colours in the input image that the Colour-Fade effect must override.
To add a colour to the list:
Individual
ColourOverrides

1. Select the palette containing the colour in the Palettes list in the top left
corner.
2. Select the colour to override in the Colours list in the bottom left corner.
3. Click on the Add button betw een the Colours list and the Individual
Colour Overrides list.

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Icon

Parameter

Description

The selected colour w ill be added to the list. To select w hat to do w ith thiscolour:1. Click on the drop-dow n arrow in the Mode column and select one of thefollow ing:lOverride Colour: If this colour is overridden by one of thepalettes in the W hole Palette Overrides list, this option w ill
prevent this specific colour from being overridden.

lColour Not Visible: Areas filled w ith the selected colour
become invisible.

l

New RGB Only: Areas filled w ith the selected colour fade to a
new colour w ith custom red, green and blue values, but thecolour’s alpha value remain unchanged.

l

New Alpha Only: Areas filled w ith the selected colour value
fade to the same colour w ith a different alpha value.

l

New RGBA: Areas filled w ith the selected colour fade to a newcolour w ith custom red, green, blue and alpha values.

2. If you’ve selected New RGB ONly, New Alpha Only or New RGBA, clickon the colour sw atch in the New column to open a Colour Picker dialog
in w hich you can select the new colour to replace the selected colour
w ith.

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Colour Levels Node
The Colour Levels node allow s you to adjust the levels in an element in your scene or for your entire scene.
The levels can be adjusted for all the colour channels, for a specific colour channel or even for the alphachannel.
Colour Levels are a w ay to fine tune the balance of black and w hite in an image. A good w ay to illustrate howlevels w ork is by taking a scanned pencil draw ing. W hen you look at a clean pencil draw ing in real life, youreyes w ill mostly see clean outlines unless you focus on the erroneous details on purpose. A scanner w ill
how ever pick up on the details indiscriminately, resulting in smudges and feathered pale outlines. By tw eaking
the input levels of an image, you can process a pencil draw ing like so:lIncreasing the Input Black level w ill make the darkest parts of the draw ing black, or closer to black. This
results in darker, crisper outlines.

lDecreasing the Input W hite level w ill make the lightest parts of the draw ing w hite, or closer to w hite.
This results in removing smudges. Also, if the background is grey, it w ill turn w hite.

By tw eaking the output levels of an image, you can perform the reverse effect:l

Increasing the Output Black level w ill make the black pixels in the draw ing appear lighter. All otherpixels in the draw ing w ill also appear lighter, but the closer to w hite they are, the less lightness is
added to them. This can result in grey outlines.

lDecreasing the Output Black level w ill makeConnection
To use the Colour Levels node, simply connect it under the element, effect or composite to w hich you w ant toapply the levels effect. The node w ill take the input image from its top port, apply the level settings to it andoutput the modified image out of its bottom port.

Properties
The Colour-Levels node has five tabs, each w ith the same parameters. W hat is different betw een tabs is thecolour channels that they affect:l

The RGB is for adjusting the levels of all colours.

l

The Red, Green and Blue tabs is for adjusting the levels of a single one of these three colour channels.

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The Alpha tab is used for adjusting the level of the Alpha channel.

Parameter

Description

Name

The name of the node as it appears in the Node View and the Timeline view . Each node musthave a name that is unique to its containing group.

Input BlackThe level under w hich a colour value is rendered as black. This varies betw een 0 and 1 and is
set to 0 by default. At 0, only a colour w ith a level of 0 is rendered as black. At 1, all colours are
rendered as black. At 0.5, all colours w ith a level betw een 0 and 0.5 are output as black, andcolours w ith a level betw een 0.5 and 1 are rendered darker, proportionally to how close they
are to 0.5.

Input W hite

The level past w hich a colour value is rendered as w hite. This varies betw een 0 and 1 and is
set to 1 by default. At 1, only a colour w ith a level of 1 is rendered as w hite. At 0, all colours
are rendered as w hite. At 0.5, all colours w ith a level betw een 0.5 and 1 are rendered as w hite,and colours w ith a level betw een 0 and 0.5 are rendered lighter, proportionally to how close
they are to 0.5.

The gamma correction to apply to the colours after the input levels are applied and before theoutput levels are applied.
Gamma correction is a curvilinear function applied to the colour values. It is used to modulate
the difference in intensity betw een colour values. In other w ords, it affects how muchdifferences betw een low , medium and high colour values translate to actual variations ofintensity betw een colours. For example:
Gammal

A gamma correction betw een 0 and 1 w ill make low values low er progressively low er,
causing a bigger spectrum of dark colours to appear closer to black. The contrast
betw een high values is increased to compensate.

l

A gamma correction above 1 w ill increase the value of dark colours proportionally totheir actual values, increasing the contrast betw een them and making them lighter. The
contrast betw een high values is decreased to compensate.

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Parameter

Description

Output BlackThe level at w hich black is output in the image. This varies betw een 0 and 1 and is set to 0 by
default. For example, if you set this to 0.5, then black pixels in the image w ill actually appear
gray, and all pixels w ill be made lighter proportionally to how close to black they are.

Output W hite

The level at w hich w hite is output in the image. This varies betw een 0 and 1 and is set to 1 bydefault. If you set this to 0.5, w hite pixels in the image w ill appear grey, and all other pixels w ill
be made darker proportionally to how close to w hite they are.

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Colour- Override Node
The Colour-Override effects processes the colours in a draw ing layer. Using this effect, you can changecolours from the palette w ithout affecting the actual palette, sw ap clone palettes, or even replace a specificcolour zone. You can also substitute colour areas w ith bitmap textures. The draw ings in this layer must be .tvg
files as the Colour-Override uses the colour palettes linked to them.

The Colour-Override effect lets you:l

Change colour values in draw ings during the compositing process.

l

Use colour values from a specific colour palette in the palette list.

lEstablish the priority of override palettes in the palette list. For example, you may have different clonesof the same palette, such as a daytime and nighttime version.

lIsolate specific areas of a draw ing by selecting certain colours. For example, using specific colours togenerate a matte for a glow effect.

lHide certain colours.

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Interface

Palettes
The Palettes section displays the palettes in the palette list of the selected layer. You can move these palettes
into the W hole Palette Overrides section to reorder them. If you have cloned palettes, the higher one in the list
w ill override the others. This is useful for overriding the clone palette ordering set in the scene through theColour view .
You can load additional palettes in the palette list from either your project, by clicking on The Palettebutton, or your computer by clicking on the Brow sel

The Palettebutton.

button allow s you to load a palette contained w ithin the project hierarchy (Environment,

Job, Scene and Elements).
l

The Brow sebutton allow s you to load a palette located outside the project hierarchy, anyw here on

your system or server. If you link to a palette outside of your project, you w ill be prompted w ith thefollow ing w arning message:

You can hover your mouse over the palette name in any of the override sections to display the path to thepalette.

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Colours
The Colours section displays the colour sw atches of the selected palette. Move a sw atch into the ColourOverrides section to change its value.

W hole Palette Overrides
The W hole Palette Overrides section forces the use of a particular palette (clone palette) or palette list
ordering during the compositing process. You must drag palettes from the Palettes section to change theirorder. Harmony uses the palettes in the order they appear in the palette list to find the colour values
associated w ith the colour IDs of each colour zone. To apply a different version of a colour palette to, forexample, sw itch from a day to a night palette, use the Override section to change the order of the colour
palettes (you must be w orking w ith cloned palettes).

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Individual Colour Overrides
W hen you drag a sw atch from the Colours section to this section, you can override its value. You can also
override a colour w ith a texture. The default override mode is set to New RGBA so you can override the RGB
value as w ell as the transparency value.
The Current column alw ays displays the colours from the currently active palette. Selecting a clone palette in
the Palettes area w ill not change the colours if you haven't changed the active palette in the W hole PaletteOverrides section. The update w ill be done once you close and reopen the Colour Override Layer Properties
w indow .

Render Selected Colours Only
The Render Selected Colours Only section is used to display some colours and ignore all others. You may, forexample, w ant to display only the colour used for the character outline and ignore all the filling colours.

Only the colour sw atches listed in the Rendered Selected Colours Only section w ill be rendered. The option is
not activated by default. If you w ant to display only the selected colours, you must select the correct option
from the Rendering menu:lRender All: This is the default option. All colours in the palettes are rendered regardless of the listed
selection. This allow s you to quickly sw itch back and forth betw een your selection of colours and all thecolours w ithout having to delete and add your sw atches from and to the list.

lRender Selected Colours: W hen this option is selected, the Colour Override module displays only thecolours listed in your selection.

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Rendered Selected Colours and Bitmaps: This option displays all colours listed as w ell as any bitmap
images passing through the Colour Override node. For example, if you have a Composite node groupinga series of draw ing and bitmap nodes, the vector colours w ill be filtered through the Colour Override
nodes but the bitmap images w ill pass through w ithout being affected. Note that you must be in
Render View mode to see the colours and bitmaps.

You might have situations w here your Colour Override node is placed below a Cutter node using a mask input
and a draw ing input. By default, the Colour Override only processes the colours in the draw ing input. The
mask draw ing remains untouched. If you w ant the Colour Override to also filter the mask draw ing, select the
Apply to Matte Ports on Input Effects option.

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Colour- Scale Node
The Colour-Scale effect offsets an image's colours. This effect is useful in creating ambient transitions, such as
from daytime to nighttime.

Refer to the follow ing example to connect this effect:

Properties

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Parameter

Description

Name

The name of the node as it appears in the Node View and the Timeline view . Eachnode must have a name that is unique to its containing group.

Red

The factor by w hich to multiply red values in the image.

Green

The factor by w hich to multiply green values in the image.

Blue

The factor by w hich to multiply blue values in the image.

Alpha

The factor by w hich to multiply alpha values in the image.

Hue

The colour or hue to offset the image.

Saturation

The amount of colour to offset the image.

Enter the value for the colour to offset the image. The actual colour values of theimage are not changed; instead, the channels are multiplied by a selectedamount. For example:l

A value of 1 does not change the colour values.

lA value greater than 1 brings the colour channel value closer to 255 (orw hite).

l

A value less than 1 brings the colour channel value closer to zero (0 orblack).

Value

Invert Matte

Inverts the matte used to generate the effect. By default, the effect is applied tothe opaque areas of the matte draw ing. W hen this option is enabled, the effect isapplied to the transparent areas of the matte instead.

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Colour Selector Node
The Colour-Selector node filters colours in the input image and outputs an image containing only the selectedcolours. The colours to display can be selected in the Layer Properties of the Colour-Selector.
The Colour-Selector does not just cut out the colours that are not selected from the input image, it outputs theimage it is connected to as if these colours w ere invisible. Hence, if tw o brush strokes w ith different colours
overlay each other, and the colour of the overlaying brush stroke is filtered out, the underlay brush stroke w ill
not be cropped, it w ill display as if the overlay stroke did not exist.

NOTE
The Colour-Selector node w orks exactly as w hen using the Render Selected Colours Only tab of
the Colour Override node, except that it is made for that specific purpose, allow ing the use of thisfeature to be more simple and streamlined.

Connection
To use the Colour-Selector, simply connect it as the intermediary betw een an image output (such as a draw ing
or composite's output port) and an image input (such as a composite's input port):

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The Colour-Selector node w ill take the input image and output the image w ithout the colours that are not in
its colours list in its layer properties. By default, no colours are in the Colour-Selector's list, so the output
image w ill be completely invisible until colours are added.

Properties

Parameter

Description

Name

The name of the node as it appears in the Node View and the Timeline view . Eachnode must have a name that is unique to its containing group.

Apply to Matte Ports on
Input Effects

By default, the Colour-Selector does not filter out colours in draw ings that areconnected to the matte port of a node. This is because draw ings connected to amatte port are used for their shape and transparency levels, and not their colours.
If this option is checked, the Colour-Selector w ill filter out the colours that are notin the list, even in draw ings that are connected to a matte port.

The Add Colour menu allow s you to add colours to the list of selected colours.
You must add colours to the list for the Colour-Selector to know w hich colours to
let through.

Add Colour Menu

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The Add Colour menu has three sections:l

The palette list: The first section lists all palettes in the scene. W hen you
select one of the palettes, it w ill list all the colours in that palette. This
allow s you to add any colour available in your scene to the list of selectedcolours.

l

The drawing list: The second section lists all draw ings connected to the
Colour-Selector node. W hen you select a draw ing, it w ill only list thecolours used by that draw ing. This allow s you to quickly select a colourthat is used by one of the draw ings being filtered, w ithout having to go
through every colour in the scene.

l

Add All Colours: This option w ill instantly add all colours used by all
draw ings connected to the Colour-Selector node. You can then remove
the colours you w ant to hide using the Remove Colour button. This can be
useful if you only w ant to filter out a few of many colours.

Remove Colour

Removes the selected colour from the list.

Selected colour list

The list of colour that the Colour-Selector w ill let through. Every other colour inthe input image w ill be filtered out.

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Contrast NodeUse the Contrast effect to increase or decrease the level of contrast in an image. This is done by changing thecontrast in the dark and bright pixels and setting the transition point betw een dark and bright.
You can enter static values in the dialog box fields or you can attach these values to function curves to changeover time.

Refer to the follow ing example to connect this effect:

Properties

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Parameter

Description

Name

The name of the node as it appears in the Node View and the Timeline view . Each node musthave a name that is unique to its containing group.

The value that separates dark from bright colours. The midpoint is a value betw een 0 and 1
that represents the percentage of the 0 to 255 RGB channel range.
Mid Point

Dark Pixel
Adjustment
Bright Pixel
Adjustment

Invert Mattel

Pixels with colour values lower than the midpoint: These are considered dark pixels.

l

Pixels with colour values higher than the midpoint: These are considered bright
pixels.

The amount of contrast to be applied to pixels that fall on either side of the Mid Point value.
l

A value equal to 1: No change.

l

A value less than 1: Makes the pixel brighter.

l

A value greater than 1: Makes the pixel darker.

Inverts the matte used to generate the effect. By default, the effect is applied to the opaqueareas of the matte draw ing. W hen this option is enabled, the effect is applied to thetransparent areas of the matte instead.

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Dither Node
Dithering is the process of approximating a higher number of colours in a low bit-depth colour system. Use theDither effect to give the appearance of greater colour variability in 8-bit per channel colour images.

Refer to the follow ing example to connect this effect:

The Dither effect is useful in the case of a gradient that varies betw een 100 and 105 in the blue channel, forexample. Since the difference in the colour values is not great, banding might appear in the image. In this case,use the Dither node to give the impression of greater values of blue, decreasing the unw anted banding effect.
The results of the dither operation may be imperceptible.

Properties

Parameter

Description

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Name

The name of the node as it appears in the Node View and the Timeline view . Eachnode must have a name that is unique to its containing group.

Magnitude

A magnitude of 1 performs a normal dithering operation, using all bands ofcolour. A magnitude greater than 1 introduces a bias tow ards brighter colours. A
magnitude of less than 1 creates a faster transition betw een bands of colour,lessening the bias tow ards brighter colours.

W hen selected, the three colour channels (RGB) are changed simultaneously, for
Correlatebetter colour accuracy. W hen this option is not selected, the three channels are
dithered separately, resulting in smoother transitions.

RandomThe standard algorithm for the dithering operation.

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Focus Node
T-COMP2-011-006
Use the Focus effect to set up depth-of-field effects for your scene. The Focus node is used to determine howmuch blur w ill be applied to images, based on their distance from the focal point.

The focal point can be the zero value of your scene or you can link the Focus node to another node, such as adraw ing or peg layer, to retrieve the focal point from the node's Z-axis position.
Refer to the follow ing example to connect this effect:

Use the Focus editor to determine how the focus w ill change as objects move farther from the focal point.
In the Side view w indow , you can see how the blur values change based on their distance from the focal point.
Select the Focus node in the Node view , make sure you are using the Transform tool, then right-click on theSide view w indow and select Control from the pop-up menu.

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If you edited the function curve and adjusted the velocity, you can also adjust the Bezier handles in the Side
view .

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Properties

Parameter

Description

Name

The name of the node as it appears in the Node View and the Timeline view . Eachnode must have a name that is unique to its containing group.

Mirror

Select this option to also blur images in front of the focal point.

Mirror Front/Back Ratio

W hen the Mirror option is selected, this ratio is applied to the calculation of theblur on images in front of the focal point. The default ratio of 1:2 produces
realistic results. Experiment w ith different values to create customized effects.

Controls the amount of blur applied to an element based on its distance from theRadius

Quality

focal point. Click on the Edit Curve button to change these values by adjusting thefunction curve.

Controls the quality of the blur. A higher quality w ill achieve better results but
w ill be slow er to render.

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Focus Multiplier Node
T-COMP2-011-006A
The Focus Multiplier effect w orks w ith the Focus node. This node applies a blur to the selected layer, based on
the blur radius in the Focus node.

Use the Focus Multiplier node w hen you w ant to apply the focus to selected elements or w hen you need toapply the focus before doing more effects in a composite operation.
Refer to the follow ing example to connect this effect:

You must disable the Apply Focus option in the Composite node in order to apply the focus effect to theselected node only. If you do not disable that option, the focus effect w ill be calculated tw ice on the selected
node.
Use the Focus Multiplier editor to multiply the Focus Radius by a selected value. You can enter a static value inthe Multiplier field or attach it to a function curve.

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Properties

Parameter

Description

Name

The name of the node as it appears in the Node View and the Timeline view . Eachnode must have a name that is unique to its containing group.

MultiplierThis is the value by w hich the normal focus radius value is multiplied.

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Gamma Node
The Gamma node allow s you to apply gamma correction to an element in your scene or to your entire scene.
The gamma correction can be applied to all colour channels, to a specific colour channel or even to the image’s
alpha channel.
Gamma correction is a curvilinear function applied to the colour values. It is used to modulate the difference inintensity betw een colour values. In other w ords, it affects how much differences betw een low , medium andhigh colour values translate to actual variations of intensity betw een colours. For example:l

A gamma correction betw een 0 and 1 w ill make low values low er progressively low er, causing a bigger
spectrum of dark colours to appear closer to black. The contrast betw een high values is increased tocompensate.

l

A gamma correction above 1 w ill increase the value of dark colours proportionally to their actual values,
increasing the contrast betw een them and making them lighter. The contrast betw een high values isdecreased to compensate.

Connection
To use the Gamma node, simply connect it under the element, effect or composite to w hich you w ant to apply
the gamma correction. The node w ill take the input image from its top port, apply the gamma correction to it
and output the corrected image out of its bottom port.

If you only need to apply gamma correction to the rendered frames w ithout affecting the preview image in the
Camera view , simply connect it betw een your scene’s main Composite node and its W rite node. Likew ise, if
you only need to apply a gamma correction to the preview image in the Camera view , but you don’t w ant it to676Harmony 22 Premium Reference Guide

be applied to the rendered frames, simply connect it betw een your scene’s main Composite node and its
Display node.

NOTE
Like w ith most effects, the effect of the Gamma correction node are only visible in the Camera vieww hen it is in

Render View mode.

Properties

Parameter

Description

Name

The name of the node as it appears in the Node View and the Timeline view . Each node musthave a name that is unique to its containing group.

RGB Gamma

The gamma correction value or function to apply to red, green and blue channels
simultaneously.

Red Gamma

The gamma correction value or function to apply to red colour values only.

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Parameter

Description

Green Gamma

The gamma correction value or function to apply to green colour values only.

Blue Gamma

The gamma correction value or function to apply to blue colour values only.

Alpha Gamma

The gamma correction value or function to apply to alpha values only.

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Glow Node
T-HFND-010-009B
The Glow effect turns your image into a glow area w ith a bright soft-edged light or diffuse light region aroundan image. The Glow effect is useful for creating a shining rim around objects, such as the sun or stars. Clone
your layer or connect it a second time to the Composite node to display the original image on top of the glow .

Refer to the follow ing example to connect this effect:

NOTE
If this effect is connected below a Composite node set to Pass-Through, the effect w ill be applied
to each element connected in the Composite node individually. If some of these elements areoverlapping, the effect w ill also overlap.

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Properties

Parameter

Description

Allow s you to enable or disable the node. W hen disabled, a node has no visible
Enable/Disable

effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top view s.

Colour Sw atch

Sets the colour of the layer in the Timeline view and of the node in the Node view .

Name

The name of the node as it appears in the Node View and the Timeline view . Eachnode must have a name that is unique to its containing group.

Truck Factor

Activated by default, this option readjusts the blur w hen the elements undergo achange of depth or scale. W hen disabled, the effect's values w ill remainunchanged regardless of depth or scale changes. It is recommended that thisoption be disabled w hen multiple draw ings are composited and attached thiseffect.

Allow s you to choose betw een the follow ing blur types for the effect:l

Radial: The edges of the matte are blurred evenly around points thatmake up the edge of the matte.

l

Directional: The matte is blurred in the direction configured w ith the
Directional Angle and Directional Falloff Rate parameters.

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Parameter

Description

RadiusEnter a value for the size of the blur. The larger the value, the greater the blureffect. The blur radius is affected by the draw ing scale and camera position.

If you set the Blur Type to Directional, this sets the angle of the blur. The value
goes from 0 to 360, w ith 0 meaning w est, and angles going counterclockw ise. For
example:l0: Blurs the image to the w est.

l

90: Blurs the image to the south.

l180: Blurs the image to the east.

l

270: Blurs the image to the north.

Directional Angle

The distance w here the blur fades from the edge of the image. Select a decimalvalue betw een 0 and 1. For example:l0: Makes the blur fade out slow ly, distributing the blur evenly from theedge of the character to the farthest edge of the blur.

l

1: Makes the blur fade out quickly. The blur is heaviest closer to the edgeof the image.

Directional Falloff Rate

Invert Matte

Inverts the matte used to generate the effect. By default, the effect is applied toopaque areas of the draw ing. W hen this option is enabled, the effect is applied totransparent or empty areas of the draw ing.

Instead of using the colour in the Colour parameters, this uses the colours in thesource draw ing to generate the effect.
Use Source Colour

NOTE
The effect of this parameter is only visible in Render View

Multiplicativemode.

Multiplies the colours of the effect w ith the colours of the background. Thisintensifies the effect.

ColourRed

The amount of red to add to the colour in the background image.

Green

The amount of green to add to the colour in the background image.

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Parameter

Description

Blue

The amount of blue to add to the colour in the background image.

Alpha

The alpha value of the effect.

Colour Sw atch

Opens the Colour Picker dialog, in w hich you can visually select a colour for theeffect.

Intensity

Allow s you to set the factor by w hich to multiply the intensity of the effect. Thisparameter can take a decimal value betw een 0 and 1. At 1, the effect is fully
applied. At 0, the effect is not visible.

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Grain NodeUse the Grain effect to add a film grain to an image; the film grain looks like video noise.

Refer to the follow ing example to connect this effect:

The Grain node has tw o input ports.
•

On the left port, attach the element that w ill act as the matte defining the grain area.

•

On the right port, attach the element on w hich you w ant to apply the grain effect.

The Grain node requires a matte draw ing. If you simply w ant to apply a grain over the source draw ing, simply
connect it to both the image input port and the matte input port of the node:

Properties
In the Layer Properties of the Grain node, you can adjust the amount of grain to add to an image as w ell as the
sharpness and softness of the grain.

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Parameter

Description

Name

The name of the node as it appears in the Node View and the Timeline view . Eachnode must have a name that is unique to its containing group.

Noise

The amount of grain to add to the image based on the percentage of pixels toalter. The larger the value, the courser the grain. The smaller the value is to 0
(zero), the finer the grain.

SmoothThe amount of blending to apply to the grain effect, based on the blur radius, tomake the effect appear less pixelated. The larger the value, the greater thesmoothing.

Random at Each Frame

Computes the colour shift in the grain using a different value at each composite.
This means that your images w ill look different each time you render them.
Deselect this option and select a Seed Value to ensure the same result every time
you composite the grain effect.

Seed Value

This value corresponds to a unique pattern in the grain. If you w ant to retain thispattern in other frames, you can reuse this value.

Matte

Invert Matte

Inverts the matte used to generate the effect. By default, the effect is applied tothe opaque areas of the matte draw ing. W hen this option is enabled, the effect isapplied to the transparent areas of the matte instead.

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Greyscale Node
The Greyscale effect lets you convert a colour image to greyscale. This example demonstrates w hat happens
w hen you set the greyscale to 100% using the Greyscale node.

TIP
You can use this effect in combination w ith the Brightness Contrast effect to adjust the different
levels of grey in the output image.

Refer to the follow ing example to connect this effect:

Properties

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Parameter

Description

Name

Allow s you to change the name given to the node.

Percent

The percentage of greyscale to apply to the input image. Low ering this parameterw ill only partially desaturate the image's colours.

Matte Output

Invert Matte

Preserves the colours of the input image, but applies the greyscale version of the
input image to the alpha channel of the output image. As a result, the darker apixel in the image is, the more transparent it is. W hite pixels w ill remain opaque,and black pixels w ill become invisible.

Inverts the matte used to generate the effect. By default, the effect is applied tothe opaque areas of the matte draw ing. W hen this option is enabled, the effect isapplied to the transparent areas of the matte instead.

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Hue- Saturation NodeThe Hue-Saturation effect lets you adjust the hue, saturation and lightness values individually or by using the
HLS picker or Hue Range picker. You can achieve effects over the entire image, such as a sepia tone. Changes
you make to the values are additive to the final image.

Connection
The Hue-Saturation node takes an image of any type as its input and outputs an image w ith different hue,saturation and lightness parameters.

Optionally, it can also be connected to a matte image. In this case, only the parts of the input image thatintersect w ith the matte w ill be affected by the effect.

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Layer Properties

Parameter

Description

Enable/Disable

Allow s you to enable or disable the node. W hen disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top view s.

Colour Sw atch

Sets the colour of the layer in the Timeline view and of the node in the Node view .

Name

The name of the node as it appears in the Node View and the Timeline view . Eachnode must have a name that is unique to its containing group.

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Master Tab

The master tab allow s you to adjust the hue, saturation and lightness settings for all the hues in the source
draw ing simultaneously. It should be used unless you w ant to apply specific parameters on specific ranges ofhues.
Parameter

Description

Opens the Hue Range Picker. In the Master tab, the Hue Range Picker can only be
used to see the original colour spectrum of the image and compare it to the colour
spectrum as processed by the Hue-Saturation effect.

Hue Range Picker

Hue

Offsets the hues in the source image. The hue of every pixel in the source image isoffset on the spectrum of hues. This parameter can be set to a value betw een 360 and 360.

Saturation

Changes the saturation of the source image. This parameter can be set to a value
betw een -100 and 100. Negative values make the image closer to a greyscale
image. Positive values make the colours appear more saturated by exacerbating
the difference betw een each channel.

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Parameter

Description

Lightness

Changes the lightness of the source image. The lightness can vary betw een -100
and 100, w here -100 makes the image solid back and 100 makes the image solid
w hite. Hence, negative values darkens the colours by making every pixel
proportionally closer to black, and positive values lighten the colours by making
every pixel proportionally closer to w hite.

Enables colourization. Instead of affecting the existing colours of the input image,the Hue-Saturation effect w ill convert the image to greyscale, then add a single
colour over the levels of grey based on the Hue, Saturation and Lightness settings
you input below .
Colourize

NOTE
W hen the Colourize parameter is enabled, fields below the check box areaccessible and fields above the check box are greyed out.

Hue

The colour w ith w hich to colourize the image.

Saturation

The saturation w ith w hich to colourize the image. A low er setting w ill make thecolourized image closer to a greyscale image. A higher setting w ill make thecolour more saturated.

Lightness

Changes the lightness of the source image. The lightness can vary betw een -100
and 100, w here -100 makes the image solid back and 100 makes the image solid
w hite. Hence, negative values darkens the colours by making every pixel
proportionally closer to black, and positive values lightens the colours by making
every pixel proportionally closer to w hite.

W hen Colourize mode is enabled, you can click on the colour sw atch to open a
Hue, Saturation and Lightness picker.
Colour Sw atch
The lightness can be selected by moving the slider at the top. The hue andsaturation can be selected by moving the cursor in the box underneath the slider.

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Parameter

Description

Hue Tabs

The other tabs in the Hue-Saturation Layer Properties are meant to allow you to specify the hue, saturationand lightness parameters for specific colour ranges. By default, each tab is configured to affect a specificcolour range corresponding to their tab name, namely:
l

Reds

l

Greens

l

Blues

l

Cyans

l

Magentasl

Yellow s

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At their default settings, all tabs combined cover the entire spectrum of hues. The colour spectrum that eachtab affects can how ever be customized.
Parameter

Description

Open the Hue Range Picker dialog. This allow s you to tw eak the range of huesthat the settings in the current tab affects. For example, this is the default range
for the Blue tab:

Hue Range Picker

Every pixel in the source draw ing that has a hue w ithin the hard range w ill beaffected by the settings in the tab.
As for pixels w ith a hue w ithin the soft range, how much they are affected by thesettings in the tab depends on how much their hue is closer to the hard range orto the limit of the soft range. The further aw ay from the hard range the hue of a
pixel is, the lesser the effect of the hue, saturation and lightness settings on thispixels is. This allow s you to taper the effect of the ranges so as to not create hardseams betw een areas of different colours.

Hue

Offsets the hues in the area covered by the selected hue range. The hue of every
pixel in this area is offset on the spectrum of hues. This parameter can be set to avalue betw een -360 and 360.

Saturation

Changes the saturation of the area covered by the selected hue range. Thisparameter can be set to a value betw een -100 and 100. Negative values makethe area closer to greyscale. Positive values make the colours in the area appear
more saturated by exacerbating the difference betw een each channel.

Lightness

Reset Range

Changes the lightness of the area covered by the selected hue range. The
lightness can vary betw een -100 and 100, w here -100 makes the area solid backand 100 makes the area solid w hite. Hence, negative values darkens the colours
by making every pixel proportionally closer to black, and positive values lighten
the colours by making every pixel proportionally closer to w hite.

Resets the range selected in the Hue Range Picker to the default range for thecurrent colour tab.

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IO TabThe IO tab contains parameters relating to the input and out ports of the effect.
Parameter

Description

Invert Matte

Inverts the matte used to generate the effect. By default, the effect is applied tothe opaque areas of the matte draw ing. W hen this option is enabled, the effect isapplied to the transparent areas of the matte instead.

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Increase Opacity Node
The Increase-Opacity node allow s you to increase the opacity of a visual element. It w orks by multiplying the
opacity level of each pixel in the input image by a customizable factor, and outputs the result in the output
image.

This can be used to fix a commonly encountered issue in digital animation, w here a seam is visible betw een
tw o elements in a rig because one element is used as the matte for a cutter for the other element. A know n
w ork-around to this is to connect the problematic parts of the rig several times to the same composite so as toincrease the opacity on their edges, but this can negatively impact performance. This node w ill increase theopacity around the edges of scene elements w ithout causing unnecessary overhead.

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Connection
To use the Increase-Opacity node, simply connect the visual element for w hich you w ant to increase opacity
into its input port, then connect its output port to a composite, or to the next effect you w ant to apply to the
output image.

Optionally, you can use another visual element as the matte for the Increase Opacity effect by connecting thisvisual element to the left edge of the node. W hen you do this, only parts of the input image that intersect w ith
the matte image w ill have their opacity increased.

Properties

Parameter

Description

Name

The name of the node as it appears in the Node View and the Timeline view . Each node musthave a name that is unique to its containing group.

Factor

The number by w hich to multiply the opacity of each pixel in the input image. For example, if
this parameter is set to 2, a pixel that has an alpha value of 85 out of 255 w ill be output w ith

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Parameter

Description

an alpha value of 170 out of 255.
The default value for this parameter is 1.8. It can be set to any value betw een 1 and 100.

Invert Matte

Inverts the matte used to generate the effect. By default, the affect is applied to opaque areasof the matte and transparent areas of the matte are ignored. W hen this option is enabled, theeffect is applied to transparent areas of the matte and opaque areas of the matte are ignored.

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Layer Selector Node
The Layer Selector effect lets you isolate and display one or more art layers:lOverlaylLine ArtlColour Artl

Underlay

Refer to the follow ing example to connect this effect:697

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Properties

Parameter

Description

Name

Allow s you to change the name given to the node.

Read Overlay, Line Art,
Colour Art, Underlay

Turns the display of the Overlay, Line Art, Colour Art and Underlay layers on oroff.

W hen placing the node below a Composite node containing several draw ing
nodes, such as a cut-out character, you can use this option to flatten the extracted
result. For example, w hen extracting a series of outlines, parts that may havebeen hidden by colour fills might now be visible. Enable the Flatten option to cut
the extra artw ork. Harmony w ill use the colour fills to cut unnecessary artw ork. If
your zones are not painted, nothing w ill be cut. This option w orks w ith both pencil
lines and brush strokes.
Flatten

Apply to Matte Ports on
Input Effects

At times, you may have situations w here your node is placed below a Cutter nodeusing a mask input and a draw ing input. By default, the effect only processes thecolours in the draw ing input. The mask draw ing remains untouched. If you w ant
to also filter the mask draw ing, select the Apply to Matte Ports on Input Effects
option.

Antialiasing Quality

Smoothness setting applied to the art layer. Choose from Low (no antialiasing),
Medium Low , Medium and High (extensive antialiasing). The higher the quality of
the chosen setting, the greater the amount of antialiasing that is applied. Higher

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quality images require more time to render and more memory from your system.

Antialiasing Exponent

Controls the amount of area around the art layer edges that is used in theantialiasing process. A higher value uses less area, resulting in sharper edges,
w hile a low er value uses more area, resulting in softer edges. If the Antialiasing
Quality value is set to Low (no antialiasing), this value is ignored.

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Line Art Node
The Line Art effect lets you read only the Line Art in an element. Place a Line Art node after a draw ing node in
the Node view to display only the node's Line Art output. The Line Art node can be connected after nodes ofany type. Any bitmap information w ill pass through and be processed.

This effect w ill only w ork if you drew something on the Line Art layer of the draw ing.
Refer to the follow ing example to connect this effect:

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Properties

Parameter

Description

Name

Allow s you to change the name given to the node.

W hen placing the node below a Composite node containing several draw ing
nodes, such as a cut-out character, you can use this option to flatten the extracted
result. For example, w hen extracting a series of outlines, parts that may havebeen hidden by colour fills might now be visible. Enable the Flatten option to cut
the extra artw ork. Harmony w ill use the colour fills to cut unnecessary artw ork. If
your zones are not painted, nothing w ill be cut. This option w orks w ith both pencil
lines and brush strokes.
Flatten

Apply to Matte Ports on
Input Effects

At times, you may have situations w here your node is placed below a Cutter nodeusing a mask input and a draw ing input. By default, the effect only processes thecolours in the draw ing input. The mask draw ing remains untouched. If you w ant
to also filter the mask draw ing, select the Apply to Matte Ports on Input Effects
option.

Antialiasing Quality

Smoothness setting applied to the art layer. Choose from Low (no antialiasing),
Medium Low , Medium and High (extensive antialiasing). The higher the quality of
the chosen setting, the greater the amount of antialiasing that is applied. Higher
quality images require more time to render and more memory from your system.

Antialiasing Exponent

Controls the amount of area around the art layer edges that is used in theantialiasing process. A higher value uses less area, resulting in sharper edges,
w hile a low er value uses more area, resulting in softer edges. If the Antialiasing
Quality value is set to Low (no antialiasing), this value is ignored.

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Luminance Threshold Node
The Luminance Threshold effect generates a matte by thresholding the luminance of an image. This w orks
w ell w ith bitmap images that have many shades of colours. A pure vector image w ith flat colors could use acolor override to isolate areas.

Thresholding is a method to segment or isolate certain zones in an image. This effect w ill isolate areas basedon the image's luminance. Thresholding is used w ithin the Bloom effect—see Bloom Node on page 602.

Connection
The Luminance-Threshold node takes an image of any type as its input and outputs an image in w hich pixels
that do not pass the threshold are filtered out and the remaining pixels are softened and have their gamma
adjusted.

Optionally, it can also be connected to a matte image. In this case, only the parts of the input image thatintersect w ith the matte w ill be affected by the effect.

Layer Properties

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Parameter

Description

Enable/Disable

Allow s you to enable or disable the node. W hen disabled, a node has no visible effect on
the rendered image, nor on the preview in the Camera, Perspective, Side and Top view s.

Colour Sw atch

Sets the colour of the layer in the Timeline view and of the node in the Node view .

Name

The name of the node as it appears in the Node View and the Timeline view . Each node
must have a name that is unique to its containing group.

Controls how much of the dark value to clamp off. A high value w ill keep only the brightareas of your image.

ThresholdBrings back the entire spectrum of luminance in areas defined by the threshold to avoid
having only bright values.

Soften Colours

Gamma Correction

Multiplies the gamma value to make the area brighter or darker. A value of 1 keeps the703

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Parameter

Description

gamma the same as the original image. You can use the gamma modification on the w hole
image if you use a threshold of 0 for example.

Output Greyscale
Matte

Allow s you output an image in levels of grey. This can be used in combination w ith a
Blending or Cutter node, or other effects that use greyscale mattes.

Invert Matte

Inverts the matte used to generate the effect. By default, the effect is applied to theopaque areas of the matte draw ing. W hen this option is enabled, the effect is applied tothe transparent areas of the matte instead.

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Matte- Blur NodeUse the Matte-Blureffect to blur a matte or change its colour. Here is an example of a netw ork w ith the resultof a Matte-Blur effect.

Refer to the follow ing example to connect this effect:

NOTE
If this effect is connected below a Composite node set to Pass-Through, the effect w ill be applied
to each element connected in the Composite node individually. If some of these elements areoverlapping, the effect w ill also overlap.

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Properties

Parameter

Description

Name

The name of the node as it appears in the Node View and the Timeline view . Eachnode must have a name that is unique to its containing group.

Truck Factor

Activated by default, this option readjusts the blur w hen the elements undergo achange of depth or scale. W hen this option is deselected, the effect's values
remain unchanged regardless of any depth or scale changes. This option should
be deselected w hen multiple draw ings are composited and attached to thiseffect.

Blur Type

Directional: Blurs the matte in the direction you select. For example, if a characteris w alking east, the blur may fall to the w est.
Radial: Blurs the edges of the matte evenly around points that make up its edge.

RadiusEnter a value for the size of the blur. The larger the value, the greater the blureffect. The blur radius is affected by the draw ing scale and camera position.

If you select a Blur Directional type, you can select the direction of the blur byentering a value from 0 to 360 in this field.
Directional Angle‣

0: Blurs the image to the w est.

‣

90: Blurs the image to the south.

‣

180: Blurs the image to the east.

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270: Blurs the image to the north.

The distance w here the blur fades from the edge of the image. Select a value
betw een 0 and 1.
l

A fall-off rate of zero causes the blur to fade out slow ly, distributing theblur evenly from the edge of the character to the farthest edge of the blur.

l

A fall-off rate of 1 causes the blur to fade out quickly so that the blur isheaviest closer to the edge of the image.

Directional Fall-off Rate

Invert Matte

Inverts the matte used to create the glow . The matte w ill become a blacksilhouette w hile the glow fills the background space.

Use Source Colour

Uses the colours painted in the matte for the glow effect. If you deselect thisoption, select a colour and alpha values in the Colour section.

Multiplicative

Creates a more diffused glow .

ColourLets you choose the colour and alpha values for the glow effect.

Allow s you to set the factor by w hich to multiply the intensity of the effect. This
Intensity

parameter can take a decimal value betw een 0 and 1. At 1, the effect is fully
applied. At 0, the effect is not visible.

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Matte- Resize Node
The Matte-Resize effect lets you evenly expand a matte outw ard in all directions. The matte increases size
from its centre.

Refer to the follow ing example to connect this effect:

If you use the Matte-Resize node to create a pulsating glow , you can enlarge the region w ithout softening theedges. Using the Blur-Radial effect, the effect may be softer than you intend. This node produces a limited
antialiased matte, w hich can have slightly jagged edges. You could use this node in combination w ith othernodes, such as:
l

Tone

l

Highlight

l

Glow

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Shadowl

Matte-Blur

Properties

Parameter

Description

Name

Allow s you to change the name given to the node.

RadiusLets you enter a static value for the radius (size increase or decrease) of the matte.
You can also attach the Radius value to a function column to change the value
over time.

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Median Node
The Median effect lets you reduce the noise in a draw ing w hile preserving its edges. Harmony sorts the valuesof pixels w ithin a specified radius and uses the median value. You can also use this effect to create a
Impressionist type of style.

Connection
The Luminance-Threshold node takes a bitmap image as its input and outputs a bitmap image in w hich pixels
that do not pass the threshold are filtered out.

Optionally, it can also be connected to a matte image. In this case, only the parts of the input image thatintersect w ith the matte w ill be affected by the effect.

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Layer Properties

Parameter

Description

Enable/Disable

Allow s you to enable or disable the node. W hen disabled, a node has no visible effect on
the rendered image, nor on the preview in the Camera, Perspective, Side and Top view s.

Colour Sw atch

Sets the colour of the layer in the Timeline view and of the node in the Node view .

Name

The name of the node as it appears in the Node View and the Timeline view . Each node
must have a name that is unique to its containing group.

Lets you specify the size of the area of values to consider determining the median value. A
median is calculated by sorting all the pixel values from the surrounding area into
numerical order. Then the middle pixel value is used to replace the pixel being considered.
RadiusThe median tends to make an image look a bit blurrier because it reduces the contrast ofadjacent pixels. How ever, it does a good job of smoothing the image and removing
artifacts.

Determines the number of levels per colour channel. The larger the number, the morelevels of colour are used in the image and the more time it takes to render. Conversely, thelow er the colour depth, the few er colours are used, the faster it is to render.

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Parameter

Description

Invert Matte

Inverts the matte used to generate the effect. By default, the effect is applied to theopaque areas of the matte draw ing. W hen this option is enabled, the effect is applied tothe transparent areas of the matte instead.

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Motion Blur Node
The Motion-Blur node allow s you to generate a motion blur effect for animated elements in your scene.
The Motion-Blur node w orks by taking the position of the input element at the current frame as w ell as inprevious frames. It then generates intermediary poses betw een each frame and combines the actual poses andthe intermediary poses into a stack of “samples”. It then proceeds to low er the opacity of each sample,
composite them together and add a directional blur betw een each sample.

The Motion-Blur node can w ork w ith standard transformations such as translations, rotations, scaling andskew ing. It can be used on single elements, or on several elements simultaneously, w hether composited
together or separately.

NOTE
The Motion-Blur effect does not w ork w ith deformations.

Connection
The Motion-Blur node has an image (rightmost) input port and a motion (leftmost) input port. It takes theimage sent to its image input port and outputs the motion-blurred image through its only output port.
W hen nothing is connected to the motion input input port, the direction of the motion blur is based on thetransformations done on the element connected to the image input port. This is the most simple usage
scenario.

How ever, if the Motion-Blur node is connected to a composite node, the motion blur w ill be generated
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If the input image comes from a passthrough composite (w ide cable), each input connected to thepassthrough composite w ill have its ow n motion blur effect generated for it, using each input image’s
ow n motion.

l

If the input image comes from a non-passthrough composite, the motion-blur w ill be applied to thecomposited output image as a w hole. It w ill how ever only use the motion of the element connected tothe composite’s Output Z port to generate the motion-blur effect. By default, a composite’s Output Z
port is its leftmost input port.

It is also possible to use the motion of any other node in your scene to determine the direction of the motionblur effect. To do this, connect this node to the Motion-Blur’s motion (leftmost) input port, like so:714

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W hen a node is connected to the Motion-Blur node’s left input port, is uses the motion of this node, rather
than the motion of the input image, but it still applies the blur to the input image.

TIP
The Motion-Blur node can also use the motion of the scene’s active camera to generate the motion
blur. This can be done by enabling the Use Camera Motion option in the node’s Layer Properties.
W hen enabled, the Motion-Blur node ignores the motion of the input image and the left input port,
and only uses the camera motion.

Layer Properties

Parameter

Description

Name

The name of the node as it appears in the Node View and the Timeline view . Each node musthave a name that is unique to its containing group.

Use Camera
MotionW hen enabled, motion-blur is generated based on the motion of currently active camera. This
option w ill override the transformation of the input image and the peg-port.

Duration(Number ofFrames)

The span of animation before and up to the current frame to use to generate the motion blureffect, in frames. For example, if this parameter is set to 3, the motion blur effect w ill be
generated using the trajectory of the element starting from 2 frames before the current frame
up to the current frame.

NOTE
This number can be a decimal value.

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Parameter

Description

This parameter sets the amount of in-betw eens to add to the blur effect betw een each frameof animation used.
Samples per
Frame

For example, if the Duration parameter is set to 3, setting this parameter to 1 w ill only use theposition of the element in the current frame and the tw o previous frames to generate themotion blur. How ever, if this parameter is set to 2, the Motion-Blur node w ill generate one
extra inbetw een sample betw een each frame used to generate the motion blur, to simulate asmoother motion.

Defines the rate at w hich each trailing sample drops in w eight and opacity as they get further
and further from the position of the element in the current frame. This can be set to a decimalvalue betw een 0 and 1, w here:
Fall-of Ratel

At 0, each sample used to generate the motion blur has the same opacity.

l

At 1, the sample at the current frame is almost opaque, and the opacity of eachpreceding sample is determined by a cubic function.

A value betw een 0 and 1 w ill result in a compromise betw een those tw o functions.

Preroll Motion

W hen enabled, samples are generated before the first frame of the scene, so that the motion
blur effect is already in full effect w hen the scene begins. This can be useful in cases w here thescene begins w hile the object is already in motion.

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Motion- Blur- Legacy Node
The Motion-Blur-Legacy effect is used to create a faded trail behind objects animated on a motion path. You
cannot create a Motion-Blur-Legacy on a hand-draw n animation. The layer must be moving along a trajectory(motion path) in order to w ork properly.

NOTE
For information on the new , non-legacy Motion-Blur node, see Motion Blur Node on page 713

Connection
As a filter-type effect, the Motion-Blur-Legacy node takes an input image in its right-most input port, andoutputs the blurred image from its only output port.

You can also connect another draw ing to its left-most input port to act as the matte. The shape of the matte
input draw ing w ill determine the area of the actual input draw ing to blur.

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Properties

Parameter

Description

Name

The name of the node as it appears in the Node View and the Timeline view . Eachnode must have a name that is unique to its containing group.

Number of Frames in Trail

The number of frames before the current frame that w ill be used in the trail.

Number of Samples

The number of copies of each draw ing used in the trail. The higher the number,the more continuous the trail appears.

The distance w here the blur fades from the edge of the image. Select a value
betw een 0 and 1.
l

A fall-off rate of 0 causes the trail to fade out slow ly, distributing thecolour evenly from the edge of the character to the farthest edge of thetrail.

l

A fall-off rate of 1 causes the trail to fade out quickly so that the trail ismore opaque closer to the edge of the image and transparent at the end of
the trail.

Fall-off Rate

Intensity

Select a value to define the opacity of the trail betw een 0 and 10. A value of 10
w ill make the trail very dark and almost opaque, w here as a value of 0 w ill makethe trail quite pale and ghostly transparent.

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Use Mirror on Edges

W hen enabled this option appear w hen the image is close to the edge of thecamera frame. It forces the softw are to use a mirror of the image to calculate theblur so that it appears on both sides of the draw ing object. W ithout this option
once your draw ing reaches the edge of the Camera frame, it gets cropped so does
the trail.

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Negate Node
The Negate effect lets you invert the colour and/or alpha values in the Colour Art and Line Art of an image.
The original value of each channel (RGB or A) is subtracted from the maximum value of that channel (255 for
8-bit channels) to produce the negative image.

Connection
The Negate node takes an image of any type as its input and outputs an image in w hich colour values areinverted relative to their maximum.

Optionally, it can also be connected to a matte image. In this case, only the parts of the input image thatintersect w ith the matte w ill be affected by the effect.

Layer Properties

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Parameter

Description

Enable/Disable

Allow s you to enable or disable the node. W hen disabled, a node has no
visible effect on the rendered image, nor on the preview in the Camera,
Perspective, Side and Top view s.

Colour Sw atch

Sets the colour of the layer in the Timeline view and of the node in the Nodeview .

Name

The name of the node as it appears in the Node View and the Timeline view .
Each node must have a name that is unique to its containing group.

Negate Colour

Inverts the values of the colour channels.

Negate Alpha

Inverts the transparency value (alpha channel).

Negate Colour Clamp to Alpha

Limits the negated area to the alpha channel.

Invert Matte

Inverts the matte used to generate the effect. By default, the effect is applied
to the opaque areas of the matte draw ing. W hen this option is enabled, theeffect is applied to the transparent areas of the matte instead.

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Overlay Layer Node
The Overlay Layer effect lets you read an element's Overlay Art layer. By placing an Overlay Layer node after
a draw ing node in the Node view , you can display only the node's Overlay layer output. The Overlay Layer
node can be connected after nodes of any type. Any bitmap information w ill pass through and be processed.

This effect w ill only w ork if something has been draw n or painted on a draw ing's Overlay Art layer.
Refer to the follow ing example to connect this effect:

Properties

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Parameter

Description

Name

Allow s you to change the name given to the node.

W hen placing the node below a Composite node containing several draw ing
nodes, such as a cut-out character, you can use this option to flatten the extracted
result. For example, w hen extracting a series of outlines, parts that may havebeen hidden by colour fills might now be visible. Enable the Flatten option to cut
the extra artw ork. Harmony w ill use the colour fills to cut unnecessary artw ork. If
your zones are not painted, nothing w ill be cut. This option w orks w ith both pencil
lines and brush strokes.
Flatten

Apply to Matte Ports on
Input Effects

At times, you may have situations w here your node is placed below a Cutter nodeusing a mask input and a draw ing input. By default, the effect only processes thecolours in the draw ing input. The mask draw ing remains untouched. If you w ant
to also filter the mask draw ing, select the Apply to Matte Ports on Input Effects
option.

Antialiasing Quality

Smoothness setting applied to the art layer. Choose from Low (no antialiasing),
Medium Low , Medium and High (extensive antialiasing). The higher the quality of
the chosen setting, the greater the amount of antialiasing that is applied. Higher
quality images require more time to render and more memory from your system.

Antialiasing Exponent

Controls the amount of area around the art layer edges that is used in theantialiasing process. A higher value uses less area, resulting in sharper edges,
w hile a low er value uses more area, resulting in softer edges. If the Antialiasing
Quality value is set to Low (no antialiasing), this value is ignored.

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Pixelate Node
The Pixelate effect lets you apply a mosaic effect to an image (and its matte) based on the matte you supply.
Pixelation makes the image look like it is made up of square tiles.

Connection
The Pixelate node takes an image of any type in the right (Image) input port, and a matte draw ing in the left
(Matte) input port. It outputs a version of the input image w here the parts of the image that intersect w ith thematte are pixelated.

The Pixelate node requires a matte draw ing. If you w ant to pixelate the entire input image, simply connect it toboth the Image input port and the Matte input port.

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Layer Properties

Parameter

Description

Enable/Disable

Allow s you to enable or disable the node. W hen disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top view s.

Colour Sw atch

Sets the colour of the layer in the Timeline view and of the node in the Node view .

Name

The name of the node as it appears in the Node View and the Timeline view . Eachnode must have a name that is unique to its containing group.

Invert Matte

Inverts the matte used to generate the effect. By default, the effect is applied tothe opaque areas of the matte draw ing. W hen this option is enabled, the effect isapplied to the transparent areas of the matte instead.

Factor

The pixelation factor. This parameter takes a decimal value betw een 0 and 1. The
higher the value, the bigger the pixels. The default value is 0.0125 and creates
sizeable pixels, so this parameter must be set to low values unless you w ant the
pixels to take up the w hole stage.

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Remove Transparency Node
The Remove Transparency effect negates transparent values in an image. You can use the Remove
Transparency node to remove the result of antialiasing around an image.

Refer to the follow ing example to connect this effect:

Properties

Parameter

Description

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Name

Allow s you to change the name given to the node.

ThresholdAll values above the Threshold represent a transparent value. In this field, youmust identify the value above w hich all alpha values are considered transparent.
Alpha is measured from 0 to 255.

Remove Colour
Transparency

Determines w hich pixels in the Colour-Art (RGB channels) to make fully opaqueor fully transparent.

Remove Alpha Transparency

W hen selected, the Threshold value is used to determine w hich pixels in thealpha channel to make fully opaque or fully transparent.

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RGB Difference Keyer Node
The RGB-Difference-Keyer node allow s you to take an input image, and output it w ith an area of the image
filtered out. The area of the image that is filtered out is determined by its colour, referred to as the key colour.
This effect is typically used to take photos or live video footage shot against a green or blue screen and filter
out the green or blue screen, so that it can be composited against the background.

Connection
The RGB-Difference-Keyer node has tw o image input ports.
If you only use the rightmost image input port, the RGB-Difference-Keyer w ill take the input image, generate amatte based on how much of the image matches the key colour, and remove the part of the image covered bythis matte.

If you use both the left and right image input ports, the RGB-Difference-Keyer w ill generate a matte based on
how much of the left input image matches the key colour, and cut that matte out of the right input image.

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Properties

Parameter

Description

Name

The name of the node as it appears in the Node View and the Timeline view . Each node must

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Parameter

Description

have a name that is unique to its containing group.

The colour used to generate the matte. This is used to set the colour of the image background.
The matte is extracted by comparing the similarity of colour channel differences betw een key
colour and the pixel colour.
lRed: The red value of the background colour.

lGreen: The green value of the background colour.

l

Blue: The blue value of the background colour.

lAlpha: The alpha value of the background colour.

TIP
If you click on the colour sw atch below the Alpha field, a Colour Picker w indow w ill
appear. In this video, you can click and drag on the

dropper and drop it over a pixel inthe background of your photo or video to pick its colour.

Key Colour

NOTE
This keyer requires chromatic differences betw een the red, green or blue colour channels,so greyscale images cannot be keyed using this effect.

Pre-MultipliedAlpha

W hen checked, the RGB values of the input image are un-premultiplied before they are
keyed. The output image is then re-pre-multiplied against the alpha channel.
If the input image has alpha values and is pre-multiplied, this option w ill prevent thepremultiplication from evening out the differences betw een the RGB channels.

Key

Key W eight

Increasing values result in few er pixels colours being selected in the background.

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Parameter

Description

Increasing this parameter w ill increase the tendency of the effect to find pixels that match the
key colour and to key them out.

Background Bias

Low Intensity
ThresholdIncreasing this parameter w ill make the node tend to key out darker pixels.

Blend Input
Alpha

W hen enabled, the alpha values of the input image are carried over to the alpha values of theoutput image. This option is only useful if the input image contains transparency, and thattransparency needs to be preserved.

Despill Matte

W hen enabled, the effect removes the primary channel of the key colour from the edges ofthe output image, resulting in smoother contours.

The amount of the colour key that should be removed from the edges of the output image. A
higher setting w ill make the contours blend in better w ith the background of the scene.

Spill Reduction

Replace Colour

If the Despill Matte parameter is unchecked, this colour is used to fill the areas of the keyedmatte that are semi-transparent.

Matte

Clip Black

Determines how much the effect should key out dark pixels.

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Parameter

Description

Clip W hite

Determines how much the effect should key out light pixels.

Invert Output
Matte

Inverts the matte applied to the output image. W hen enabled, pixels that are keyed w ill be
opaque, and pixels that are not keyed w ill be transparent.

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Shadow Node
W ith the Shadow effect, you can turn a draw ing into a shadow . It doesn't matter if the draw ing layer is a fully
coloured character. The Shadow effect w ill render it into a grey, semitransparent, slightly blurry silhouette.
You must connect your layer a second time to the your Composite node to see the original image displayed on
top of the shadow .

Refer to the follow ing example to connect this effect:

NOTE
If this effect is connected below a Composite node set to Pass-Through, the effect w ill be applied
to each element connected in the Composite node individually. If some of these elements areoverlapping, the effect w ill also overlap.

Properties
Parameter

Description

Enable/Disable

Allow s you to enable or disable the node. W hen disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top view s.

Colour Sw atch

Sets the colour of the layer in the Timeline view and of the node in the Node view .

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Parameter

Description

Name

The name of the node as it appears in the Node View and the Timeline view . Eachnode must have a name that is unique to its containing group.

Truck Factor

Activated by default, this option readjusts the blur w hen the elements undergo achange of depth or scale. W hen disabled, the effect's values w ill remainunchanged regardless of depth or scale changes. It is recommended that thisoption be disabled w hen multiple draw ings are composited and attached thiseffect.

Allow s you to choose betw een the follow ing blur types for the effect:l

Radial: The edges of the matte are blurred evenly around points thatmake up the edge of the matte.

l

Directional: The matte is blurred in the direction configured w ith the
Directional Angle and Directional Falloff Rate parameters.

Blur TypeRadiusEnter a value for the size of the blur. The larger the value, the greater the blureffect. The blur radius is affected by the draw ing scale and camera position.

If you set the Blur Type to Directional, this sets the angle of the blur. The value
goes from 0 to 360, w ith 0 meaning w est, and angles going counterclockw ise. For
example:l0: Blurs the image to the w est.

l

90: Blurs the image to the south.

l180: Blurs the image to the east.

l

270: Blurs the image to the north.

Directional Angle

The distance w here the blur fades from the edge of the image. Select a decimalvalue betw een 0 and 1. For example:l0: Makes the blur fade out slow ly, distributing the blur evenly from theedge of the character to the farthest edge of the blur.

l

1: Makes the blur fade out quickly. The blur is heaviest closer to the edgeof the image.

Directional Falloff Rate

Invert Matte

Inverts the matte used to generate the effect. By default, the effect is applied toopaque areas of the draw ing. W hen this option is enabled, the effect is applied totransparent or empty areas of the draw ing.

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Parameter

Description

Instead of using the colour in the Colour parameters, this uses the colours in thesource draw ing to generate the effect.
Use Source Colour

NOTE
The effect of this parameter is only visible in Render View

Multiplicativemode.

Multiplies the colours of the effect w ith the colours of the background. Thisintensifies the effect.

ColourRed

The amount of red to subtract from the colour in the background image. To obtaina shadow effect, this value must be negative.

GreenThe amount of green to subtract from the colour in the background image. To
obtain a shadow effect, this value must be negative.

Blue

The amount of blue to subtract from the colour in the background image. To
obtain a shadow effect, this value must be negative.

Alpha

The alpha value of the effect.

Colour Sw atch

Opens the Colour Picker dialog, in w hich you can visually select a colour for theeffect.

Intensity

Allow s you to set the factor by w hich to multiply the intensity of the effect. Thisparameter can take a decimal value betw een 0 and 1. At 1, the effect is fully
applied. At 0, the effect is not visible.

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Transparency Node
T-HFND-010-008
The Transparency effect is used to make an image partially transparent. The Transparency effect is usefulw hen fading images in and out, such as a phantom or to make something partially see-through, such as aw indow .

Refer to the follow ing example to connect this effect:

You can enter a value in the Transparency field or change the transparency value over time by linking it to afunction curve. Entering a value of 100 in the Transparency field w ill make the element 100% transparent, inother w ords, invisible. Entering a value of 0 w ill render the element completely opaque.
It is also possible to adjust a draw ing layer's transparency directly in the Layer Properties w indow w ithout
using the Transparency node. In the layer's properties, go to the Draw ing tab and adjust the Opacity
parameter. This parameter is visible in OpenGL mode.

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Properties

Parameter

Description

Name

Allow s you to enter a name for the node.

Transparency

Lets you set the opacity of an element. Values range from 0 to 100. A value of
100 w ill make the element 100% transparent and a value of 0 w ill render theelement completely opaque.

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Underlay Layer Node
The Underlay Layer effect lets you read an element's Underlay Art layer. By placing an Underlay Layer node
after a draw ing node in the Node view , you can display only the node's Underlay layer output. The Underlay
Layer node can be connected after nodes of any type. Any bitmap information w ill pass through and beprocessed.

This effect w ill only w ork if something has been draw n or painted on a draw ing's Underlay layer.
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Properties

Parameter

Description

Name

Allow s you to change the name given to the node.

W hen placing the node below a Composite node containing several draw ing
nodes, such as a cut-out character, you can use this option to flatten the extracted
result. For example, w hen extracting a series of outlines, parts that may havebeen hidden by colour fills might now be visible. Enable the Flatten option to cut
the extra artw ork. Harmony w ill use the colour fills to cut unnecessary artw ork. If
your zones are not painted, nothing w ill be cut. This option w orks w ith both pencil
lines and brush strokes.
Flatten

Apply to Matte Ports on
Input Effects

At times, you may have situations w here your node is placed below a Cutter nodeusing a mask input and a draw ing input. By default, the effect only processes thecolours in the draw ing input. The mask draw ing remains untouched. If you w ant
to also filter the mask draw ing, select the Apply to Matte Ports on Input Effects
option.

Antialiasing Quality

Smoothness setting applied to the art layer. Choose from Low (no antialiasing),
Medium Low , Medium and High (extensive antialiasing). The higher the quality of
the chosen setting, the greater the amount of antialiasing that is applied. Higher
quality images require more time to render and more memory from your system.

Antialiasing Exponent

Controls the amount of area around the art layer edges that is used in theantialiasing process. A higher value uses less area, resulting in sharper edges,
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Quality value is set to Low (no antialiasing), this value is ignored.

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Generator Nodes
The nodes found in the Generator category are nodes that output an image w ithout requiring an input image.
Hence, they generate an image rather than transforming an existing image. Among those nodes is the Element
node, also know n as draw ing layers, w hich generate an image based on the draw ing exposed at the current
frame. Other nodes in this category generate an image based on their parameters.
Animated Matte Generator Node742

Burn- In Node753

Colour- Card Node757

Element / Drawing Node760

Connection

761

Field Chart Node778

Gradient Node783

Grid Node789

Lens Flare Node792

Turbulent Noise Node

795

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Animated Matte Generator NodeThe animated matte generator is a very advanced tool in Harmony's suite of effects w hich, once connect to adraw ing or character model, gives you three important capabilities.
l

Digitally animate the lines and contours of vector draw ingslCreate animated feathered (gradient) visual effects in specific shapes.

lSnap to the contours of a draw ing to make the shape of its effect match the shape of the draw ing.

The resulting image can be used as a deformed draw ing or an effect, and can also be used as a transparency
mask for other draw ings or effects.
At the very least, the Animated Matte Generator node requires a vector draw ing to be connected to its Image
Source (right) input port. The node w ill generate animatable control points for each of the vector shapes ineach of the draw ings in its matte draw ing layer, w hich can be manipulated and animated, allow ing you toanimate your draw ing's vector points directly.

TIP
If the image source layer is moved, rotated or scaled, either directly or because of a parent peg, thecontrol points of the Animated Matte Generator w ill follow these transformations. If you w ant thematte generated by the Animated Matte Generator node to follow the animation of anotherdraw ing, you can simply connect that draw ing's output port to the image source draw ing's input
port.

IMPORTANT
If the Overlay and Underlay Arts preference is enabled, the Overlay art layer of the source draw ing
is reserved for annotations. Any artw ork in the Overlay art layer of the source draw ing w ill beignored by the Animated Matte Generator node.

Based on its parameters, the Animated Matte Generator node w ill either output the source draw ing after
deforming it to match the position of the control points, or a feathered special effects matte gradating from its
inner contour to its outer contour. In either case, this allow s to animate the image source, either as a simple
vector draw ing, as a special effect or as part of a more complex rig, w ithout making new draw ings for it.

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Optionally, another vector draw ing may be connected to the node's Snapping Source (left) input port. Using
the Set to Snap editing mode in the Animated Matte Generator view , you can set some of the points andcontours of the input draw ing to automatically snap to the snapping source draw ing's contours, making iteasier to animate a matte to follow the contours of a draw ing in your scene. A contour that is set to snap to
one of the snapping source's contours w ill even match the precise shape of this contour.

IMPORTANT
Only single vector draw ing layers can be used for the image source and the snapping source of an
Animated Matte Generator. The input ports of an Animated Matte Generator node should not be
connected to a composite, an effect, or anything but a vector draw ing node.

Often, an Animated-Matte-Generator w ill be used to add a fine-tuned effect, such as a glow or shadow , onpart of a draw ing. A typical set-up to accomplish this w ill make use of the Colour Selector node and Cutter
nodes to trim the effect generated by the Animated Matte Generator so that it only affects zones of thedraw ing that are painted w ith the specific colour. Since the effect generated for this draw ing should followthat draw ing's movements, if any, pegging the Animated Matte Generator's draw ing source to the draw ing theeffect is applied over w ill lock their position together. Likew ise, it may be useful to connect the draw ing theeffect w ill be applied over as the Animated Matte Generator's snapping source, since the matte might need tobe snapped to that draw ing's contours.

You can instantly add this template to your scene by clicking on the Add Matte Generator button in the
Animated Matte Generator view . As an alternative, the Add Matte Generator as Mask button w ill add a similar
template, except that the Animated-Matte Generator w ill be connected to the Cutter's matte port, and the743Chapter 3: Nodes / Layers

draw ing's Colour-Selector w ill be connected to the Cutter's input port. This can be used for example to use
the Animated Matte Generator as a sophisticated transparency filter for an effect or element in your scene.
The contours of an Animated Matte Generator can be configured and animated by using the Animated Matte
Generator view along w ith its control points in the Camera view .

How to access the Animated Matte Generator view
1. Do one of the follow ing:l

From the top-right corner of any currently visible view , click the Add View

button andselect Animated Matte Generator.
l

From the top menu, select W indows > Animated Matte Generator.

How to display the Animated Matte Generator controls and enable the AnimatedMatte Generator view options
1. In the Tools toolbar, select the Transform tool or press Shift + T.
2. In the Timeline or Node view , select the Animated Matte Generator node you w ish to configure oranimate.
3. In the Camera view toolbar, click on Show Controls

or press Shift + F11.

NOTE
For more information on the Animated Matte Generator view , see Animated Matte Generator View
on page 1244.

Layer Properties
Using the Layer Properties dialog or view , you can configure the kind of matte the Animated Matte Generator
should output, how the matte's points and contours should snap to its snapping source as w ell as the colours
and other parameters for generating a feathered effect.

NOTE
The examples below demonstrate the effects of using the Animate Matte Generator w ith a simple
draw ing of a square. How ever, it is able to deform vector draw ings of any shape and complexity.

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Matte tab
The matte tab allow s you to configure w hether the Animated Matte Generator node w ill output a deformed
version of its input source draw ing or a feathered effect based on its outer and inner contour as w ell as how
the contour's control points and lines should snap to the snapping source's contours, if any.

Property

Description

OutputDetermines w hich one of the follow ing type of matte the node generates:lFeathered: Generates a matte that gradates from the inner contour's colour tothe outer contour's colour, based on the parameters in the Advanced tab.

l

Outer Contour: Displays the matte draw ing as deformed by the outer contour'scontrol points.

Type

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Chapter 3: Nodes / LayerslInner Contour: Displays the matte draw ing as deformed by the inner contour'scontrol points.

lInterpolate between contours: Displays the matte draw ing as deformed by acontour that is an intermediate betw een the outer contour and the inner contour.
How close to the inner or outer contour this intermediate contour is is based on
the Interpolation Factor parameter below .

W hen the output type is set to Interpolate between contours, the matte draw ing isdeformed according to a contour that is an intermediate betw een the outer contour andthe inner contour.
The interpolation factor determines the percentage by w hich the intermediate contour isinterpolated from the outer contour to the inner contour. For example, if theinterpolation factor is set to 50, the intermediate contour w ill be halfw ay betw een theouter contour and the inner contour. By default, it is set to 0, w hich means theintermediate contour is the same shape as the outer contour. If it is set to 100, theintermediate contour w ill match the inner contour.
Interpolation Factor

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TIP
The Interpolation Factor parameter can be animated. This can be useful if you w ant
your draw ing to morph back and forth betw een tw o different shapes, one of w hichw ould be defined by the outer contour and the other defined by the inner contour.

Snap

If the Animated Matte Generator mode has a draw ing connected to its Snapping Source
port, and some of the matte's control points or contours are set to snap to that draw ing,
those points w ill alw ays snap to the closest contour in the snapping source draw ing, aslong as it can find a contour w ithin a certain distance.
Drag-to-Snap DistanceThis distance is determined by the Drag-to-Snap distance parameter. By default, it is
set to 15. You can increase it if you w ant the snapping points to snap to contours from afurther distance to their actual position, or decrease it if you only w ant snapping points
to snap to contours that are very close to their actual position.

Make Snapping points and contours only snap to the outlines of the snapping source
draw ing. In this case, a contour is an outline that defines the silhouette of the draw ing.

Snap to Outlines Only

Snap toAllow s you to select w hich ones of the snapping source draw ing's art layers the matte's
points and contours w ill snap to, if they are set to snap. This can be useful if yoursnapping source draw ing has its line art and colour art on different layers, as both art
layers are likely to have a lot of meshing contours.

Advanced Tab
The settings in the Advanced tab are only available w hen the matte's output type is set to Feathered. A
feathered matte ignores the colours and pencil lines in the draw ing and, instead, uses the outer and inner
matte's shape to generate a gradated colour effect, the colours and parameters of w hich can be set in the
Advanced tab.

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Property

Description

Feathering

Determines the w ay the colour is gradated from the inner contour to the outer contour:lNone: The outer and the inner contour are solid shapes, filled w ith theirrespective colours.

lParametric: Generates a linear gradient going from each side of the innercontour to the corresponding side of the outer contour. This mode is different
from the Distance interpolation mode by how it makes the gradients track thematching sides of the inner and outer contours.

Interpolation Mode

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Dot: Generates a gradient going from the inner contour to the outer contour, but
based on a pow er function that creates the illusion of a thinner, harder outline.

lDistance: Generates a linear gradient going from the inner contour to the outer
contour.

ColourDetermines the w ay the colours betw een the inner and outer contours are generated:
Colour InterpolationlConstant: Generates a gradient based on the inner colour, gradating intransparency only. The inner contour w ill have the opacity of the inner colour,
and w ill gradate tow ards full transparency tow ards the outer contour.

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Chapter 3: Nodes / LayerslLinear 2 Colours: Creates a gradient that steadily gradates from the inner colour
to the outer colour.

lGamma 2 Colours: Creates a gradient that gradates from the inner colour to theouter colour on a Gamma curve, the pow er of w hich can be set in the Colour
Gamma field. For more information, see the Colour Gamma field section below .

W hen the Colour Interpolation parameter is set to Gamma 2 Colours, use this field toenter the gamma pow er used to generate the gradient. By default, it is set to 1, creating
a linear gradient. W hen set to any value betw een 0 and 1, the gradient w ill ease in fromthe inner colour to the outer colour. W hen set to any value above 1, the gradient w illease out from the inner colour to the outer colour.

Colour Gamma

Inner Colour

The colour used to fill the matte's inner contour.

Outer Colour

The colour used for the matter's outer contour.

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NOTE
If the Interpolation mode is set to None, this colour w ill fill the outer contour.
Otherw ise, it is used to create a gradient going from the inner contour to the outer
contour.

NOTE
If the Colour Interpolation parameter is set to Constant, this parameter is ignored
and the outer colour w ill be set to the same colour as the inner colour, except w ith
an alpha value of zero, making the matter a single solid colour w ith a transparency
gradient.

Alpha

Determines the w ay the alpha betw een the inner contour and the outer contour isgradated:lLinear: Steadily gradates from the inner contour's alpha to the outer contour's
aplha.

lGamma: Calculates the alpha going from the inner contour to the outer contour
based on a Gamma curve, the pow er of w hich can be set in the Alpha Gamma
field. For more information, see the Alpha Gamma field section below .

Alpha Mapping

Alpha Gamma

W hen the Colour Mapping parameter is set to Gamma, use this field to enter the
gamma pow er used to calculate the alpha values in the gradient. By default, it is set to1, creating a linear alpha gradient. W hen set to any value betw een 0 and 1, thegradient's alpha values w ill ease in from the inner contour's alpha value to the outer
contour's alpha value. W hen set to any value above 1, the alpha values of the gradient
w ill ease out from the inner contour's alpha value to the outer contour's alpha value.

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Burn- In Node

The Burn-In effect lets you add scene information w hich is visible in the Camera view . The information isdisplayed on top of any content in the scene. You can choose to display the scene name, timecode, frame
count, environment and job, as w ell as add a frame offset if you need blank frames to precede the scene
content. Also, to make the information more visible, you can also add a background and choose its colour, andcustomize the text font and alignment.
W hen you attach a Burn-In node to a Composite node, the burn-in information is rendered w hen you export
the scene.

NOTE
W hen you're w orking w ith 3D objects w ith a high Z position value, you may find the objects
obscuring the scene information. To w ork around this, use a peg to ensure the burned in scene
information is alw ays visible.

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How to add burn in scene information
1. In the Node Library, drag a Burn- In node to the Node view .
2. Connect it to the Composite node.
3. On the Burn-In node, click the square yellow properties button.
The Burn-In property w indow displays.

4. In the Show section, enter the follow ing information:‣

Frame Number: The frame number to start the burn-in information.

‣

Time code: The time code at w hich the burn-in information starts.

‣

Scene name: By default the scene name, environment and job information is display. Type thefollow ing to display specific types of information.
Scene Name: %s
Environment: %e
Job: %j‣

Frame Offset: Add lead-in frames before the scene begins or at a specific frame. Use positive
values for frames that precede the scene content and negative values to start your scene
information at a certain frame number.

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5. In the Text section, customize the text that is displayed.
6. In the Background section, add a background box to make the text more visible and then customize
the colour.

Burn- In Properties
Parameter

Description

Name

Allow s you to enter a name for the node.

Show

Frame Number

Displays the number of the current frame.

Time CodeDisplays the time code of the current frame.

Lets you display different types of information, including the scene name,environment and job. You can display one or all of these pieces of information. To
do so, type the follow ing in the Scene Name field:•

Scene Name: %s•

Environment: %e

Scene Name
• Job: %j
You can rearrange the order in w hich the information is displayed. For example,
you may w ant to see the job before the environment.

Frame Offset

Lets you add blank lead-in frames before the scene or somew here in the scene.
Use positive values for frames that precede the scene content and negativevalues to start your scene information at a certain frame number.

Text

Font

Lets you select a font for the information displayed.

Alignment

Lets you set the alignment of the text: Left, Center, Right.

Size

Lets you set the size of the text.

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Add Background Box

Adds a box behind the scene information w hich is useful w hen the scene contains
colours or content that may make it difficult to read the scene information.

Colour

Red/Green/Blue/Alpha

Lets you enter R, G, B and A values for the colour of the background box.

Colour Sw atch

Opens the Colour Picker dialog, in w hich you can visually select a colour for theeffect.

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Colour- Card Node
T-ANIMPA-012-001
The Colour Card allow s you to fill the scene's background w ith a solid colour w hen there is no backgroundimage. If no draw ing or colour-card is present to cover the scene's background, the scene w ill be rendered on apitch black canvas.

NOTE
By default, the Colour Card has a Z ordering value of 12 Backward. This puts the Colour cardbehind all elements that have a value low er than 12 Backward. Most of the time, the Colour card
w ill appear automatically behind all the scene elements as they are all set to 0 Backward, unless
you have changed the Z ordering of the scene components. If so, the Colour Card w ill be in front of
the elements that are pushed back to more than 12 fields backw ard.

Connection
The Colour Card only needs to be connected to a composite, and does not require an input image.

It is recommended to connect your Colour Card to the right-most port of the Composite for coherence, but
because a Colour Card has a default position on the z-axis of 12 Backw ard, it w ill appear behind all theelements in your scene regardless of w here you connect it on the scene's composite.

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Chapter 3: Nodes / Layers

Optionally, a Colour Card can also be connected to a matte image. In this case, the Colour Card w ill only fill
the shape of the matte w ith its colour, rather than the w hole scene.

Layer Properties

Parameter

Description

Enable/Disable

Allow s you to enable or disable the node. W hen disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top view s.

Colour Sw atch

Sets the colour of the layer in the Timeline view and of the node in the Node view .

Name

The name of the node as it appears in the Node View and the Timeline view . Eachnode must have a name that is unique to its containing group.

Depth

This parameter can be used to determine w hether the colour card displays behindor in front of elements w ith the same position on the z-axis. Elements andGradient nodes also have a depth parameter.

Offset Z

The position of the Colour Card on the Z-axis. By default, this is set to 12 B toensure the Colour Card appears behind other elements in the scene. You can set
this to 0 F to make the Colour Card respect the order in w hich nodes are758

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Parameter

Description

connected to the composite.

ColourThe colour and transparency of the Colour Card. You can also attach theseparameters to function columns to change their values over time.
Click the colour sw atch to open the Colour Picker w indow and select a colour.

Colour Sw atch

Opens the Colour Picker w indow in w hich you can specify the colour.

Invert Matte

If an image is connected to the Colour Card's matte port, by default, the colour isonly applied on the opaque areas of the matte. If this parameter is enabled, thecolour is applied to the transparent areas of the matte instead.

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Element / Drawing Node
The Element node is at the very core of a scene's structure. An element is a directory in w hich draw ings are
stored, w hich is associate to an Xsheet column indicating w hen and for how long each draw ing is exposed,
and w hich is in turn linked to a layer w hich indicates the position of the draw ings in the scene. The Element
node allow s you to connect the element to effects, pegs and composites, determining how its draw ings areprocessed and rendered.

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Connection
The Element node does not need an input image. It generates its output image from the draw ings in its
element and their exposure. Hence, it can be simply connected to a composite.

Although Element nodes can be transformed and animated on their ow n, it is typical to connect their input port
to a Peg. This allow s you to keep the position and animation information of the element in a separate node,
making it easier to manipulate the exposure and the transformations separately. This is especially useful indigital cut-out animation w here manipulating and transforming layers is often the main method of simulating
movement, and changing draw ings is the secondary method.

You can also connect an Element node to another Element node. Just like w ith pegs, any transformation doneon the parent Element node, w hether on itself or through one of its parents, w ill also be applied to the child
Element node.

Optionally, you can connect a matte draw ing to the left edge of an Element node. W hen an Element node isconnected to a matte draw ing, only the parts of the draw ings that intersect w ith the opaque areas of the mattedraw ing w ill be rendered. This allow s you to accomplish the same effect as connecting the Element node to a
cutter node, w ithout using an extra node.

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Layer Properties
The draw ing node's properties are organized in the follow ing tabs:lTransformation TablDraw ing TablControls TablLine ThicknesslAdvanced Tab

Transformation Tab
The Transformation tab contains parameters for adjusting the position, scale, rotation, skew and pivots of anelement.

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Parameter

Description

Enable 3D

Allow s the layer to be rotated and scaled in 3D. This means it can be rotated on
the X and Y axes and scaled on the Z axis.

3D Path: Use a 3D path to position the element. A 3D path uses a single function
to define the position on the X, Y and Z axes. This function is made of control
points linked by a curvilinear path, making the movement follow a natural curve.
The pace and ease of the movement is determined by a single velocity function.

Position

Separate: Positions the element using separate functions for the X, Y and Z axes.
This allow s to control the direction and pace of the movement across all threeaxes separately. Unless ease is applied to the axes, the trajectory of the element
w ill follow straight lines going betw een each keyframe.

Path: If the 3D Path option is selected, this field allow s you to create or select the
3D Path function used to position the element.

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Chapter 3: Nodes / Layers

Path (x) Axis: The position of the element on the East-W est axis, in fields.
Path (y) Axis: The position of the element on the South-North axis, in fields.
Path (z) Axis: The position of the element in the Back-Front axis, in fields.
Velocity: If the 3D Path option is selected, this function is used to control the paceat w hich the element moves tow ards each control point in the 3D Path function,on all three axes simultaneously.

Locked: Uses a single scale parameter to scale the element, preserving its
proportions.
Scale

Separate: Uses a separate parameter to scale the element on the X and Y axis, as
w ell as on the Y axis if the element is 3D-enabled, allow ing to stretch or squash
the element.

(x) Axis: The horizontal scale factor. The default value is 1.
(y) Axis: The vertical scale factor. The default value is 1.
(z) Axis: The depth scale factor for 3D-enabled elements. The default value is 1.
Scale in Fields: W ith this option enabled, the scale factor is based on the amountof fields in the scene. For example, to shrink one of the dimensions of an element
to half its original size, the scale factor w ould normally bet set to 0.5. If this option
is enabled and the amount of fields in the scene is 12, then the scale factor toshrink the element by half w ould be 6.
Ignore Parent Scaling: W hen this option is enabled, scaling factors applied to aparent layer w ill not be applied to the current layer. This can be handy in cut-out
rigs w hen you need to scale an arm w ithout affecting the forearm.

RotationAngle z: The angle at w hich the element is rotated, based on the 360 degrees
scale. Values below 0 or above 360 degrees w ill cause the rotation to cycle.

Quaternion: Similar to a 3D Path, the Quaternion determines the angle of a 3D
object using a single function.
Euler Angles: Determines the angle of a 3D object by rotating it on the X, Y and Z
axes using separate angles.

Rotation (3D enabled)

3D Rotation: If the Quaternion option is selected, this field allow s you to create or
select the Quaternion function used to rotate the element.
(x) Axis: The angle at w hich the element is rotated on the horizontal axis.
(y) Axis: The angle at w hich the element is rotated at the vertical axis.
(z) Axis: The angle at w hich the element is rotated on the depth axis.
Velocity: If the Quaternion option is selected, this function is used to control the764Harmony 22 Premium Reference Guide

speed at w hich the element is rotated on all 3 axes.

Skew

Skew: The angle at w hich the element is skew ed. This value can range from -90
to 90 degrees.

(x) Axis: The horizontal position of the pivot point of the element relative to thepivot point of the draw ing, in fields.
(y) Axis: The vertical position of the pivot point of the element relative to the pivot
point of the draw ing, in fields.
Pivot

NOTE
These parameters can be changed visually by clicking and dragging thepivot point w hen using on of the tools in the Advanced Animation toolbar.

An element layer has tw o pivots:l

The pivot of the element, w hich is set by the Pivot parameters above.

l

The pivot of the currently exposed draw ing, w hich is set using theDraw ing Pivot

tool.

This preference is used to determine w hat to do w ith the pivot point of thecurrently exposed draw ing:lDon't Use Embedded Pivot: Ignores the pivot point of the exposeddraw ing. The pivot point of the element is positioned using the Pivot
parameters above, relative to the centre of the draw ing.

lApply Embedded Pivot on Parent Peg: Use the pivot point of the
exposed draw ing to determine the position of the pivot point of the parent
peg of the draw ing layer. This is useful w hen making a character rig w hereeach element has a parent peg, and those parent pegs are intended to be
used for animation. The pivot point of these parent pegs w ill be based on
the pivot point set for the exposed draw ing.

lApply Embedded Pivot on Drawing Layer: Use the pivot point of thedraw ing to determine the pivot point of the element. This means the pivot
point is positioned using the Pivot parameters above, but relative to thepivot point of the draw ing.

Draw ing Pivot

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TIP
The tw o latter options are useful w hen making a character rig w here a layer
can represent a body part from different angles. Since each angle isrepresented by a draw ing, and each angle is liable to have a different pivot
point, you can set the pivot point of each angle by using the Draw ing Pivot
tool on each draw ing. Then, if you w ant to animate the draw ing layers
directly, you can set this parameter to the Apply Embedded Pivot on
Drawing Layer option, and if you w ant to animate using the parent pegs ofthe draw ing layers, you can set this parameter to the Apply Embedded
Pivot on Parent Peg option, so that these pivots are used w hen animating
the different parts of the rigs.

Drawing Tab
The Draw ing tab contains parameters for element and timing columns, the art layers, bitmap images and theelement's matte draw ing.

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Parameter

Description

Full Name: Select w hich element to connect to the node from the list of elementsthat already exist in your scene.
Element Columns

Synced Sub Element: If the layer is synced to another layer, this field displays thename of the layer's sub-element. A sub-element is an element stored insideanother element for syncing layers.
Drawing Path: Displays the full path to the current draw ing.

Name: The path to the draw ing file the element links to.
Timing Column: The name of the Xsheet timing column used for the layer's
timing.
Timing Columns
Extension: The extension of the draw ing file the element links to.
Field Chart: The size of the field chart used for the draw ings the element links to.
This setting is useful w hen linking to traditional animation draw ings.

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Chapter 3: Nodes / Layers

These parameters allow you to set w hether each art layer in the draw ing layer isenabled, and w hether they should contain vector or bitmap artw ork. By default,
options for the Line Art and Colour Art layers w ill be available. If the Enable
Overlay and Underlay Arts preference is enabled, options for the Overlay Art andUnderlay Art layers w ill also be available.
Enabled: Determines w hether the art layer is displayed.
Art Layers
Vector: Makes the art layer enabled for vector artw ork, Vector draw ing tools w ill
be used to draw in this art layer, and vector artw ork information w ill bepreserved.
Bitmap: Makes the art layer enabled for bitmap artw ork. Only bitmap-compatible
draw ing tools w ill be enabled w hen draw ing on this layer, and all artw ork w ill berasterized into a bitmap image.

Colour: Determines w hether or not the colours in the image is processed. If
unchecked, the image w ill be solid black.
Transparency: Determines w hether or not the transparency in the image isprocessed. If unchecked, the image w ill be fully opaque.

Transparency Type: If the layer contains bitmap images w ith a transparency
channel, there are several approaches to rendering the image's transparency. You
may need to select the proper transparency type to make sure Harmony renders
the image as intended.

Bitmap File OptionslPremultiplied with Black: Semi-transparent pixels in the original image
are blended w ith black.

l

Premultiplied with W hite: Semi-transparent pixels in the original image
are blended w ith w hite.

lStraight: Semi-transparent pixels in the original image are left as is(unmatted).

lClamp Colour to Alpha: Semi-transparent pixels in the original image are
blended w ith black. On import, each of the RGB channels is clamped sothat a color value never exceed the alpha value for a given pixel. W hen
the RGB values are multiplied w ith the alpha value, that is to say, if you
have a pixel of value R=247, G=188, B=29 and the alpha is 50% or theimage has a 50% transparency, then the actual RGB values output w ould
be half of the amounts listed above.

Tile Horizontally: Repeats the bitmap image infinitely to the left and to the rightof the layer. This can be useful for making looping backgrounds.
Tile Vertically: Repeats the bitmap image infinitely to over and underneath thelayer. This can be useful for making looping backgrounds.

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NOTE
W hen both the Tile Horizontally and Tile Vertically options are used
together, the bitmap image is tiled all over the scene.

Matte

Invert Matte: If a draw ing, composite or effect is connected to the draw ing's
matte input port, the part of the draw ing that intersect w ith the matte's opaqueareas w ill be cut out by default. If this parameter is enabled, the part of thedraw ing that intersect w ith the matte's transparent areas w ill be cut out instead.

Colour Space: The colour space in w hich the element’s colours should beinterpreted. If the element’s colour space is different from the project colour
space, then the element’s colours w ill be converted from the element’s colour
space to the project’s colour space as they are processed, before being
composited together w ith the scene’s special effects.
lUndefined Colour Space: No colour space is defined for the draw ing. The
draw ing’s colours w ill be interpreted as if they w ere the same colour
space the one selected in the Colour Space tab of the Scene Settings
dialog.

lLinear: The same primaries and w hite point as sRGB and Rec. 709, but
w ith no gamma transfer curve applied to the colour values. This colour
space is useful for compositing intermediary images that are meant to berendered in sRGB or Rec. 709.

Colour Spacel

Display P3: A colour space commonly used for digital projection. It has
the same primaries as DCI-P3, the same w hite point as sRGB and thesame gamma transfer curve as sRGB.

l

Display P3 Linear: The same as Display P3, except w ith no gammatransfer curve. This colour space is useful for compositing intermediary
images that are meant to be rendered in Display P3.

lRec. 709: The colour space used for HDTV. It has the same primaries andw hite point as sRGB, but has a different gamma transfer curve.

lRec. 709 2.4: The same colour space as Rec. 709 or sRGB, except w ith agamma transfer curve of 2.4 (per ITU-R BT.1886). This colour space exists
because some editing systems use a gamma transfer curve of 2.4 insteadof the standard gamma curve for Rec. 709.

lRec. 2020: A colour space used for Ultra High Definition TV (UHDTV). It
has a complex gamma transfer curve and primaries that cover more of thehuman-perceivable colour space than other colour spaces, especially inthe area of human-perceivable greens.

lRec. 2020 2.4: The same colour space as Rec. 2020, except w ith a simple
gamma transfer curve of 2.4 (per ITU-R BT.1886). This colour space exists
because some editing systems use a gamma transfer curve of 2.4 instead769

Chapter 3: Nodes / Layersof the standard gamma curve for Rec. 2020.
lRec. 2020 Linear: The same colour space as Rec. 2020, except w ith no
gamma transfer curve. This colour space is useful for compositing
intermediary images that are meant to be rendered in Rec. 2020.

lsRGB: A colour space typically used for standard computer monitors. It
has the same primaries and w hite point as Rec. 709, but has a different
gamma transfer curve.

NOTE
In theOpenGL View mode of the Camera view , the colour space ofdraw ing layers is ignored and only the colour space of original bitmap files
is taken in account. To test the colours of your draw ing in their selectedcolour space, you must activate

Render View mode.

Controls Tab
The Controls tab contains animation control options.

Parameter

Description

Animate Using Animation Tools: By default, a draw ing layer can be animateddirectly, as if it w as its ow n peg. If you disable this option, it w ill only be possible
to animate the layer using its parent peg. If the layer has no parent peg, it w ill be
immutable.
Animation
This can be useful if you w ant to create cut-out character rigs that should only be
animated using pegs, w hich can help separate the draw ing exposure from thetransformations on the draw ings. If every draw ing layer in a character rig has thisoption disabled, only layers that have a parent peg w ill be animatable, and the770Harmony 22 Premium Reference Guide

animator w ill only be able to animate on the pegs. This also rules out thepossibility of accidentally animating an element directly and using its parent peg
concurrently.
W hen this option is disabled, clicking on the draw ing layer in the Camera vieww ith the Transform tool w ill automatically select the layer's parent peg.

Lets you set a maximum and minimum rotation angle for a draw ing. This option isused mainly for a cut-out character w hen you do not w ant an elbow to bend too
far in or out.
Angle Limit Values

Enable Min/Max Angle: Activates the minimum and maximum angle constraints.
Min Angle: The minimum rotation angle for the element.
Max Angle: The maximum rotation angle for the element.

If the layer's controls are displayed, you can see its animation trajectory in the
Camera view . This is referred to as the spline. By default, the position of eachpoint in the spline is based on the element's pivot point. How ever, you can use thespline offset to give it a more fitting position if desired. You can do this by using
the Spline Offset tool of the Advanced Animation toolbar, or by manuallyentering the offset values in the Spline Offset fields.
(x) Axis: The horizontal offset of the spline, in fields.
(y) Axis: The vertical offset of the spline, in fields.
Spline Offset(z) Axis: The depth offset of the spline, in fields.

TIP
To display the animation trajectory of the layer in the Camera view , selectthe layer, then do one of the follow ing:l

In the Camera toolbar, click on Show Control.

l

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

lPress Shift + F11 (W indow s/Linux) or ⌘ + F11 (macOS).

Line Thickness
The Line Thickness tab contains options regarding the w ay pencil lines in the element are rendered. These
options can be very useful to enhance the quality of line art w ithout having to w ork on it.

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Parameter

Description

Adjust Pencil Lines Thickness: Enables the options below to adjust the line
thickness in the rendered image.
Normal Thickness: This setting makes the line thickness adjustments take one of
tw o very different behaviors:lEnabled: The line thickness settings are applied to pencil lines in all art
layers in the element. This setting should be used if you w ant to adjust theline thickness of pencil lines.

lDisabled: The line thickness settings are applied to all art, w hether brushstrokes or pencil lines, in the line art layer, so that it fits the desired
thickness pattern around art in the colour art layer. This setting should be
used for draw ings that have their line art on the line art layer and theircolour art on the colour art layer, w hich is typical of traditional andpaperless animation productions.

Line Thickness

NOTE
W hen this option is disabled, all artw ork in the line art layer that
does not surround artw ork in the colour art layer w ill be cropped
out.

Scale Independent:l

Scale Dependent: The line thickness w ill vary based on the scale ofdraw ing elements as w ell as the camera position.

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Scale Independent: Line thickness w ill not be effected by the scale of thedraw ing element or the position of the cameral

Scale Independent (Legacy): The line thickness w ill not be effected by
the scale of the draw ing elements or the position of the camera. Changing
resolution changes the visual thickness w hen rendering

Proportional: The factor by w hich to adjust line thickness. The original line
thickness in the draw ing w ill be multiplied by this value. A value betw een 0 and 1
can be used to make pencil lines thinner.
Constant: The offset by w hich to adjust line thickness. This value w ill be added
to the original line thickness in the draw ing. A negative number can be entered tomake pencil lines thinner.
Minimum: The minimum pencil line thickness allow ed. Line thickness w ill not go
below this value.
Maximum: The maximum pencil line thickness allow ed. Line thickness w ill not go
above this value. Set it to 0 to disable maximum line thickness.

Pencil Lines Quality: The quality of the rendered pencil lines w hen deformed bydeformation chains. Increasing this parameter is unlikely to w ield noticeable
result unless rendering in very high resolutions.
Preserve Line Thickness: If this option is checked, the thickness of pencil lines
w ill not be affected by deformations. Only their directions w ill be affected. Also, if
a pencil line is textured, it w ill not be stretched or squashed by deformations.

NOTE
This setting must be enabled for the Pencil Lines Smoothing and Fit Error
parameters to be available.

Deformation

Pencil Lines Smoothing: The smoothing factor applied to pencil lines w hen
rendering. This value can range from 0 to 10. The higher it is, the more corners
and points w ill appear smoothed out.
Fit Error: W hen this parameter is increased, pencil lines in the rendered image
w ill have less vector points and the curves betw een the remaining vector points
w ill be adjusted to fit the original shape. This setting can be increased if theamount of details and points in the pencil lines creates problems arounddeformation articulations and corners. Its value can range from 1 to 100.

NOTEThe Fit Error parameter w ill have no effect if the Pencil Lines Smoothing
parameter is set to 0.

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Advanced Tab
The Advanced tab contains options for setting the alignment of draw ings, clipping, line thickness, vector
render options, and more.

Parameter

Description

Alignment Rule: The alignment rule selections are intended to deal w ith
draw ings that w ere created on paper of a different size or orientation from thedefault alignment rule (set up in the Scene Settings dialog box) or imported
bitmap images. The draw ings are then scaled to match the Harmony alignment
rectangle. Note that alignment rules are not based on the camera frame, but on
the scene frame. Refer to the Fundamentals Guide to learn more about scenealignment and scene settings.
lLeft: The default alignment for draw ings; aligns the draw ings to the left
side of the scene’s alignment rectangle. Harmony scales the draw ings tomatch their height to the alignment rectangle of the scene.

lRight: Aligns the draw ings to the right side of the alignment rectangle.
Harmony scales the draw ings to match their height to the height of thealignment rectangle of the scene.

lTop: Aligns the draw ings to the top of the alignment rectangle. Harmony
scales the draw ings to match their w idths to the w idth of the alignment
rectangle of the scene.

lBottom: Aligns the draw ings to the bottom of the alignment rectangle.
Harmony scales the draw ings to match their w idths to the w idth of the

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Harmony 22 Premium Reference Guidealignment rectangle of the scene.
lCentre Fit: Centers the draw ings.

lCentre Fill: Centers the draw ings and then scales them so the w idth orheight fills the available space.

lCentre LR: Aligns the draw ings in the left-right centre of the alignment
rectangle. Harmony scales the draw ings to match their height to theheight of the alignment rectangle of the scene.

lCentre TB: Aligns the draw ings in the top-bottom centre of the alignment
rectangle. Harmony scales the draw ings to match their w idths to thew idth of the alignment rectangle of the scene.

lStretch: Scales the draw ings so they fit w ithin the alignment rectangle ofthe scene. This is particularly useful for images that you w ill manipulate
w ith a Quadmap node. If the draw ings in the Quadmap node do not havethe same aspect ratio as the alignment rectangle of the scene (from the
Scene Settings dialog box), the handles on the quadmap w ill not appear
on the corners of the image, making it difficult to manipulate thequadmap. In this case, you w ould set the draw ing layer of the quadmap
images to Stretch to make the handles appear on the corner of the image.
This can have the effect of distorting the images, but it is not an issue w ith
images that w ill be distorted through the Quadmap node anyw ays.

l

As Is: Leaves the draw ings aligned as they are.

l

Centre First Page: Aligns the centre of the first part of a standard pan cel
w ith the centre of the field chart.

Turn Before Alignment: Rotates the draw ings in the selected element 90
degrees to the left before scaling and aligning them according to the alignment
rule, and before performing any offset, rotation or scaling for the element or peg.
This and the Alignment Rule are intended for draw ings that w ere created on
paper of a different size or orientation than the other paper in the scene, andrequires alignment so they are treated accurately.

Flip Horizontal: Flips the draw ing on the horizontal axis.

Flip Vertical: Flips the draw ing on the vertical axis.

Clipping

No Clipping: By default, w hen using the Apply-Image-Transformation node on abitmap layer, the image is clipped by the camera frame before the transformation.
This can cause the resulting image to appear cropped if the peg connected to the
Apply-Image-Transformation node brings the element from outside of thecamera frame, or shrinks it. Enable this option to avoid clipping the image—see
Apply Image Transformation Node on page 830.

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NOTE
In the great majority of cases, it is recommended to use an Apply-PegTransformation node instead to avoid clipping—see Apply Peg
Transformation Node on page 833.

Clipping Factor (X): This parameter w ould extend the horizontal clipping area ofvector draw ings before effects are applied to it. Using this parameter is no longer
required as Harmony manages the clipping areas of vector draw ings
automatically, and is only made available for legacy support.
Clipping Factor (Y): This parameter w ould extend the vertical clipping area ofvector draw ings before effects are applied to it. Using this parameter is no longer
required as Harmony manages the clipping areas of vector draw ings
automatically, and is only made available for legacy support.

Antialiasing Quality: The smoothness (antialiasing) setting used to make thecrisp vector contours appear smooth.

Vector Render OptionslNone - No Transparency: Dsables antialiasing, renders semi-transparent
pixels either fully opaque or fully transparent, and fills single-pixel gaps
w ith an opaque pixel to avoid generating out-of-place gaps w hen lines
intersect each other.

lLow: Disables antialiasing, but renders transparency.

lMedium Low: Renders vector artw ork w ith basic antialiasing.

lMedium: Renders vector shapes w ith improved antialiasing. Bitmap
texture fills w ill appear blurred.

lHigh: Renders vector shapes w ith improved antialiasing, w ithout blurring
bitmap texture fills.

TIP
It is recommended to leave this setting to High unless you are w orking on a
pencil test, or another type of scene w here rendering speed is more
important than rendering quality.

TIP
If the production requires exporting line art w ithout antialiasing to colour
them in a third-party softw are, it is recommended to use the None - No
Transparency setting. This setting automatically fills one-pixel gaps
created by crisp lines intersecting each other, w hich w ould otherw ise need
to be filled manually in the third-party softw are.

Antialiasing Exponent: Determines how much the artw ork is scaled up to apply
antialiasing onto it. A higher value w ill results in sharper edges, and a low er value776Harmony 22 Premium Reference Guide

w ill result in softer edges. Typical values range betw een 0 and 3. Higher values
may be attempted but may result in overly crisp outlines. Negative values w illcause the outlines to appear blurry.
Texture Filter: This setting determines how textures in the element areresampled w hen rendering:lBilinear: This option takes the four pixels around each point and makes abilinear interpolation betw een them, w hich may make them look blurry.

l

Nearest: W hen sampling the texture up, this option generates extra pixels
by using the colour of the nearest defined pixel. W hen sampling the
texture dow n, this option simply removes pixels from the texture.

l

Nearest (Filtered): This option is similar to Nearest, but it adds an extra
layer of resampling to make all pixels look like they are the same size.

Depth: Overrides the order of cables in the node system to determine theforw ard/backw ard order in w hich this element is rendered. The Z position value
overrides the depth value.
MiscellaneousMorphing Velocity: W hen morphing draw ings in the element using the Morphing
tool, this parameter can be used to create or select the velocity function used todetermine the pace of the morphing animation.
Opacity: Lets you quickly change the transparency of the selected element.
Opacity settings here w ill be reflected in both OpenGL preview , and full render.

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Field Chart Node

The Field Chart node displays a traditional animation field chart, w hich allow s you to position elements in the
Camera view . The Field Chart node doesn't export. If you w ant to export a field chart, use the Grid node—see
Grid Node on page 789.

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Field Chart Properties

Parameter

Description

Name

Allow s you to change the name given to the node.

Drawing

Size

Adjusts the number of units in the grid (field chart). The grid size w ill alw ays be a
4:3 ratio, as per traditional animation standards. The gird is available in 12 or 16
fields.

OpaqueInserts a w hite background behind the grid and covers everything else behind it.
By default, you can see through the grid.

Antialiasing Quality: The smoothness (antialiasing) setting used to make thecrisp vector contours appear smooth.
lNone - No Transparency: Dsables antialiasing, renders semi-transparent
pixels either fully opaque or fully transparent, and fills single-pixel gaps
w ith an opaque pixel to avoid generating out-of-place gaps w hen lines
intersect each other.

lLow: Disables antialiasing, but renders transparency.

lMedium Low: Renders vector artw ork w ith basic antialiasing.

lMedium: Renders vector shapes w ith improved antialiasing. Bitmap

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Chapter 3: Nodes / Layers

texture fills w ill appear blurred.
lHigh: Renders vector shapes w ith improved antialiasing, w ithout blurring
bitmap texture fills.

TIP
It is recommended to leave this setting to High unless you are w orking on a
pencil test, or another type of scene w here rendering speed is more
important than rendering quality.

TIP
If the production requires exporting line art w ithout antialiasing to colour
them in a third-party softw are, it is recommended to use the None - No
Transparency setting. This setting automatically fills one-pixel gaps
created by crisp lines intersecting each other, w hich w ould otherw ise need
to be filled manually in the third-party softw are.

Antialiasing Exponent: Determines how much the artw ork is scaled up to apply
antialiasing onto it. A higher value w ill results in sharper edges, and a low er value
w ill result in softer edges. Typical values range betw een 0 and 3. Higher values
may be attempted but may result in overly crisp outlines. Negative values w illcause the outlines to appear blurry.

The alignment rule selections are intended to deal w ith draw ings that w ere
created on paper of a different size or orientation from the default alignment rule(set up in the Scene Settings dialog box) or imported bitmap images. The
draw ings are then scaled to match the Harmony alignment rectangle. Note thatalignment rules are not based on the camera frame, but on the scene frame. Referto the Fundamentals Guide to learn more about scene alignment and scene
settings.

Alignment Rulel

Left: The default alignment for draw ings; aligns the draw ings to the left
side of the scene’s alignment rectangle. Harmony scales the draw ings tomatch their height to the alignment rectangle of the scene.

lRight: Aligns the draw ings to the right side of the alignment rectangle.
Harmony scales the draw ings to match their height to the height of thealignment rectangle of the scene.

lTop: Aligns the draw ings to the top of the alignment rectangle. Harmony
scales the draw ings to match their w idths to the w idth of the alignment
rectangle of the scene.

lBottom: Aligns the draw ings to the bottom of the alignment rectangle.
Harmony scales the draw ings to match their w idths to the w idth of thealignment rectangle of the scene.

lCentre Fit: Centers the draw ings.

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Centre Fill: Centers the draw ings and then scales them so the w idth orheight fills the available space.

lCentre LR: Aligns the draw ings in the left-right centre of the alignment
rectangle. Harmony scales the draw ings to match their height to theheight of the alignment rectangle of the scene.

lCentre TB: Aligns the draw ings in the top-bottom centre of the alignment
rectangle. Harmony scales the draw ings to match their w idths to thew idth of the alignment rectangle of the scene.

lStretch: Scales the draw ings so they fit w ithin the alignment rectangle ofthe scene. This is particularly useful for images that you w ill manipulate
w ith a Quadmap node. If the draw ings in the Quadmap node do not havethe same aspect ratio as the alignment rectangle of the scene (from the
Scene Settings dialog box), the handles on the quadmap w ill not appear
on the corners of the image, making it difficult to manipulate thequadmap. In this case, you w ould set the draw ing layer of the quadmap
images to Stretch to make the handles appear on the corner of the image.
This can have the effect of distorting the images, but it is not an issue w ith
images that w ill be distorted through the Quadmap node anyw ays.

l

As Is: Leaves the draw ings aligned as they are.

l

Centre First Page: Aligns the centre of the first part of a standard pan cel
w ith the centre of the field chart.

Turn Before Alignment

Turn Before Alignment: Rotates the draw ings in the selected element 90
degrees to the left before scaling and aligning them according to the alignment
rule, and before performing any offset, rotation or scaling for the element or peg.
This and the Alignment Rule are intended for draw ings that w ere created on
paper of a different size or orientation than the other paper in the scene, andrequires alignment so they are treated accurately.

Depth

Overrides the order of cables in the node system to determine theforw ard/backw ard order in w hich this element is rendered. The Z position value
overrides the depth value.

Position

Animate Using Animation
Tools

By default, the grid can be animated using the same parameters as a peg, but you
can disable this feature so the field chart remains in place. You can connect it to apeg to animate it or move it.
W hen this option is deselected, you cannot move the layer in the Camera viewusing the Transform and Advanced tools. This prevents you from accidentallydisplacing or modifying a layer.

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3D Path: Use a 3D path to position the element. A 3D path uses a single function
to define the position on the X, Y and Z axes. This function is made of control
points linked by a curvilinear path, making the movement follow a natural curve.
The pace and ease of the movement is determined by a single velocity function.
Separate: Positions the element using separate functions for the X, Y and Z axes.
This allow s to control the direction and pace of the movement across all threeaxes separately. Unless ease is applied to the axes, the trajectory of the element
w ill follow straight lines going betw een each keyframe.
Position

Path: If the 3D Path option is selected, this field allow s you to create or select the
3D Path function used to position the element.
Path (x) Axis: The position of the element on the East-W est axis, in fields.
Path (y) Axis: The position of the element on the South-North axis, in fields.
Path (z) Axis: The position of the element in the Back-Front axis, in fields.
Velocity: If the 3D Path option is selected, this function is used to control the paceat w hich the element moves tow ards each control point in the 3D Path function,on all three axes simultaneously.

Locked: Uses a single scale parameter to scale the element, preserving its
proportions.
Separate: Uses a separate parameter to scale the element on the X and Y axis, as
w ell as on the Y axis if the element is 3D-enabled, allow ing to stretch or squash
the element.
(x) Axis: The horizontal scale factor. The default value is 1.
Scale(y) Axis: The vertical scale factor. The default value is 1.
(z) Axis: The depth scale factor for 3D-enabled elements. The default value is 1.
Scale in Fields: W ith this option enabled, the scale factor is based on the amountof fields in the scene. For example, to shrink one of the dimensions of an element
to half its original size, the scale factor w ould normally bet set to 0.5. If this option
is enabled and the amount of fields in the scene is 12, then the scale factor toshrink the element by half w ould be 6.

Angle Z

Lets you type in a degree value for the rotation angle. Note that you can enter
values greater than 360 and -360 degrees. If you enter 720, the object w ill rotate
tw ice.

(x) Axis: The horizontal position of the pivot point of the element relative to thepivot point of the draw ing, in fields.
Pivot(y) Axis: The vertical position of the pivot point of the element relative to the pivot
point of the draw ing, in fields.

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Gradient Node
The Gradient node is similar to a Colour Card in w hich it fills all of the space in the stage, except that instead offilling it w ith a solid colour, it fills it w ith a configurable gradient. A gradient is a colour that tapers into anothercolour. The Gradient node can generate linear or radial gradient, betw een colours w ith or w ithouttransparency. The colours as w ell as the start and end points of the gradient in the stage can be configured
and animated.

The Gradient node covers the entire camera frame and beyond. You do not need to scale it up or dow n. It w ill
automatically cover an infinite zone. You simply need to connect it behind your scene's elements. You canconnect it in front of some elements you w ant to cover. By default, the Gradient has a Z ordering value of 0.
W hen you select the Gradient node, the Camera view displays yellow triangles to indicate that it's selected.

Connection
Being a generator, the Gradient node does not need an input image. It generates a gradient on its ow n, basedon its parameters alone.

Just like Element nodes, Gradient nodes can be hooked to a peg, allow ing you to easily move, rotate, scale andanimate the gradient.

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Chapter 3: Nodes / Layers

Optionally, the Gradient node can be connected to a matte image. In this case, the gradient w ill only beapplied over the opaque areas of the matte.

Controls
If you w ant to control the gradient's orientation and points position in the Camera view , you can use theControl command to display the points and move them.

How to control the gradient in the Camera view
1. In the Tools toolbar, select the Transform

tool.

2. In the Timeline or Node view , select the Gradient node.
3. Do one of the follow ing:l

In the Camera toolbar, click on the Show Controll

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

button.

The starting and ending points of the gradient w ill appear in the Camera view , like so:

4. Click and drag on one of the points to change its position.

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Layer Properties

Use the Gradient property editor to modify the values of the gradient and the position of its output.
Parameter

Description

Allow s you to select betw een the follow ing types of gradient:
Gradient TypelLinear: Lines of colour are draw n perpendicular to the axis betw een point
0 and point 1.

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Chapter 3: Nodes / LayerslRadial: Circles of colour are draw n w ith point 0 as their center, w ith a ray
progressing betw een point 0 and point 1.

Point 0The colour of point 0. The gradient w ill start w ith this colour and taper to thecolour of point 1.

Colourl

Red: The value of red in the colour.

lGreen: The value of green in the colour.

l

Blue: The value of blue in the colour.

lAlpha: The opacity of the colour.

The position of point 0 in the stage. The gradient w ill start from this position andend at the position of point 1.
Position 0
If you w ant to animate the point, you can choose w hich type of function to use tostore the animation.

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2D Path: The horizontal and vertical position are on the same function.
This makes the point move in a curvilinear trajectory betw een each
keyframe.

lSeparate: The horizontal and vertical position are on separate functions.
This makes the point move in a straight line betw een each keyframe and it
allow s you to modulate the trajectory differently on each axis.

(x) Axis

The position of point 0 on the x-axis.

(z) Axis

The position of point 0 on the y-axis.

Point 1

The colour of point 1. The gradient w ill start w ith the colour in point 0 and taper
to this colour.

Colourl

Red: The value of red in the colour.

lGreen: The value of green in the colour.

l

Blue: The value of blue in the colour.

lAlpha: The opacity of the colour.

The position of point 1 in the stage. The gradient w ill start from the position ofpoint 0 and end in this position.
If you w ant to animate the point, you can choose w hich type of function to use tostore the animation.
Position 1l

2D Path: The horizontal and vertical position are on the same function.
This makes the point move in a curvilinear trajectory betw een each
keyframe.

lSeparate: The horizontal and vertical position are on separate functions.
This makes the point move in a straight line betw een each keyframe and it
allow s you to modulate the trajectory differently on each axis.

(x) Axis

The position of point 1 on the x-axis.

(z) Axis

The position of point 1 on the y-axis.

Position

Offset Z

The position of the Gradient layer on the z-axis.

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DepthThis parameter can be used to determine w hether the gradient displays behind or
in front of elements w ith the same position on the z-axis. Elements and Colour
Cards also have a depth parameter.

Matte

Invert Matte

If an image is connected to the Gradient node's matte port, by default, thegradient is only applied on the opaque areas of the matte. If this parameter isenabled, the gradient is applied to the transparent areas of the matte instead.

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Grid Node

The Grid node displays a grid, in field chart unit, w hich allow s you to position elements in the Camera view .

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Grid Properties

Parameter

Description

Name

Allow s you to change the name given to the node.

Size

Adjusts the amount of units in the grid (field chart). The grid size w ill alw ays be a
4:3 ratio, as per traditional animation standards, but w ill adjust the camera frame
w idth. You can change the grid to adjust to the camera frame by deselecting the
Fit Vertical option.

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Aspect

The grid size default format is 4:3 ratio, as per traditional animation standards,
but w ill adjust the camera frame w idth. You can change the grid ratio by enteringa new ratio. To find your scene ratio, select Scene > Scene Settings.

Fit Vertical

Makes the grid size adjust the camera w idth or height.

Display Text

Turns the display of numbers on or off.

Fill

Makes the grid's background opaque. Nothing behind w ill be show n. You can also
click on the colour sw atch to open the Colour Picker w indow and select abackground colour.

RGBA

The colour and alpha values of the corresponding point. You can also click on thecolour sw atch to open the Colour Picker w indow and select a grid or backgroundcolour. Default values: 0,0,0 and 255, 255, 255.

Colour Sw atch

Opens the Colour Picker w indow in w hich you can specify the colour.

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Lens Flare Node

The Lens Flare effect simulates the refraction caused by shining a bright light into a camera lens. The shape ofthe lens flare can be circular or hexagonal.
For a detailed video tutorial by Adam Phillips, see
https://w w w .youtube.com/w atch?v=c4nvOTb3-Sc
Here is how a typical lens flare can be set up:

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Lens Flare Properties

Parameter

Description

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Chapter 3: Nodes / Layers

Custom: Lets you use your ow n custom art or draw ing.
Flare TypeType 1: Circular lens flare.
Type 2: Hexagonal lens flare.

Lets you apply a normal or screen blending mode to the image.
Normal: W hen selected, this operation w ill not create any blending mode effect.
Blend Mode: Normal/Screen

Screen: W hen deselected, this operation multiplies the inverted colour of theblending element w ith the image. This lightens the colour of the overlappingarea. Screen is the default blending mode.

Position X, Y, Z

Lets you precisely orient the flare in the x, y, and z axes.

Brightness

Intensity

The strength of the lens flare.

Red

Red values of the image.

Green

Green values of the image.

Blue

Blue values of the image.

Alpha

Alpha values of the image.

Colour Sw atch

Opens the Colour Picker w here you can specify the colour of the main flare.

Flare 1–10

Lets you create custom lens flares by associating them w ith specific draw ings.
You can create up to 10 different flares.

Drawing: Lets you specify a draw ing to use for the flare.
Position: The position of the flare.
Size: The size of the flare.
Blur Intensity: The strength of the flare.

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Turbulent Noise Node

The Turbulent Noise effect uses Perlin noise to create greyscale noise for organic-looking backgrounds,
displacement maps and textures. Among other things, it can be used to simulate fluid effects like clouds, fire,lava, steam, flow ing w ater, or vapour. The Turbulent Noise effect models turbulent systems w ith smaller
noise features moving more quickly than larger noise features. The Turbulent Noise effect creates smoothanimations and takes less time to render than other noise or grain effects.
For a detailed video tutorial and sample scene, see
https://learn.toonboom.com/modules/masking/topic/turbulence-mattes

Connection
Being a generator, the Turbulent Noise node does not require an input image. It generates noise using its
Layer Properties. How ever, its default settings w ill only output solid black.

The Turbulent Noise node can be hooked to a peg, allow ing you to transform and animate the effect.

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Chapter 3: Nodes / Layers

NOTE
In the example above, it is hooked to a Quadmap to simulate a perspective effect.

Optionally, a Turbulent Noise node can also be connected to a matte image. In this case, the noise w ill only fill
the shape of the matte.

Layer Properties

Parameter

Description

Enable/Disable

Allow s you to enable or disable the node. W hen disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top view s.

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Parameter

Description

Colour Sw atch

Sets the colour of the layer in the Timeline view and of the node in the Node view .

Name

The name of the node as it appears in the Node View and the Timeline view . Eachnode must have a name that is unique to its containing group.

The algorithm used to generate the noise:lPerlin: Creates pseudo random patterns. The greyscale contains acontinuity betw een different tones of grey.

lSimplex: Creates a more contrasted noise pattern w ith more variation
than Perlin. There is a smooth variation of intensity.

lSinusoidal: Creates a repeated w avelike pattern.

l

Sub Scaling: Applies Perlin noise tw ice. The second noise is added w here
dark areas appear in the original. The frequency of the second iteration ishigher so the noise is smaller.

lRocky: Uses the Perlin pattern but converts the very high and low values
to more moderate values. For example, the w hites become light greys andthe blacks become dark greys.

l

Small Bumps: Uses the Perlin pattern. The transitional grey areas

Noise Typebetw een blacks and w hites become inverted so they look like dark lines.
The extremes, black and w hite areas, become w hitish.

Frequency

The density of displacement appearing in the noise. A higher value produces agreater amount of displacement in a given area; a low er value produces a smaller
amount.

OffsetMoves the entire image.

LockedApplies parameter value w hile retaining the X and Y ratio.

Separate

Allow s you to apply different parameter values to X and Y.

xy

W hen locked, applies parameter values to both X and Y. W hen separated, allow s
you to apply different value to X and Y.

Evolution

Determines the displacement pattern over time.

Evolution Frequency

This factor makes the complexity iterations animate or transform at a higher

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Chapter 3: Nodes / Layers

Parameter

Description

speed. In other w ords, the second, third, etc. passes, controlled by the Complexity
parameter, w ill mutate faster than the main one.

The number of noise layers that make up the noise. Each successive layer has ahigher frequency, resulting in a smaller noise effect. You can have up to sevenpasses. Increasing this number increases the depth and amount of detail in thenoise. Use Complexity w ith Sub Scaling w hen the value is 1 or greater.
Complexity

NOTE
Increasing the Complexity results in longer rendering times.

Gain

Sub Scaling:

Depth

Controls the amount of opacity present in the iteration of noise. This also affects
the layer w hen using Sub Scaling. W ith a value of 0, you w ill not see the sub
noise. A value of 1 w ill show the sub noise just as strong as the main one. For
example, w ith w ater ripples, a higher amount of Gain w ill reveal more ripple or
subripples.

The factor by w hich the main noise is modified at each iteration of complexity. A
value of 1 make the tw o noises identical. A value of 2 makes the sub noise tw ice
as small. The next iteration w ould be 4 times smaller. Values must be greaterthan 1.

This value determines the composition order w hen the Z value of tw o elements isthe same.

Matte

Invert Matte

If the Turbulent Noise node is connected to a matte image, by default, the noise
w ill only fill the opaque areas of the matte. If this parameter is enabled, the noise
w ill fill the transparent areas of the matte instead.

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Group Nodes
The nodes found in the group category are used to organize the Node view by grouping nodes and providing
input and output ports for these groups.
Group Node

800

Multi- Port- In Node801

Multi- Port- Out Node

802

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Group Node
The Group node is the node containing all the layers in a group. In the Timeline view , a Group node appears asa layer that you can expand or collapse to display or hide the layers it contains in the layer list. In the Nodeview , a Group appears as a node that can be entered by clicking on the arrow in the right end of the node.

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Multi- Port- In Node
A Multi-Port-In node is added by default in a new Group node. Use it to add one or more input ports to theGroup node so that you can process an image through the nodes in the Group node.

W hen you plug an element to a Multi-Port-In node, an input port appears at the top of the Group node. You
can add additional ports to the nodes as needed.
Pass your cursor over the Group node input port to see the name of the Port Image In node that it connects to.
You w ill notice that the Group node in these examples has no output port. It requires a Multi-Port-Out node to
output data from its netw ork.
A Multi-Port-In is automatically added w hen you create a group.
Use the Multi-Port-In editor to rename the node.

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Multi- Port- Out Node
A Multi-Port-Out node is added in a new Group node by default. Use it to add output ports to the Group nodeso that you can output the result of the group operation to the rest of the netw ork. After you plug an element
to a Multi-Port-Out node, an output port appears on the bottom of your Group node. You can add additional
output ports as needed.

A Multi-Port-Out is automatically added w hen you create a group.
Use the Multi-Port-Out editor to rename the node in the netw ork.

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Miscellaneous Nodes
The nodes found in the Miscellaneous category are various nodes used to either add notes to the Node view ,use external scripts or previous and hide elements in OpenGL and Render view .
External Node804

Master Controller Node807

Note Node813

OpenGL Bypass Node814

OpenGL- Cache- Lock Node816

Pre- Render Cache Node819

Connection

820

Render Preview Node824

Script Node825

Visibility Node

828

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External NodeUse the External node to process images through external programs and input the resulting images back into
the netw ork. Note that not all programs w ork w ith the External node.

Using the External node lets you avoid having to export your animation to another softw are to do someprocessing over it and then bringing it back to Harmony. This w ay, you can modify your scene and animation as
much as you w ant and still use the effects or render process from a third-party softw are.

NOTE
Harmony also supports OpenFX plugins.

The External node w rites input files to temporary files on the system. It then calls the external program, w hichw ill process the input images. If tw o images are input into the node, the program must composite them
together to produce one output image. Finally, the file produced by the external program is read back into the
netw ork.

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The command is sent to the external program in the follow ing format:
program_name file_1 file_2 output_file numerical_param extension
Use the External editor to control the program that is launched by the node, the files that it reads, and the filethat it outputs into the netw ork.

In this example, the ImageMagick 6.3 softw are w as used w ithout a matte connection.
Use the External editor to w rite dow n the parameters matching the chosen external program.

External Properties
Parameter

External Program

Description

The name of the program launched by the External node. This field can include afull or relative path to the executable file. If no path is entered, the user's path issearched to locate the program.
Enter the command directly into this field.
For example:

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mogrify -spread $NUM $IN1
W here:mogrify: Is the name of the program
spread: Is the option to be applied,$NUM and $IN1: Are the numerical parameter and first input file variabledeclared in the External node.

Program First Input File

The name and location of the temporary file that Harmony w ill w rite to the file($IN1)

system for the external program to read. It must not include the dot or theextension; the External node w ill add these based on the Extension field.

Program Second Input File($IN2)

W hen processing tw o files through this node (such as an image and a matte), thisis the name and location of the second temporary file that Harmony w rites to thefile system for the external program to read. It must not include the dot or theextension; the External node w ill add these based on the Extension field.

Program Output File ($OUT)

The name and location of the temporary file that the external program w ill w rite
to the file system so that Harmony can read it back into the netw ork.

Extension ($EXT)

The file type that w ill be processed by the external program.

Numerical Parameter($NUM)

A value passed to the external program as a file processing option. It can be
attached to a function curve to change over time.

The program files are temporary files that are overw ritten at each frame as the node is executed. They are only
meant to temporarily store the image that is being processed at each frame.

Generate Unique FileNames

If this option is enabled, the temporary output file w ill have a unique identification
number added to its name to avoid any file override if another scene or External
script is rendered at the same time. It could be possible to have an override w hen
tw o scenes using the External nodes are rendered in batch processing.

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Master Controller NodeThe master controller node is a special kind of script node that allow s you to create visual w idgets that you
can display in the Camera view , and script to programmatically affect a character rig w hen manipulated by theuser.
For information and examples on how to use the Master Controller node, refer to the Master Controller subsection of the Rigging chapter of the User Guide.

Connection
The Master Controller does not need to be connected to a node in order to w ork, unless it is scripted to affectnodes that are connected to it.

If a Master Controller is connected to a node, the node system it is connected to should ultimately end up
connected to a Display node in order for the Master Controller to w ork.

If you configure the Master Controller's first (rightmost) input port to be a transformation (peg) input port, you
can connect a peg to the Master Controller, and use this peg to move its w idget around in the Camera view ,allow ing you to easily set the w idget's default position in the scene.

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IMPORTANTA Master Controller node must have at least one output port to function, even if this port is notconnected to anything.

Controls
The Master Controller can be scripted to display any one of the follow ing kinds of controls in the Camera view :Control

Appearance

Description

Slider

A slider that allow s the user to slide a handle up or dow n. W hen
manipulated, it provides a value betw een its minimum and maximum
values.

2D Line Display

Displays a line going betw een tw o 2D Point w idgets, make a "bone"type manipulator that can be moved by either end.

2D Point

A point that the user can freely drag around the stage. W hen
manipulated, it provides its position.

3D Rotation

A 3D sphere that the user can rotate in all directions. W hen
manipulated, it provides an object w ith a rotation angle for each axis.

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Control

Appearance

Description

X Rotation

A circle that can be rotated around the x-axis. W hen manipulated, it
provides a rotation angle.

Y Rotation

A circle that can be rotated around the y-axis. W hen manipulated, it
provides a rotation angle.

Z Rotation

A circle that can be rotated around the z-axis. W hen manipulated, it
provides a rotation angle.

X Translation

An arrow that can be dragged along the x-axis. W hen manipulated, it
provides an offset.

Y Translation

An arrow that can be dragged along the y-axis. W hen manipulated, it
provides an offset.

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Control

Appearance

Z Translation

Description

An arrow that can be dragged along the z-axis. W hen manipulated, it
provides an offset.

Scripting Interface
To access the scripting interface reference, open the Script Editor view . Then, open the

View Menu andselect Help > Scripting Interface Documentation.

Layer Properties
The Master Controller node is essentially a Script node w ith an extra layer of functionality in its scriptinginterface. Hence, its layer properties are very similar to that of the Script node. How ever, its most importanttab is the UI Script tab. The script in this tab is executed w hen the layer is selected and the user clicks on theShow Control button in the Camera toolbar. This is w here you can define w hich w idget the node displays,
and w hat happens w hen the user manipulates the w idget.

Parameter

Description

Name

The name of the node as it appears in the Node View and the Timeline view . Eachnode must have a name that is unique to its containing group.

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Parameter

Description

Tabs

Attributes

This tab allow s you to set values for the attributes defined in the Specifications
tab.

This tab allow s you to define the attributes as w ell as the input and output ports
for the Master Controller.
The Master Controller supports the follow ing types of attributes:

Specifications

l

bool

l

int

l

doublelStringl

TextlColourlPosition2dlPosition3d

The Master Controller supports the follow ing types of ports:
l

Image

l

Peg

This tab allow s you to w rite or link to a script that w ill be executed w hen
rendering the node.
Softrender

NOTE
Scripts in this tab are ignored by the Master Controller node. The Softrendertab is only executed by Script nodes.

Initialization

This tab allow s you to w rite or link to a script that w ill be executed w hen loading
the scene.

CleanupThis tab allow s you to w rite or link to a script that w ill be executed w hen closing
the scene.

UI Script

This tab allow s you to w rite or link to a script that w ill be executed w hen using

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Parameter

Description

the Show Control command w hile the node is selected. This is w here w idgets
and their functionalities should be defined.

This tab allow s you to define folders or files from root directory of the scene thatshould be preserved w hen creating templates or saving the scene in a different
location. Any asset, such as external scripts, user interface files, data files orimages that the Master Controller requires should be listed in this tab.

NOTES
l

Extra Files

To add Extra Files to the Extra Files attribute, click on the

Functionbutton right of the Extra Files field to create the Extra Files attribute,then click on it again to open a dialog box in w hich you can type the file
path of each file or folder that you w ant to copy w ith the Master
Controller, w ith one file path per line.
lFile paths must use forw ard slashes (/) and must be relative to thescene directory. They can point to files or folders. For example, if you
w ant to copy everything in the scripts sub-directory of your scene
w ith your Master Controller, you can simply add scripts to the list.

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Note Node
The Note node allow s you to record any textual information that is relevant to your project. You can add
comments, suggestions or reminders. You can add Note nodes anyw here in the netw ork, including groups.

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OpenGL Bypass Node
The OpenGL Bypass node can be used to define w hat is displayed in the OpenGL preview of the Camera view
separately from w hat appears in the final rendered image. This can be used to help w ith performance w hen
w orking on a scene or during playback. The OpenGL preview can be made to only display elements that areimportant to the animator as they are w orking on the scene, making the generation of the OpenGL preview a
lot less demanding for Harmony, w ithout affecting the rendered image.

Connection
The OpenGL Bypass node has tw o input ports and one output port. W hat is connected to the left input port
displays in the OpenGL preview , and w hat is connected to the right input port appears in the rendered image.

How to connect an OpenGL Bypass node
1. Identify a part of the scene's node system that adds a lot of unnecessary load to the OpenGL
preview .
2. If that part of the node system is not connected to a composite, add a Composite node and connect
all the elements of that area to this composite. This w ill be the render composite.
3. Connect the OpenGL Bypass node under the render composite through its right input port.
4. Create another composite. This w ill be the preview composite.
5. Connect only the parts of the node system that are useful to the animator to the preview
composite.
6. Connect the preview composite to the left input port of the OpenGL Bypass node.
In the follow ing example the scene includes a background, a character (w hich is rigged to be cut by part of the
background), a drop shadow , light and shadow effects, a node system deformed by a Quadmap to make acomputer or television screen effect, a snow storm particle system and an overlay. All of these elements areconnected to a composite that is connected to the right port of the OpenGL Bypass. Connected to the left portof the OpenGL Bypass is a composite that is only connected to the character w ithout the cutter, thebackground, and the content of the screen w ithout the Quadmap deformation, w hich w ould typically be all theanimator needs to w ork on the scene.

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NOTE
This example show cases the OpenGL Bypass node being used for the scene's main composite. It isalso possible to use it for very precise areas of a node system, such as individual body parts of acharacter, as long as they are linked together by a composite.

Properties
Parameter

Description

Name

The name of the node as it appears in the Node View and the Timeline view . Eachnode must have a name that is unique to its containing group.

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OpenGL- Cache- Lock Node
The OpenGL Cache Lock node can significantly increase the performance of Harmony w hen w orking in heavy
scenes w ith many characters, very complex rigs or an otherw ise heavy node system.
W ithout the OpenGL-Cache-Lock node, Harmony must regenerate the OpenGL preview displayed in the
Camera view every time an element is changed or manipulated from scratch. This means it has to process
every node in the scene's node system all over again. Although the OpenGL preview is optimized for quick
real-time rendering, a complex enough node system can make this process slow enough that each action doneon the scene causes a delay, ultimately making w orking on heavy scenes excessively time-consuming.
A typical w ay to circumvent this is to temporarily disable elements in the scene that are not being w orked on.
For example, an animator w orking on a scene w ith several characters can disable the characters they are not
w orking on at the time, and can also temporarily disable the scene's background and props, so that only theelements they need to manipulate are visible w hich reduces the load on OpenGL preview ing.
The purpose of the OpenGL-Cache-Lock is to obtain virtually the same benefit in performance w ithout having
to hide any element in the scene. W hen connected under a node system, this node creates a cache of the
OpenGL preview of the elements it is connected to. Every time a change is made to any element in the scene
and the OpenGL preview must be refreshed, the OpenGL-Cache-Lock node checks if the change affects one of
the elements it is connected to. If it does not, it w ill simply output the cached image for the preview , saving
Harmony the burden of regenerating the preview for these elements.
Hence, in the previous example, an OpenGL-Cache-Lock node could be connected under the main composite
of each character. Harmony w ould then cache the preview of each character separately, and w ould only
regenerate the preview of a character w hen one of its parts is manipulated or modified. The animator w ould
not need to disable any characters as Harmony w ill keep re-using the cached preview s of the characters they
are not currently w orking on.

NOTE
The OpenGL Cache Lock node only affects the w ay the OpenGL preview is generated and has noeffect on the actual rendered image.

Connection
The OpenGL-Cache-Lock node must be connected under elements or composites that should be cachedseparately for the OpenGL preview . Typically, this means adding an OpenGL-Cache-Lock node underelements that w ill be animated individually. In the example below , an OpenGL-Cache-Lock node can beconnected under the main composite of each character. But for a scene w ith very complex character rigs, an
OpenGL-Cache-Lock node could also be connected under composites for each limb of the character, for their
torso, for their head, etc.

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An OpenGL-Cache-Lock node can also be connected betw een the scene's main composite and its main
display. This can help w ith performance w hen zooming in, panning and rotating the scene. Harmony w ill use
the cached preview w hile zooming in, panning or rotating, and w ill only regenerate the preview half a second
after the operation is done.

IMPORTANTThe OpenGL-Cache-Lock node must be used w ith some caution:l

If the user begins zooming in, rotating or panning the Camera view , the preview w ill notregenerate immediately. Rather, it w ill regenerate half a second after the user releases is done.
During that short delay, because the preview cached by the OpenGL-Cache-Lock is a bitmap
image and that it does not extend the borders of the Camera view , zoomed-in areas w ill appear
pixelated, and areas that are brought from outside of the Camera view 's borders by zooming
out or panning w ill appear blank until the preview is regenerated.

l

It is important not to add too many OpenGL-Cache-Lock nodes, and to only use them forcomplex node systems. If a scene has too many OpenGL-Cache-Lock nodes and that they areused on node systems that are too simple, the caching overhead as w ell as the need tocomposite all the different caches is liable to cause more load on Harmony than it w ould save.

l

Likew ise, w hether adding an OpenGL-Cache-Lock node under layout elements such as
backgrounds, underlays and overlays w ill enhance performance depends on how complex theyare. For example, a single vector draw ing layer might benefit from an OpenGL-Cache-Lock if it
has an exceptionally high amount of detail. Otherw ise, the performance gain for a few draw ing
layers is unlikely to surpass the incurred caching overhead. You should use them w ith
discretion w ith such elements, and test w hether they cause a noticeable improvement ordecrease in performance.

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Properties

Parameter

Description

Name

The name of the node as it appears in the Node View and the Timeline view . Eachnode must have a name that is unique to its containing group.

Determines the w ay the elements connected to the OpenGL-Cache-Lock node
are ordered in the preview :Input Orderingl

2D: Elements connected to the node w ill appear flattened together. Theirapparent position on the Z axis relative to other elements in the scene w ill
be the one of the foremost element.

l

3D: Elements w ill appear in their appropriate order based on their positionon the Z axis relative to other elements in the scene.

NOTE
This only affects the w ay elements are displayed in the OpenGL preview .
The OpenGL-Cache-Lock node does not affect the w ay elements are
rendered in the final render.

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Pre- Render Cache Node
The Pre-render Cache node is a special type of Composite node that can create and store a cache of its
rendered image on demand, and only output that cached image in the Camera view w hen it is in Render View
mode.
This node can be very useful w hen w orking on a scene that contains an element that is extremely long torender, such as a 3D model, a complex special effect or even a scene rendered in 4K.
Typically, w hen you view a frame of your scene in Render View mode, Harmony renders every element of yourscene one by one to composite them into the preview image. Then, if you change anything in your scene,
Harmony has to render every element in your scene from scratch again to ensure that the preview is accurate.
For example, in a scene w ith one character and a very resource-intensive special effect, making a change tothe character requires Harmony to re-render every element in the scene including the resource-intensive
special effect, w hich is very time consuming.
The Pre-render Cache node allow s you to control w hen certain elements in your scene are rendered again. In
the previous example, you can connect the resource-intensive special effect to a Pre-render Cache node, thenmake it generate a cache of the rendered special effect. From that point on, w hen the Camera view is in RenderView mode, it w ill pull the rendered special effect from the Pre-render Cache node’s cache instead ofregenerating it every time. If you make a change to the special effect that requires its preview image to beregenerated, you can manually render the Pre-Render Cache node again, w hich w ill update its preview image
in the Camera view .
The Pre-render Cache node now show s green frames in the Timeline once a frame is rendered and available inthe cache.

NOTEl

The Pre-render Cache node is not intended to be used in the design department (Backgrounds,
Props and Rigs) nor in the animation department since they do need to modify too often thecontents of the scene. The Pre-render Cache node is in fact more efficient in the Compositing
department.

l

The Pre-render Cache node can only output a flat bitmap image.

l

The cached rendered images are only used w hen generating a preview image for the Camera
view . W hen rendering your scene’s frames as images or as a movie, the nodes connected to thePre-render Cache nodes are rendered again, and the cached images are ignored.

lEffects that require vector images, such as the Colour Override or the Apply Peg
Transformation effects, w ill not w ork w hen connected under a Pre-render Cache node, since
the Pre-render cache node acts like a bitmap Composite.

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Connection
The Pre-render Cache node should be connected as the intermediary node betw een the element, effect orcomposite for w hich you w ant to cache the rendered image, and the composite for the remainder of the scene.
For example, if a character is made of various effects, the most efficient place to put the Pre-render Cachenode w ill be under the character’s group on the scene level.
Example: One Pre-render Cache node by character’s rig

Being a “composite” type node, you can connect as many input images as you w ant to the Pre-render Cachenode.

The Pre-render Cache outputs a bitmap image and, contrary to regular Composite nodes, it does not allow
vector effects to travel up its node system. Hence, effects such as the Colour Override or the Apply Peg
Transformation effects w ill not w ork w hen connected under a Pre-render Cache node.
The Pre-Render Cache node shares some of its properties w ith the Composite node.

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Parameter

Description

Enable/Disable

Allow s you to enable or disable the node. W hen disabled, a node has no visible effect on
the rendered image, nor on the preview in the Camera, Perspective, Side and Top view s.

Colour Sw atch

Sets the colour of the layer in the Timeline view and of the node in the Node view .

NameAllow s you to enter a name for the node.

l

Input ordering(Requires Cache
Rendering)

2D: Elements connected in the node are composited based on their port ordering.
The Z-axis (forw ard-backw ard) values are ignored. The scaling value w ill becorrect, but the actual position on the Z-axis is ignored.
You can use the 2D composite type to create effects such as a camera recording
overlay on your scene. Since you alw ays w ant this element to be in front regardlessof the other elements' Z-axis position, you can set the option to 2D.

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3D Flat: The Z-axis value of the elements connected in the Composite node areconsidered, so the visual representation is correct in the Camera view . The output isa flat image.

l

Output Z: Identifies w hich element’s front-back value from the current composition
is applied to the entire composited image in the next operation. If you selectPortnumber, identify the appropriate port by its position using the Port For Output
Z menu.

lPort for Output Z: W hen using the Portnumber option in the Output Z menu, you
can select w hich port you w ant to use as the Z value for the Composite node. The
port used appears in a bright green colour on the Composite node. By default, theleftmost port is displayed in front and the rightmost port is displayed behind.

l

All Frames: Select All Frames if you w ant to pre-render the entire scene.

lCurrent Frames: Select Current Frames if you w ant to pre-render the current
scene.

lSelected Frames: Select Selected Frames if you w ant to render a part of yourscene. Then, in the field From, type in the first frame of the sequence you w ant toexport, and in the other field, the last frame of the sequence you w ant to render.

lRender: Renders the frames into cache images w ithin the prerender.db folder ofthe current Pre-render Cache node. Those images w ill be rendered as .rpng files.

l

Clear: Removes every cache image rendered w ithin the prerender.db folder of thecurrent Pre-render Cache node.

Output Options

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Render Preview Node
To adjust the effect's visual controls in OpenGL mode, from the Node Library view , drag a Render Preview
node to the Node view . Connect it betw een the effect and the Composite nodes.

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Script NodeYou can use the script node to create a custom node that processes peg and image information from othernodes using the Harmony scripting interface.

Connection
By default, the Script node has one image input port and one image output port, w hich do not have any
purpose until you add scripts to it.

The Script node can be configured to have as many input and output ports as needed. Each port can be
configured to carry image information or transformation (peg) information.

Scripting Interface
For a reference on the modules and methods available in the scripting interface used by the Script node, referto the Script Node reference guide, w hich is packaged w ith Harmony and can be found on the follow ing
location on your system:l

W indow s: C:\Program Files (x86)\Toon Boom Animation\Toon Boom Harmony 22
Premium\help\scriptmodule\index.html

lmacOS: /Applications/Toon Boom Harmony 22 Premium/Harmony
Premium.app/Contents/Documentation/scriptmodule/index.htmllGNU/Linux: /usr/local/ToonBoomAnimation/harmonyPremium_22/help/scriptmodule/index.html

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Layer Properties
The layer properties of a Script Node allow you to configure w hich properties and ports it has, to set values forthe properties you added to it, to link it to files and to script its behaviour in various events.

Parameter

Description

Name

The name of the node as it appears in the Node View and the Timeline view . Eachnode must have a name that is unique to its containing group.

Tabs

Attributes

This tab allow s you to set values for the attributes defined in the Specifications
tab.

This tab allow s you to define the attributes as w ell as the input and output ports
for the Script node.
The Script node supports the follow ing types of attributes:

Specifications

l

bool

l

int

l

doublelStringl

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Parameter

DescriptionlPosition2dlPosition3d

The Script node supports the follow ing types of ports:
l

Image

l

Peg

SoftrenderThis tab allow s you to w rite or link to a script that w ill be executed w hen
rendering the node.

Initialization

This tab allow s you to w rite or link to a script that w ill be executed w hen loading
the scene.

CleanupThis tab allow s you to w rite or link to a script that w ill be executed w hen closing
the scene.

UI Script

This tab allow s you to w rite or link to a script that w ill be executed w hen using
the Show Control command w hile the node is selected.

This tab allow s you to define folders or files from root directory of the scene thatshould be preserved w hen creating templates or saving the scene in a different
location. Any asset, such as external scripts, user interface files, data files orimages that the Script node requires should be listed in this tab.

NOTES
l

Extra Files

To add Extra Files to the Extra Files attribute, click on the

Functionbutton right of the Extra Files field to create the Extra Files attribute,then click on it again to open a dialog box in w hich you can type the file
path of each file or folder that you w ant to copy w ith the Master
Controller, w ith one file path per line.
lFile paths must use forw ard slashes (/) and must be relative to thescene directory. They can point to files or folders. For example, if you
w ant to copy everything in the scripts sub-directory of your scene
w ith your Master Controller, you can simply add scripts to the list.

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Visibility Node
The Visibility node lets you control w hether an item is visible in OpenGL mode versus the Soft Render mode in
the Camera view . If the Soft Render option is not enabled, the layer w ill not be exported.

Visibility Properties
Parameter

Description

Display in OpenGL View

Displays your render in OpenGL mode.

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Move Nodes
The nodes found in the Move category are used to animate layers as w ell as camera motions.
Apply Image Transformation Node830

Apply Peg Transformation Node833

Camera Node837

OrthoLock Node839

Peg Node

841

Shake Node843

Transform- Loop Node847

Quadmap Node

850

Quake Node

853

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Apply Image Transformation Node
The Apply Image Transformation effect is mainly used w hen you w ant to pan an object out of the camera
frame and that object has an effect such as a Glow or a Blur on it. W hen you use a peg or the Apply Peg
Transformation node to translate an object such as the sun out of the camera frame, as soon as the sun starts
to go outside of the camera frame, the sun's circle is cropped and the blur is applied on the shape left over.
This also means that w hen the sun is completely out of the frame, the Blur is not calculated anymore and theBlur pops out.
To prevent this from happening, you must use the Apply Image Transformation node to pan the sun out.
The Apply Image Transformation node applies the panning transformation once the full draw ing of the sun isblurred, once the image is composited. Here is an example of this netw ork:

Here is how to connect the Blur effect for a sun panning out:

Here is the visual result of the blurred sun:830

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Look at the follow ing example to understand better w hy using the Apply Image Transformation instead of aregular peg or the Apply Peg Transformation node.

The normal rendering behaviour is to crop the image before applying the effects. W hen planning a sunset
using either a Peg or the Apply Peg Transformation node, as soon as the draw ing of the sun is out of thecamera frame, the draw ing is cropped and there is no image left to blur. This means that the glow ing edge
pops out of the camera instead of panning out gradually. Using the Apply Image Transformation node, theimage is blurred before being panned out, so this means that even once the draw ing is out of the camera

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frame, its glow ing edge w ill still show until the draw ing is far enough from the camera border. This w ay, there
is no pop w hen panning out blurred objects.
Use the Apply Image Transformation editor to change the name of the node.

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Apply Peg Transformation NodeUse the Apply Peg Transformation node to apply a transformation coming from a Peg, Ortholock, or Quadmap
node on a single node or a group of nodes. W hen using the draw ing layer's No Clipping option, you can use
this node to apply all Camera and Peg transformations once all of the effects and nodes connected above thedraw ing node are calculated.

You can use this effect node to create a simple highlight on a cut-out puppet or use the No Clipping option
available in the draw ing layer.
The No Clipping option, found under the draw ing Layer Properties' Advanced tab is used w hen you do not
w ant to crop your images before all effects are applied to your draw ing. No camera motion or peg
transformation w ill be applied to your draw ing until you connect an Apply Peg Transformation.
The advantage of this node is that you can create a second output of your image or puppet and offset it, scale
it or apply any kind of transformation on it.
The transformations set in the Peg, Ortholock, or Quadmap node connected to the Apply Peg Transformation
node are applied BEFORE the image is composited.
Here is an example of how to connect the Apply Peg Transformation node:

The transformation set in the Peg node from the example above is applied before the image is composited,
w hich is the equivalent of the follow ing netw ork:

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In the follow ing images you can see the result of the transformation w ithout the Apply Peg Transformation
node and w ith it:

Using the Apply Peg Transformation you can apply transformation on draw ings that are outside the camera
frame and make them appear inside the frame.
If you are using the Apply Image Transformation node to create a drop-dow n shadow for a character, it w ill
w ork correctly so long as the character is not going outside of the camera frame or that the draw ing connected
in it is a VECTOR draw ing. The reason is the Apply Image Transformation node applies the transformation
once the draw ing is rendered, moved by its ow n set of Pegs, motion paths and quadmap and cropped to thecamera frame size. This crop operation does not occur if the draw ing is a vector draw ing (*.TVG). Although, assoon as the draw ing is passed through an effect node or a bitmap type Composite node, the draw ing is turned
into a bitmap image and gets cropped.
So, if you offset a bitmap half inside and half outside the camera frame, the outside part is cropped out andthen moved by the Apply Image Transformation node. A part of the original draw ing is cut. You need to use

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the Apply Peg Transformation node for the transformation to be applied before the image is processed andcropped.

Advanced Apply Peg Transformation
You can use the Apply Peg Transformation's middle port to apply the transformation you connected to thenode after one of the Peg or Quadmap connected above the draw ing node.
In the follow ing example, tw o pegs w ere added to control the different motions on independent trajectories:l

Peg-Translationl

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W hen there is no Apply Peg Transformation node, the Peg-Translation is the first trajectory to affect thedraw ing node. Then, once the translation is applied, the Scale trajectory affects the draw ing node.
W hen using an Apply Peg Transformation node w ithout using the middle port, the Peg-Rotation connected in
the APT node is applied at the top of everything. The order in w hich the trajectories are applied to the draw ing
node is:1. Peg-Rotation
2. Peg-Translation
3. Peg-Scale
W hen the Peg-Translation is connected in the Apply Peg Transformation's middle port, the Peg-Rotation isapplied after the Peg-Translation and before the Peg-Scale. This means that the translation is done before therotation instead of the rotation before the translation.
The order in w hich the trajectories are applied to the draw ing node is:
1. Peg-Translation
2. Peg-Rotation
3. Peg-Scale
Use the Apply Peg Transformation editor to rename the node.

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Camera NodeYou can setup the camera position by entering coordinates and values in the Layer Properties view .

Parameter

Description

Enable/Disable

Turns the camera layer on or off.

Change Track Colour

The Change Track Colour button lets you change the colour of the exposed
frames; this helps you to quickly locate a layer in the Timeline view . Click the
Change Track Colour button to open the Select Colour w indow and choose a newcolour. You can modify the colour for any type of layer, such as group, peg,
draw ing, and effects.

Name

Displays the current layer name. You can rename the layer by typing in a newlayer name.

Position

Displays the current position of the camera layer using X-axis (East/W est), Y-axis(North/South) and Z-axis (Forw ard/Backw ard) coordinates. To reposition yourcamera frame, type in the new values corresponding to the desired position
coordinates. You can also use the up and dow n arrow s to set the value of eachfield.

Angle

Displays the current rotation value. To set a new rotation position, type in a new
angle value. You can also use the up and dow n arrow s to set the new angle

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value.

Pivot

Displays the current position of the rotation pivot of the camera layer. The camera
w ill perform a rotation taking the position of the pivot as its angle centre. Bydefault, the pivot is set at the centre of the camera frame. To reposition the pivot
point, enter new X and Y coordinates values in the appropriate field. To see thepivot's position, the Rotate tool must be selected.

You can change the near and far clipping planes of the camera. The near plane is

Clipping Planes

the point on the camera cone w here the camera is located. The far clipping planeis the far end of the camera cone. Nothing outside that range is visible. This isuseful w hen dealing w ith 3D elements and 3D sets. For example, the camera canbe looking inside a 3D box or room and you might w ant the foreground w all to
not obstruct the view of the interior. By default, the near clipping plane is set to 1
field and the far clipping plane is set to 1000 fields.

Override Scene FOV

Enable the FOV field in w hich you can type in a new field-of-view value.

FOV

Displays the current field-of-view default value. W hen enabled, you can type in a
new zoom value for your camera frame. You can also use the up and dow n arrow s
to set the new zoom value.
Click on the Create Function button to animate the camera zoom value.

Set Default FOVResets the custom zoom value to its default value.

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OrthoLock NodeW hen you create a 3D camera move in your scene, notice that layers are treated as flat objects. That is,
animation layers that are supposed to face the camera at all times w ill look like a flat sheet of rotating paper.

Use the Ortholock layer w hen mixing flat animation layers w ith a set built in 3D. Ortholock forces yourdraw ing layer to alw ays follow the Camera angle. It does not follow its position or zooming level, only therotation. This prevents draw ings from being distorted by the camera motion.

Connection
The OrthoLock node can be connected as a parent of the draw ing or draw ings w hich you w ant to face thecamera.

Layer Properties
Parameter

Description

Enable/Disable

Allow s you to enable or disable the node. W hen disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top view s.

Colour Sw atch

Sets the colour of the layer in the Timeline view and of the node in the Node view .

Name

The name of the node as it appears in the Node View and the Timeline view . Each

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Parameter

Description

node must have a name that is unique to its containing group.

The axes on w hich to rotate the input image to keep facing the camera.
l

X and Y Axes: The draw ing w ill be rotated on the x and y axes to keep
facing the camera regardless of its position in the 3D space.

l

X Axis Only: The draw ing w ill be rotated on the x-axis w hen the camera
is rotated in the x-axis. The draw ing w ill keep facing the camera if it
moves to a low or high angle view , but not if it moves around it w hile
staying on the ground.

Rotation Axisl

Y Axis Only: The draw ing w ill be rotated on the y-axis w hen the camera
is rotated on the y-axis. The draw ing w ill keep facing the camera if it
moves around it w hile staying on the ground, but not if it moves to a low
or high angle view .

The maximum angle at w hich the draw ings can appear to be relative to thecamera angle, on both the x and y axes, in either direction.
Max Angle

For example, at the default setting, 0, the input image w ill alw ays be facing thecamera. If how ever you set this parameter to 30°, you can rotate the camera
around the draw ing up to 30° in either direction and the draw ing w ill appear inperspective, but past 30°, the draw ing w ill appear to rotate to keep its angle
relative to the camera.

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Peg Node
Find below a description of all the Peg node parameters.

Transformation Tab
Parameter

Description

Enable 3D

Displays additional parameters for w orking w ith 3D objects.

3D Path: Use a 3D path to position the element. A 3D path uses a single function
to define the position on the X, Y and Z axes. This function is made of control
points linked by a curvilinear path, making the movement follow a natural curve.
The pace and ease of the movement is determined by a single velocity function.
Separate: Positions the element using separate functions for the X, Y and Z axes.
This allow s to control the direction and pace of the movement across all threeaxes separately. Unless ease is applied to the axes, the trajectory of the element
w ill follow straight lines going betw een each keyframe.
Position

Path: If the 3D Path option is selected, this field allow s you to create or select the
3D Path function used to position the element.
Path (x) Axis: The position of the element on the East-W est axis, in fields.
Path (y) Axis: The position of the element on the South-North axis, in fields.
Path (z) Axis: The position of the element in the Back-Front axis, in fields.
Velocity: If the 3D Path option is selected, this function is used to control the paceat w hich the element moves tow ards each control point in the 3D Path function,on all three axes simultaneously.

Locked: Uses a single scale parameter to scale the element, preserving its
proportions.
Separate: Uses a separate parameter to scale the element on the X and Y axis, as
w ell as on the Y axis if the element is 3D-enabled, allow ing to stretch or squash
the element.
(x) Axis: The horizontal scale factor. The default value is 1.
Scale(y) Axis: The vertical scale factor. The default value is 1.
(z) Axis: The depth scale factor for 3D-enabled elements. The default value is 1.
Scale in Fields: W ith this option enabled, the scale factor is based on the amountof fields in the scene. For example, to shrink one of the dimensions of an element
to half its original size, the scale factor w ould normally bet set to 0.5. If this option
is enabled and the amount of fields in the scene is 12, then the scale factor toshrink the element by half w ould be 6.

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Ignore Parent Scaling: W hen this option is enabled, any scaling value applied toa parent layer is ignored in the current layer. This can be handy in cut-out rigs
w hen you need to scale an arm w ithout affecting the forearm.

RotationAngle z: Lets you type in a degree value for the rotation angle. Note that you canenter values greater than 360 and -360 degrees. If you enter 720, the object w illrotate tw ice.

Skew

Skew: Lets you type in a degree value betw een -90 to 90 for the skew angle.

(x) Axis: The horizontal position of the pivot point of the element relative to thepivot point of the draw ing, in fields.
Pivot(y) Axis: The vertical position of the pivot point of the element relative to the pivot
point of the draw ing, in fields.

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Shake NodeT-H16NEW -004-001
The Shake node allow s you to generate a fully animated, fully customizable shake animation, w hich can beused to create camera shakes or to make an element in your scene shake.
The Shake node is a more advanced version of the Quake node. Among many enhancements, you can makeeach shaking motion interpolate over several frames by reducing its Frequency parameter, and you can makeeach movement hold for 2 or more frames, if needed, by increasing its Step parameter. Additionally, you canconfigure each big shaking motion to have several smaller shaking motion across it, to make a more erraticlooking shaking movement.

Connection
Just like a peg, you can connect the Shake node as a parent of the element you w ant it to move. Hence, if you
w ant to shake an element in your scene, connect the Shake node as a parent of that element.

To create a Camera shake, connect the Shake node as a parent of the scene's Camera node.

Like pegs, Shake nodes can be connected in chain, either w ith other Shake nodes or w ith other Move-type
nodes, such as Peg nodes.

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Layer Properties

Parameter

Description

Name

Allow s you to change the name given to the node.

The speed of the big vibrations. This field takes a decimal value betw een 0 and 1.
At 1, each vibration only takes a single frame. At 0.5, each vibration takes 2
frames, etc.
Frequency
W hen set to 0, the Shake node produces no vibration. You can animate thisparameter to control w hen the Shake node has an effect and w hen it doesn't, as
w ell as to increase or decrease the speed of the shake.

Octaves

W ith the Octave parameter, you can add smaller vibrations to the big vibrations,making for a more erratic, forceful shake. This parameters takes an integer, w hichdetermines the amount of smaller vibrations to add to each big vibration.

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Parameter

Description

Multiplier

The strength of the smaller vibrations, relative to the big vibrations. This is set to
0.5 by default, w hich means smaller vibrations w ill have, at most, half theamplitude of big vibrations.

This parameter determines the pattern of random motions it uses to simulate
shaking. There is no w rong value for this parameter. Entering any value w ill
simply make it uses a different random pattern.

Random Seed

If you have tw o or more Shake nodes in your scene and they have the same
Random Seed value, their shaking w ill be similar, if not exactly the same, as it w ill
be based on the same pattern of random motions. Hence, you might need toassign different Random Seed values to all of your Shake nodes to make suretheir motion pattern feel different.
You should also assign a different Random Seed value to each Shake node if they
make a shaking motion that goes on throughout several scenes so that it doesn'tlook like the motion pattern is repeating itself.
You can also change the value of this parameter just to make the Shake node use
a different shake pattern, and see if you can find a pattern that fits yourexpectations better.

Amplitude

Position X

The maximum distance, in fields, to shake left or right.

Position Y

The maximum distance, in fields, to shake up or dow n.

Position Z

The maximum distance, in fields, to shake closer to or further from the camera.

Rotation X

The maximum angle, in degrees, to shake around the horizontal axis.

Rotation Y

The maximum angle, in degrees, to shake around the vertical axis.

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Parameter

Description

Rotation Z

The maximum angle, in degrees, to shake clockw ise or counterclockw ise.

Pivot

Pivot X

The horizontal offset of the pivot point, in fields, relative to its default horizontal
position.

Pivot YThe vertical offset of the pivot point, in fields, relative to its default vertical
position.

The offset of the pivot point on the z-axis, in fields, relative to its default positionon the z-axis.

NOTES
Pivot Zl

The position of the pivot is used for rotations in the shaking motions.

l

The pivot of the Shake node is positioned in the centre by default.
How ever, if an element connected under it has the Use Embedded
Pivots property set to Apply Embedded Pivot on Parent Peg, the default
pivot position of the Shake node w ill be the same as the pivot of thatelement.

Steps

Steps

The amount of frames to hold each movement. By default, this is set to 1, w hichmeans the Shake node w ill move each frame. You can set this to 2 or 3 if you
animate on tw os or threes, so that the motions of the Shake node match the paceof your animation.

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Transform- Loop Node
The Transform-Loop node allow s you to automatically loop a transformation applied by a peg onto its
element, so that you do not have to copy and paste this animation over and over again throughout your scene.
This is especially useful if you need to repeat the pan animation of a looping background.
The Transform-Loop node w ill take the animation that is fed to it by its parent node, for a given frame range,
and repeat this animation onto its child node throughout the entire scene. It can automatically detect the rangeof frames to repeat, or you can manually set this range. It can loop the animation in three w ays:lRepeat w ill simply repeat the animation as is, going from the start all the w ay to the end, and instantly
playing it again from the start.
W hen the Transform-Loop node repeats the animation, it skips the first frame of the animation. This isuseful w hen using looping backgrounds. Typically, w ith a looping background, the first frame of thelooping animation looks exactly like the last frame of the looping animation. Hence, skipping the first
frame avoids having tw o frames that look exactly the same w hen the animation loops, making a smooth
infinite loop.

lPing- Pong plays the animation, then plays it again backw ard, then forw ard again, etc.

l

Repeat and Offset repeats the transformation, but also accumulates the effect of the transformation.
Hence, if the animation is, for example, of a ball bouncing once tow ards the right, then the TransformLoop node w ill make it bounce further and further tow ards the right until it exits the camera field.

Connection
The Transform-Loop node repeats the transformations that are sent to it from its top (input) port, and outputs
the looped transformation through its bottom (output) port.

The Transform-Loop node repeats the transformations from all the nodes connected directly or indirectly to its
top (input) port, not just the one connected right above it.

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Layer Properties

Parameter

Description

Name

Allow s you to change the name given to the node.

Automatically sets the range of the animation to loop based on the animation inits parent peg. It w ill start the range at the first keyframe in the parent peg, andend it at the last keyframe in the parent peg.

NOTE
Automatic Range Detection

If there are several peg nodes connected in a chain to the top port of theTransform-Loop node, it w ill loop the animation of all these Peg nodes
combined. How ever, it w ill only use the keyframes in the node right above it
to determine the range of animation to loop. In this case, you have to disable
Automatic Range Detection and set the range manually to make sure theTransform-Loop node repeats all of the animation you w ant it to repeat.

The range of animation frames to loop.
RangelStart: The number of the first frame of the animation that the Transform-

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Parameter

Description

Loop node should loop.
lEnd: The number of the last frame of the animation that the TransformLoop node should loop.

The w ay the Transform-Loop node should loop the animation:lRepeat w ill simply repeat the animation as is, going from the start all thew ay to the end, and instantly playing it again from the start.
W hen the Transform-Loop node repeats the animation, it skips the first
frame of the animation. This is useful w hen using looping backgrounds.
Typically, w ith a looping background, the first frame of the looping
animation looks exactly like the last frame of the looping animation.
Hence, skipping the first frame avoids having tw o frames that look exactly
the same w hen the animation loops, making a smooth infinite loop.

Loop Typel

Ping- Pong plays the animation, then plays it again backw ard, thenforw ard again, etc.

l

Repeat and Offset repeats the transformation, but also accumulates theeffect of the transformation. Hence, if the animation is, for example, of aball bouncing once tow ards the right, then the Transform-Loop node w ill
make it bounce further and further tow ards the right until it exits thecamera field.

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Quadmap Node
T-COMP2-010-001
The Quadmap transformation layer lets you deform the shape of an element. For example, you can use it tocreate a drop-shadow effect on an element.

You can edit the Quadmap visually in the Camera view .

How to edit the Quadmap in the Camera view
1. In the Timeline view , click the Add Layerbutton and select Quadmap.

2. Connect the draw ing you w ant to deformto the Quadmap.
‣

In the Node view , add a Quadmap node and connect to the draw ing element node that you
w ant the effect to act on.

3. In the Tools toolbar, disable the Animate mode to change the value for the Quadmap over theentire duration of the element.
4. In the Timeline view , click on the Quadmap layer to select it.
5. From the top menu, select View > Show > Control or pressShift + F11.

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The quadmap handles appear around the element in the w indow . There is also a pivot point at thecentre of the quadmap frame that you can reposition.
6. In the Camera view w indow , use the Transform tool to move the points on the quadmap. Shift +click to select multiple points.

TIP
The position of the points can be animated. To do this, open the Quadmap node layer properties
and create functions for each of the coordinates.

Properties

Parameter

Description

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Name

Allow s you to change the name given to the node.

2D PathChanges the X and Y values simultaneously and control the velocity of thechange.

Separate

Changes the X and Y values separately. Each one can be attached to separate
function curves.

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Quake NodeThe Quake node allow s you to to create a very common camera move, the camera shake. Using the Quake
node, you can generate an automated quake instead of manually entering random keyframes. This w ay, you
can simulate the shock of something heavy falling on the ground, like an earthquake or a strong vibration.

How to use the Quake node to create a camera shake
1. From the Node Library view , drag a Quake node to the Node view .
2. If you do not have a Camera node already, drag one from the Node Library view to the Node view .
3. Connect the Quake node to the Camera node.

4. Click on the Quake node's yellow square properties button to open the Quake properties.
5. In the Quake properties w indow , adjust the properties.

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Layer Properties

Parameter

Description

Name

Allow s you to change the name given to the node.

Hold Time

Allow s you to enter the number of frames you w ant one of the quake vibrations(position) to hold for. Most camera shakes are done in a single frame (1) or double
frame (2).

Interpolate

An interpolation is generated betw een the random values. Instead of jumping to
the next position, it w ill slow ly progress forw ards to the next position. It is thesame principle as stop-motion keyframes and motion keyframes.

Move Amplitude

This is the strength of the quake. The higher the value, the stronger the quake. If
the value is set to 0, there w ill be no motion. To have the motion start and stop at
a specific frame during the scene, you can create a function curve and animate theamplitude over time. Simply click the Function

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button to generate theHarmony 22 Premium Reference Guidefunction, then click on it again to open the Function editor.

Apply on X, Y, Z

Applies the quake to the X, Y and Z-axis.

Rotation Amplitude

W hen the value is higher than 0, a rotating quake is applied. The higher the value,
the stronger the quake.

This parameter determines the pattern of random motions it uses to simulate
shaking. There is no w rong value for this parameter. Entering any value w ill
simply make it uses a different random pattern.

Random Seed

If you have tw o or more Quake nodes in your scene and they have the same
Random Seed value, their shaking w ill be similar, if not exactly the same, as it w ill
be based on the same pattern of random motions. Hence, you might need toassign different Random Seed values to all of your Quake nodes to make suretheir motion pattern feel different.
You should also assign a different Random Seed value to each Quake node if they
make a shaking motion that goes on throughout several scenes so that it doesn'tlook like the motion pattern is repeating itself.
You can also change the value of this parameter just to make the Quake node use
a different shake pattern, and see if you can find a pattern that fits yourexpectations better.

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Output Nodes
The nodes found in the Output category are used to control the image outputted in the various view s as w ellas during the rendering process.
Crop Node857

Display Node860

Multi- Layer W rite Node861

Scale Output Node865

W rite Node

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Crop NodeTo output tw o files w ith different aspect ratios, such as 16:9 and 4:3, you can use the Crop node. This node isused to crop the final image in order to discard excess information w ithout distorting the render.
If you w ant to export your scene in a resolution that is smaller than your scene's resolution and w hich does nothave the same aspect ratio, you should use a Scale-Output node to shrink the output, but preserve the scene's
proportions, then a Crop node to adjust the output to fit the desired aspect ratio.

Find below the Crop node properties.

Cropping Tab

Parameter

Description

X Resolution

This is the X (w idth) value in pixel of the resolution to crop the final image to.

Y Resolution

This is the Y (height) value in pixel of the resolution to crop the final image to.

X OffsetThis is the X (horizontal) offset value in pixel to move the crop box to in the final
image.

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Y OffsetThis is the Y (vertical) offset value in pixel to move the crop box to in the final
image.

Draw Frame

Enable the Draw Frame option if, instead of cropping the images, you prefer tohave Harmony draw a frame over the rendered scene.

Red, Green, Blue, Alpha

These are the RGBA values used for the frame colour if you enabled the Draw
Frame option.

Colour Sw atch

Displays the selected colour for the frame to draw . You can click on the Colour
Sw atch to open the Colour Picker dialog and select a colour for the frame.

Enabling Tab
Using the options in the Enabling tab, you can set up some Crop nodes to only be enabled if the scene isrendered at a specific resolution. This is mostly useful on Harmony Server, as Harmony Server allow s you
select the resolution at w hich to render a scene w hen sending a scene for rendering by the Harmony
database's render farm.
This can be useful if you w ant your scene to render differently depending on the resolution in w hich you
render it. For example, you could have a storyboard thumbnail in a small corner of your scene, and a crop nodethat connects betw een your scene's main Composite node and your W rite node. Then, by setting up this Cropnode to only be enabled w hen the scene is rendered at the storyboard thumbnail's resolution, you can decide
w hether your scene w ill render its animation or its storyboard by deciding w hether to render at the scene's
resolution or the storyboard thumbnail's resolution.
This option allow s you to filter w ith either resolution presets, or by specifying the w idth and height of thechosen resolution in pixels. You can hence create custom resolution presets named after the Crop node's
purpose, to make it easier to choose the resolution w hen rendering a scene.

Parameter

Description

Alw ays Enabled

Makes this Crop node render every time the scene is rendered. This is thedefault option.

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Enabled w hen Resolution Name is

Filter Name

Makes this Crop node render only w hen the scene is rendered at the
specified resolution preset.

Select the resolution preset at w hich to render the scene to activate thisCrop node.

Enabled w hen Resolution isMake this Crop node render only w hen the scene is rendered at theresolution w ith the specified w idth and height, in pixels.

X Resolution

The w idth (in pixels) of the resolution at w hich to render the scene toactivate this Crop node.

Y Resolution

The height (in pixels) of the resolution at w hich to render the scene toactivate this Crop node.

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Display NodeThe Display node is an important node; it is used by the export and view s to display your scene, primarily the
Camera and Timeline view s. By default, a scene's node system alw ays has a Display node w hich can be used
to show your entire scene, a single node or a group of nodes through a Composite or Group node. You mightuse it to see one single character as you animate it, debug your node system as you create complex effects orexport your complete scene or a portion of it.

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Multi- Layer W rite Node
The Multi-Layer W rite node allow s you to export Photoshop Document (.psd) or OpenEXR (.exr) files w ith
multiple layers inside them. It w orks just like a W rite node, except that it takes several input images instead ofjust one, and each input image is used to generate one of the layers of the image files it outputs w hen
rendering.

NOTE
To learn more about the W rite node, see W rite Node on page 867.

Connection
Like the W rite node, the Multi-Layer W rite node only takes input images. Its output is stored in image files
w hen your scene is rendered. How ever, contrary to the W rite node, the Multi-Layer W rite node takes several
input images.

Each image connected to the Multi-Layer W rite node w ill be used to make one of the layers of the image files
the node creates. The image connected to the rightmost port w ill be the bottom layer, and the image
connected to the leftmost port w ill be the top layer.

Layer Properties
Inputs Tab
The Inputs tab displays a list of the elements connected to the node's input ports. The input ports are listedfrom right to left. The layers listed in this list are ordered from the bottommost layer to the topmost layer.
Hence, the layer appearing at the top of the list w ill be the bottom layer.

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The layers w ill be named in the output file as they appear in the Name column. By default, each layer is named
after their respective input node. If you prefer, you can customize the name of each layer. Simply double-click
on a layer's name to be prompted to type a new name.
A coloured square appears to the left of each name to indicate w hether the name is based on the node or is acustom name. If the square is yellow, the name is based on the node. If it is green, it is a custom name. Once alayer name has been customized, it w ill no longer automatically update based on the connected node's name.

Output Tab
The output tab can be used to configure the path, file naming pattern and file type of images exported by theMulti-Layer W rite node.

Parameter

Description

Draw ing Folder

The path to the folder in w hich to save the rendered frames. This path can beabsolute or relative to the scene's folder. For example, the default path for
rendered frames is frames, w hich means the images are saved in the frames
subfolder of the scene folder. If you w ant to select an absolute path, you can click862

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Parameter

Description

on the Choose button at the right of the text field and select the folder in w hichyour scenes should export their frames. You can also click on the Default button
to set the export path to the default value.

Draw ing Filename

The prefix for the file name of each exported frame. Frames w ill be named w ith
this value, follow ed by the frame number and their image type extension. It is
recommended to leave the hyphen (-) at the end of the prefix to separate theprefix from the frame number.

Draw ing

Start

Select the starting number for the image sequence.

Leading Zeros

Allow s you to select the number of digits in the number used to identify eachframe.

Allow s you to select the image type in w hich to export the frames. You canchoose betw een the follow ing file types:

Draw ing Typel

PSD: A multi-layer Photoshop Document (.psd) file.

l

EXR: A multi-layer OpenEXR (.exr) file, compressed in ZIPS format, w hichcompresses the image in blocks of 16 scanlines.

l

EXR_ZIP_1LINE: A multi-layer OpenEXR (.exr) file, compressed in ZIP1
format, w hich compresses the image in blocks of 1 scanline.

Enabling Tab
You can create several W rite nodes for a single scene and, by default, w hen a scene is rendered, all of its
W rite nodes w ill perform their render. How ever, using the options in the Enabling tab, you can set up someW rite nodes to only perform their render if the scene is rendered at a specific resolution. This is mostly usefulon Harmony Server, as Harmony Server allow s you select the resolution at w hich to render a scene w hen
sending a scene for rendering by the Harmony database's render farm.
A good example of how this can be useful is if your scene has storyboard thumbnails in the corner, and a W rite
node connected to a composite that crops the picture to only include the storyboard thumbnail, so that yourscene can export both the final animation and the animated storyboard w hen rendered. You can set up yourscene's main W rite node to only w ork w hen exporting the scene at the scene's original resolution, and thestoryboard thumbnails W rite node to only w ork w hen exporting at the desired resolution for an animatedstoryboard.

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This option allow s you to filter w ith either resolution presets, or by specifying the w idth and height of thechosen resolution in pixels. You can hence create custom resolution presets named after their W rite node's
purpose, to make it easier to choose the resolution w hen rendering a scene.

Parameter

Description

Alw ays Enabled

Makes this W rite node render every time the scene is rendered. This is the default
option.

Enabled w hen
Resolution Name isMakes this W rite node render only w hen the scene is rendered at the specified
resolution preset.

Filter Name

Enabled w hen
Resolution is

Select the resolution preset at w hich to render the scene to activate this W rite node.

Make this W rite node render only w hen the scene is rendered at the resolution w ith thespecified w idth and height, in pixels.

X Resolution

The w idth (in pixels) of the resolution at w hich to render the scene to activate this W ritenode.

Y Resolution

The height (in pixels) of the resolution at w hich to render the scene to activate thisW rite node.

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Scale Output NodeOnce your W rite nodes are connected, you need some Scale-Output nodes to change the resolution output of
the W rite node w ithout changing the scene settings. For example, if you export in a high resolution and a low
resolution, you need one Scale-Output node.

NOTE
If you use a Scale-Output node to scale up the image, it w ill look pixelated. If you w ant to export ascene in multiple resolutions, you should set your scene's resolution to be the highest resolution in
w hich you w ant to render, and use Scale-Output nodes to scale dow n the output.

Find below the Scale-Output node properties.

Parameter

Description

Resolution Name

Select one of the existing resolution preset from the list to indicate the resolution
you w ant the finale images to be scaled at. Alw ays make sure the selected
resolution is smaller than the scene setting one.

Custom Resolution

Enable this option to set a resolution that is not available in the Resolution preset
list.

W idthX (horizontal) value in pixels of the resolution to scale the images dow n to.

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Chapter 3: Nodes / Layers

HeightY (vertical) value in pixels of the resolution to scale the images dow n to.

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W rite Node
The W rite node is the node that is used by Harmony to render a scene. W hen rendering a scene, Harmony
renders the image information sent to the W rite node, and outputs it using the parameters in the W rite node's
layer properties.

The Node view allow s you to branch out and merge elements of your scene in specific w ays. By default, ascene has a W rite node connected to its main composite, meaning all of the scene's elements are rendered.
How ever, a W rite node can be connected to any node in your scene that outputs image information, even adraw ing or an effect. A scene's renders are based on the image information that is sent to its W rite node, andnothing else. Hence, you can control exactly w hat gets rendered, w hich is especially useful if you w ant to haveelements in your scene that are only visible in the Camera view , such as a storyboard overlay or a camera
guide, w ithout having them appear in the renders.
You can also set up a scene to create multiple renders by connecting several W rite nodes to it. Your W rite
nodes can be connected to different elements of your scene, w hich allow s you to create separate renders fordifferent parts of your Node view every time your scene is rendered. For example, a scene can have a W rite
node for rendering the scene w ithout any annotations, so that render can be used in post production, andanother one for rendering the scene w ith its storyboard and annotations for review ing. A scene can also havemultiple W rite Nodes connected to the same composite, w hich can allow you to render the same image in
multiple file formats or locations at the same time.
Each W rite node can be configured to export individual frames as image files, a video file, or both
simultaneously.

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Layer Properties
Output Tab
The output tab can be used to configure w hether the W rite node creates individual frame images, a movie file,or both. Further more, you can configure the path, file naming pattern and file type of frames exported by theW rite node, as w ell as the path, file name and encoding options of the movie file created by the W rite node.

Parameter

Image Sequence

Description

Select this option to create an image sequence.

Image Folder

The path to the folder in w hich to save the rendered frames. This path can be absoluteor relative to the scene's folder. For example, the default path for rendered frames isframes, w hich means the images are saved in the frames subfolder of the scenefolder. If you w ant to select an absolute path, you can click on the Choose button at theright of the text field and select the folder in w hich your scenes should export theirframes. You can also click on the Default button to set the export path to the default
value.

Image Filename

The prefix for the file name of each exported frame. Frames w ill be named w ith thisvalue, follow ed by the frame number and their image type extension. It is
recommended to leave the hyphen (-) at the end of the prefix to separate the prefixfrom the frame number.

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Start

Select the starting number for the image sequence.

Leading Zeros

Allow s you to select the number of digits in the number used to identify each frame.

The image format in w hich the exported frames w ill be saved. The follow ing formats
are supported:

FormatSpecification

TGA

Full colour

Description

Truevision TGA/TARGA (*.tga)
TGA1

Greyscale

TGA3

Full colour

A standard image format w ith losslesscompression and support fortransparency.
TGA files use more disk space than PNG
files, but rendering in TGA is faster.

Image Format

TGA4

Full colour w ith
transparency

SGI

Full colour / 8 bits
per channel

SGI1

Greyscale / 8 bits
per channel

SGI3

Full colour / 8 bits
per channel

SGI4

Full colour w ith
transparency / 8
bits per channel

SGIDP

Full colour / 16 bits
per channel

SGIDP3Full colour / 16 bits
per channel

SGIDP4

Full colour w ith
transparency / 16
bits per channel

869

Silicon Graphics Image (*.sgi)
A highly capable format w ith losslesscompression as w ell as support for
double precision and transparency.

Chapter 3: Nodes / Layers

FormatSpecification

PSD

Full colour / 8 bits
per channel

PSD1

Greyscale / 8 bits
per channel

PSD3

Full colour / 8 bits
per channel

PSD4

Full colour w ith
transparency / 8
bits per channel

PSDDP

Full colour / 16 bits
per channel

Description

Photoshop Document (*.psd)
An Adobe Photoshop proprietary format
used for image editing.
PSD files exported by Harmony containa single background layer w ith therasterized image.

NOTE
PSD files exported from
Harmony are tagged w ith
their colour space

PSDDP1Greyscale / 16 bits
per channel

information in their
metadata, except for PSD
files exported in greyscale.

PSDDP3Full colour / 16 bits
per channel

PSDDP4

Full colour w ith
transparency / 16
bits per channel

Y'UV frame (*.yuv)
A legacy format optimized for NTSC
television. The image information is
encoded in the Y'UV color space, w hichmeans Luma (Y') and Chrominance (UV).
YUV

NOTE
YUV images must be
exported in NTSC resolution(720 x 540), or they w ill not
be legible.

PAL frame (*.pal)
PAL
A legacy format optimized for PAL

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FormatSpecification

Description

television.

NOTE
PAL images must be
exported in PAL resolution(768 x 576), or they w ill not
be legible.

Toon Boom Scan Files (*.scan)
A Toon Boom proprietary format used by
Scan to store scanned image information
along w ith its registration (peg),
resolution and field chart metadata.
SCAN files are in gresycale.

SCAN

PNG

PNG4

Full colour / 8 bits
per channel

Full colour w ith
transparency / 8
bits per channel

PNGDP

Full colour / 16 bits
per channel

PNGDP3Full colour / 16 bits
per channel

Portable Network Graphics (*.png)
A highly portable image format w ithhigh lossless compression as w ell as
support for transparency and doubleprecision. PNG is typically used for W eb
applications, graphical user interfaces
and image sharing.
Rendering in PNG takes more time thanrendering in TGA or in uncompressed
image formats, but saves a lot of disk
space.

NOTE
PNG files exported from
Harmony are tagged w ith
their colour space

PNGDP4

Full colour w ith
transparency / 16
bits per channel

information in their
metadata.

Jpeg (*.jpg)
A very compact image format w ith lossy
compression. It is typically used for W eb
pages and photo sharing. Because it
does not preserve image quality, it isrecommended to never render in Jpeg
format unless you are exporting stills for

JPG

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FormatSpecification

Descriptiona W eb page or are making quick render
tests.

BMP

Full colour

Bitmap (*.bmp)

BMP4

Full colour w ith
transparency

A standard uncompressed image format
commonly used on Microsoft operating
systems.

OPT

Full colour

OPT1

Greyscale

OPT3

Full colour

OPT4

Full colour w ith
transparency

Toon Boom Optimized image (*.opt)
A legacy Toon Boom proprietary format
that stores bitmap image data w ith
lossless compression. It supports
transparency.

Toon Boom Variable Header image(*.var)VAR

A legacy Toon Boom proprietary format
that stores greyscale bitmap image dataw ith lossless compression.

Tagged Image File Format (*.tiff)
An image format w ith many
compression and encoding settings. It is
often used for image exchange in visualarts and publishing.

TIF

TIFF images exported by Harmony areuncompressed, encoded on a per-pixel(interleaved) basis in PC byte order.

DPX

DPX3_88 bits per channel /Full color / RGB
channel order

8 bits per channel /Full color / RGB
channel order872

Digital Picture Exchange (*.dpx)
A professional photo format that
supports various different approaches tostoring colour information, w hich can beused for storing, exchanging and editing
raw information recorded by cameras. It
is commonly used in film production.

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FormatSpecification

DPX3_1010 bits per channel/ Full color / RGB
channel order

DPX3_12

12 bits per channel/ Full color / RGB
channel order

DPX3_16

16 bits per channel/ Full color / RGB
channel order

DPX3_10_
INVERTED_CHANNELS

10 bits per channel/ Full color / BGR
channel order

DPX3_12_
INVERTED_CHANNELS

12 bits per channel/ Full color / BGR
channel order

DPX3_16_
INVERTED_CHANNELS

16 bits per channel/ Full color / BGR
channel order

Description

OpenEXR (*.exr)

EXR

16 lines Zip
compression

873

A highly capable deep image format.
Each pixel in an EXR file is exported w ith
its Z-depth information. Additionally, if apixel is semi-transparent, the color anddepth information of pixels further backis stored along w ith it. If your scene has
multiplane or 3D elements, this format
can be used for compositing youranimation w ith other graphical elements
in 3D animation softw are.

Chapter 3: Nodes / Layers

FormatSpecification

Description

NOTES
l

OpenEXR files exported
from Harmony are
tagged w ith the w hite
point and primaries
coordinates for theircolour space.

l

EXR_ZIP_1LINE

1 line Zip
compression

OpenEXR files are
alw ays exported by
Harmony alw ays have 1line Zip compression if
they contain a 3D image.

Portable Document File (*.pdf)
Typically, PDF files are used to store,archive, share and print documents.
How ever, Harmony uses the PDF format
for its capability to store bitmap images
and vector graphics.
PDF

If the w rite node is connected to a vectordraw ing layer or to a vector composite,
the exported PDF files w ill contain theimage as a vector graphic. It w ill ignore
bitmap layers, effects and deformations.
Otherw ise, the PDF files w ill contain therendered image as a bitmap.

Deep Texture (*.dtex)
A commonly used deep image format.
Each pixel in an DTEX file is exported
w ith its Z-depth information.
Additionally, if a pixel is semitransparent, the color and depth
information of pixels further back isstored along w ith it. If your scene has
multiplane or 3D elements, this format
can be used for compositing youranimation w ith other graphical elements
in 3D animation softw are.

DTEX

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FormatSpecification

Description

NOTE
Exporting in Deep Texture
requires RenderMan to beinstalled on the machine andthe path to RenderMan
properly configured inHarmony. For more
information, see the Setting
3D Renderer Paths topic of
the User Guide.

Drop list w ith colour modes. Available modes depend on the selected file type.
l

GreyscalelColourlColour + Alpha

Colours

Drop list w ith bit depth value and a label next to it "bits/channel". Available bit depth
depends on the selected file type.

Depth (bits/channel)

l

8

l

10

l

12

l

16

Select this option to create a QuickTime movie. W hen enabled, the Movie Folder andthe Movie Filename fields appear among the Image Folder and Image Filename fields.
Movie

Movie Folder

Only available w hen the Movie option is enabled. The folder in w hich to export themovie file. You can click Choose to the right of the text field to brow se for the directoryw here you w ant the movie to be exported, or click Default to set the export path to thedefault value. You can also type a path relative to the scene's directory. For example,
the default value is frames, w hich exports the movie to the scene's frames
subdirectory.

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Chapter 3: Nodes / Layers

Movie Filename

Only available w hen the Movie option is enabled. The name of the movie file to export.
Do not enter the file's extension.

Opens the movie settings dialog box for your selected video format, in w hich you can
set the video and audio compression settings for your video file:

Movie OptionslQuickTime Movie (*.mov) on W indow s: Movie Options Dialog Box (macOS),l

QuickTime Movie (*.mov) on macOS: QuickTime Movie Settings Dialog Box(W indow s)l

W indow s Media Video (*.w mv): W indow s Media Video Settings Dialog Box(W indow s)

NOTEThis button is available on W indow s and macOS only.

The colour space in w hich to render your scene’s frames. W hen a specific colour space
is selected for a W rite node, frames rendered by this W rite node w ill be converted fromthe project’s w orking colour space to the W rite node’s colour space.
The follow ing colour spaces are supported in Harmony:l

Scene W orking Colour Space: The same colour space as the one selected in
the Colour Space tab of the Scene Settings dialog.

lLinear: The same primaries and w hite point as sRGB and Rec. 709, but w ith no
gamma transfer curve applied to the colour values. This colour space is usefulfor compositing intermediary images that are meant to be rendered in sRGB or
Rec. 709.

l

Display P3: A colour space commonly used for digital projection. It has thesame primaries as DCI-P3, the same w hite point as sRGB and the same gammatransfer curve as sRGB.

l

Display P3 Linear: The same as Display P3, except w ith no gamma transfer
curve. This colour space is useful for compositing intermediary images that aremeant to be rendered in Display P3.

lRec. 709: The colour space used for HDTV. It has the same primaries and w hite
point as sRGB, but has a different gamma transfer curve.

lRec. 709 2.4: The same colour space as Rec. 709 or sRGB, except w ith agamma transfer curve of 2.4 (per ITU-R BT.1886). This colour space exists
because some editing systems use a gamma transfer curve of 2.4 instead of thestandard gamma curve for Rec. 709.

lRec. 2020: A colour space used for Ultra High Definition TV (UHDTV). It has acomplex gamma transfer curve and primaries that cover more of the humanperceivable colour space than other colour spaces, especially in the area of
human-perceivable greens.

Colour Space

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Harmony 22 Premium Reference GuidelRec. 2020 2.4: The same colour space as Rec. 2020, except w ith a simple
gamma transfer curve of 2.4 (per ITU-R BT.1886). This colour space exists
because some editing systems use a gamma transfer curve of 2.4 instead of thestandard gamma curve for Rec. 2020.

lRec. 2020 Linear: The same colour space as Rec. 2020, except w ith no gammatransfer curve. This colour space is useful for compositing intermediary images
that are meant to be rendered in Rec. 2020.

lsRGB: A colour space typically used for standard computer monitors. It has thesame primaries and w hite point as Rec. 709, but has a different gamma transfer
curve.

NOTESl

W hen rendering a movie in a specific colour space in QuickTime Movie (*.mov)format on macOS, the movie buffer data w ill be tagged w ith thecorresponding ICC colour profile.

l

W hen rendering a movie in a specific colour space in QuickTime Prores Movie(*mov) format, the movie colour space ‘nclc’ tag w ill be only set as:ll

HD (1-1-1) if using “Rec. 709” colour spacelBT.2020 (9-1-9) if using “Rec. 2020” colour spacel

P3 D65 (12-1-1) if using “Display P3” colour space

W hen rendering frames in a specific colour space, the follow ing file formats
w ill be tagged w ith their colour space information:lPortable Netw ork Graphic (.png)lPhotoshop Document (.psd)l

OpenEXR (.exr)

OpenEXR files are only tagged w ith the coordinates for their w hite point andprimaries.

Drop list that appears for EXR and TIF formats only.
Compression

Inverted Channelsl

Zip (per scanline)l

Zip (16 scanlines)

A checkbox that appears for DPX only in 10, 12, 16 bit depths.

The drop dow n list to the right of the Movie option. Allow s you to select one of thefollow ing formats:Video FormatlQuickTime ProRes Movie (*.mov): The Apple QuickTime format. This is thedefault export format and is recommended for its portability, and also because
it allow s you to choose among several video codecs.

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NOTES

l

l

On W indow s, Apple QuickTime must be installed to allow Harmony
to export QuickTime movies. You can configure the export of
QuickTime movies to use any codec that is compatible w ith
QuickTime, including H.264, MPEG-4 and Animation.

l

On macOS, Harmony uses Apple AVFoundation to export QuickTime
movies, w hich allow s you to export using codecs such as H.264,
Apple ProRes 422 and Apple ProRes 4444, among others.

l

If you are looking to export a QuickTime movie w ith transparency, besure to choose a codec that supports encoding w ith an alpha channel.

l

On GNU/Linux, Harmony uses the OpenQuickTime library to export
QuickTime movies. This only allow s you to export videos in nonproprietary formats such as Motion-JPEG, Photo JPEG, PNG or
Uncompressed (RGB).

H.264/MPEG- 4 (*.mov) : A simple movie format that uses the H.264 codec,
w hich is supported by most w eb brow sers.

NOTES

l

l

Using this format does not require additional softw are. How ever, if
this is the first time you export a movie in H.264/MPEG-4 format, you
w ill be prompted to dow nload the OpenH264 library from Cisco.
Simply click Yes w hen prompted, and Harmony w ill automaticallydow nload the library, then export the movie.

lThere are no encoding options for this format.

lThis format supports resolutions of up to 4096×2304. Eachdimension must be a multiple of 16 pixels.

l

Audio exported in this format is encoded in PCM 16-bit stereo, 22.05
kHz.

W indows Media Video (*.wmv): The native format for W indow s Media Player.

NOTES

Video Optionsl

W indow s Media Video (.wmv) files can only be exported on
W indow s.

lVideo players and editors on non-W indow s systems can generally
not open W indow s Media Video (.wmv) files.

Opens the video settings dialog box, w hich allow s you to set the video compression
settings for your video file—see OpenQuickTime Video Options Dialog Box(GNU/Linux).

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NOTE
This button is available on GNU/Linux only.

Opens the audio settings dialog box, w hich allow s you to set the audio compression
settings for your video file—see OpenQuickTime Sound Options Dialog Box(GNU/Linux).
Sound Option

NOTE
This button is available on GNU/Linux only.

Enabling Tab
You can create several W rite nodes for a single scene and, by default, w hen a scene is rendered, all of its
W rite nodes w ill perform their render. How ever, using the options in the Enabling tab, you can set up someW rite nodes to only perform their render if the scene is rendered at a specific resolution. This is mostly usefulon Harmony Server, as Harmony Server allow s you select the resolution at w hich to render a scene w hen
sending a scene for rendering by the Harmony database's render farm.
A good example of how this can be useful is if your scene has storyboard thumbnails in the corner, and a W rite
node connected to a composite that crops the picture to only include the storyboard thumbnail, so that yourscene can export both the final animation and the animated storyboard w hen rendered. You can set up yourscene's main W rite node to only w ork w hen exporting the scene at the scene's original resolution, and thestoryboard thumbnails W rite node to only w ork w hen exporting at the desired resolution for an animatedstoryboard.
This option allow s you to filter w ith either resolution presets, or by specifying the w idth and height of thechosen resolution in pixels. You can hence create custom resolution presets named after their W rite node's
purpose, to make it easier to choose the resolution w hen rendering a scene.

Parameter

Description

Alw ays Enabled

Makes this W rite node render every time the scene is rendered. This is the default
option.

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Chapter 3: Nodes / Layers

Enabled w hen
Resolution Name is

Filter Name

Enabled w hen
Resolution is

X Resolution

Y Resolution

Makes this W rite node render only w hen the scene is rendered at the specified
resolution preset.

Select the resolution preset at w hich to render the scene to activate this W rite node.

Make this W rite node render only w hen the scene is rendered at the resolution w ith thespecified w idth and height, in pixels.

The w idth (in pixels) of the resolution at w hich to render the scene to activate this W ritenode.

The height (in pixels) of the resolution at w hich to render the scene to activate thisW rite node.

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Particle Nodes
You can access the Particle effects through the Node Library view . The Particle category contains all the nodes
needed to build various Particle effect systems.

This section explains each node's purpose, its layer properties and how to adjust these properties.
3D Region

883

Baker

885

Baker Composite

888

Bounce889

Explosion

891

Gravity

893

Image Fracture

895

Kill

901

Move Particles

903

Orbit

905

Planar Region

908

Random912

Region Composite

913

Repulse914

Rotation Velocity

915

Sink

918

Size

919

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Chapter 3: Nodes / Layers

Sprite Emitter

921

System Composite

931

Velocity

932

Visualizer

935

Vortex937

W ind- Friction

939

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3D Region

The 3D Region effect lets you define the 3D region, w hich can take many forms, such as a sphere, cone,
cylinder or box. The 3D Region node acts in contrast to the Planer Region node, w hich generates and emits
particles from a 2D plane.
You can connect a 3D Region to a Sprite-Emitter to define the region from w hich particles are generated. It
could also be connected to a Bounce node to define a region against w hich particles bounce. If connected to a
Sink node, it w ill define a region w here the particles w ill disappear.

How to preview the 3D Region
1. From the top menu, select View > Show > Control or press Shift + F11 (W indow s/Linux) or ⌘ +F11 (macOS).

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Chapter 3: Nodes / Layers

3D Region Properties
Parameter

Description

Name

Allow s you to change the name given to the node.

Choose a shape for the 3D Region by clicking on the Type drop-dow n menu andselecting either Box, Cylinder, Cones, Sphere or Image.
Shape

If you select Image, you must connect the node of a vector draw ing or a vectorized
bitmap image to the left port (blue node) of the 3D Region node. The particles
w ill then be emitted from that image' shape. Don't forget that you can rotate yourvector draw ing in 3D space by enabling the 3D option in its Layer Properties.

Size

Enter different values into the W idth, Height and Depth fields to change thedimensions of the 3D Region's selected shape. Depending on the shape selected,
some fields may be greyed-out if they are not applicable. You can also modify theshape w ith the Transform Tool by grabbing the control handles (turquoise
squares) in the Camera or Perspective view s. You can also change the dimensionsof the region over time by click on the function button at the end of each field.

Enter different values in the Max or Min fields to change the inner or outer radiusof applicable shapes, such as a cylinder, cone or sphere. You can also change theRadiusradii by grabbing the control handles (turquoise squares) in the Camera or
Perspective view s. The radii of the region can be changed over time by clicking
the function button at the end of each field.

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Baker

The Baker effect, also know n as Particle-Baker, lets you make decisions about the particle system's position,
angle, number, etc. in the same w ay that a baker w ould make decisions about the ingredients that go into
baking a cake. The Baker performs the particle simulation, combining all the ingredients specified to get the
final result. The Baker must alw ays be connected to the Particle-Visualizer.

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Chapter 3: Nodes / Layers

Particle Baker Properties
Parameter

Description

Name

Allow s you to change the name given to the node.

Seed

Allow s you to apply a random effect to the particle system. There may be times
w hen you w ant to copy the particle system to tw o different locations on yourscreen. You can take the out-port of the Particle System Composite node, andplug this into tw o separate Bakers and Visualizers. Then you could move one
system over by attaching a peg into the left side of one Visualizer. This makes thetw o systems look exactly the same. Add a random Seed to make them lookdifferent.

Simulation Quality

Defines how many simulation steps per frame are performed. The low est quality
creates one step per frame. Raising the quality w ill divide the simulation time andcreate tw o or more steps of simulation for each frame. This increases thecomputation time, but also increases the quality of the result.

Number of Pre-roll Frames

Allow s you to select a start position in the particle effect sequence, other than thestart (generation) of the sequence. This allow s you to start the particle effectpart-w ay through its cycle, even if it starts on frame 1 of your project. An example
of w hen this parameter might come in handy is w hen you w ant it to be alreadyraining at the start of your scene. If you don't change the number of Pre-roll
Frames, it w ill alw ays start to rain at the beginning of the scene.

Maximum Number ofParticles

Lets you put a limit on the number of particles that w ill be created; particles w ill
stop being generated once this number is reached.

Age Particles

Tracks how long a particle has existed in its cycle from the time of its inception.
Know ing a particles "age" means you can tack other parameters onto its life span,such as having the particle start to disappear or change colour at a certain

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time.age.

Move Position

Allow s the particles to move position, otherw ise the particles cannot flow in a
specified direction. This option also exists in the Move Particles node. You do not
alw ays need a Move Particles node; this is w hy this option exists in the Baker.
This option is also useful w hen your Move Particles node is cut off by a sink—see
Sink on page 918.

Allow particles to flow from different angles. This option also exists in the Move
Move Angle

Particles node. You do not alw ays need a Move Particles node; this is w hy thisoption exists in the Baker. This option is also useful for w hen your Move Particles
node is cut off by a sink—see Sink on page 918.

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Baker Composite

The Baker Composite effect is used to composite more than one Particle-Baker, as w ell as any other elementsthat need to be combined before they pass through the Particle Visualizer.

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BounceThe Bounce effect lets you to make particles bounce off a surface w ith realistic physical modelling. This node
should have a region connected to it, and that region w ill act as a bounce plane so w hen any particle hits it, it
w ill bounce off at the correct angle.

Bounce Properties
Parameter

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Name

Allow s you to change the name given to the node.

Trigger

An on/off sw itch using binary code. 1 = on, 0 = off.

FrictionEnter a value in this field to increase the amount of friction each particle
experiences as it makes contact w ith the planar surface. A positive value creates
more friction and slow s the particle dow n. A negative value lessens the friction
and makes the surface appear more slippery.

Resilience

Increases or decreases the bounciness of the particle. A value of zero causes theparticle to hit the planar surface once and slide off any dow nw ard facing angle. A
positive value, even by decimal increments, causes the particle to become bouncy.
A negative value deadens the effect, the same w ay a lack of Region w ould.

Cutoff Speed

Increasing this value w idens the bounce arc. If the connected Planar Region iscompletely flat, a value of zero w ill cause the particle to bounce up and dow n inplace. A tilted plane in the direction of the bounce w ill also w iden the arc.

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Explosion

The Explosion effect lets you create an explosion. As it is an Action node, it should be connected to the Particle
System Composite after the Sprite Emitter. As the explosion occurs, the particles w ill burst rapidly aw ay fromthe centre of the explosion (the centre of the defined Region), then gradually slow dow n.

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Explosion Properties
Parameter

Description

Name

Allow s you to change the name given to the node.

Trigger

An on/off sw itch using binary code. 1 = on, 0 = off.

Coordinates

Use the X, Y and Z fields to enter different position values to move the particle
system around in 3D space. You can also connect a Peg node to the Explosion to
manipulate its position w ith the Transform or Move tool.

RadiusDefines the surface of an invisible sphere. As the explosion occurs, the exploded
particles inside the boundaries of this sphere w ill be effected by the force of the
explosion, w hile the particles that eventually pass through w ill remain
unaffected.

Sigma

The higher the Sigma value, the longer it takes for the particles to completely
disappear, even if the initial explosion seems to occur just as rapidly.

Magnitude

Defines the magnitude of the explosion. The greater the magnitude, the faster theparticles break up.

EpsilonThis value w orks in opposition to the Sigma value. The higher the value, theslow er the initial explosion occurs. If the value is high (an integer value) thenlarger particles remain suspended for a longer period of time from the initial
explosion and takes a w hile to gradually break dow n. A smaller (decimal) value
breaks the particles dow n to smaller forms more rapidly from the time of theinitial explosion.

:

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Gravity

The Gravity effect lets you define the gravity of the particle system.

Gravity Properties
Parameter

Description893

Chapter 3: Nodes / Layers

Name

Allow s you to change the name given to the node.

Trigger

An on/off sw itch using binary code. 1 = on, 0 = off.

Apply Gravity

Forces the particle system to adhere to the force of gravity. Values must beentered into the Direction fields, along w ith enabling this option, in order for it to
w ork. If this option is not selected, the particle system w ill explode outw ards
from its origin point.

X Direction

Directs the particle stream to the left or right (along the X-axis). A value of 1
forces the particle stream to the right, w hile a value of -1 forces the particle
stream to the left.

Y Direction

Directs the particle stream up or dow n (along the Y-axis). A value of 1 forces theparticle stream to flow upw ards, w hile a value of -1 forces the particle stream toflow dow nw ards.

Z Direction

Directs the particle stream forw ards or backw ards (along the Z-axis). A value of 1
forces the particle stream to flow forw ards, w hile a value of -1 forces the particle
stream to flow backw ards.

Apply Gravity betw een
Particles (Relative Gravity)

Applies gravity betw een each particle, taking their masses into account. The massof the particle can be specified at emission time via the Sprite or Image Emitter.

Relative Gravity Magnitude

Adjust the amount of gravity applied betw een particles.

Relative Gravity Epsilon

The acceleration falls off the further the particles get from each other. W hen theparticles are very close to each other, the acceleration becomes very high, so you
should define a small region around the particles so they never actually touch.

Relative Gravity Maximum
Distance

Adjusts the radius beyond w hich particles do not affect each other.

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Image Fracture

The Image Fracture effect breaks an image into pieces. This effect requires tw o image objects: the image to be
cut and the shape of the cut pieces (matte). The image to be cut can be anything from a vector draw ing to abitmap image to an entire scene's composite—effects and all. The image to be cut should be hooked to the
Image Fracture's right port.
The matte should be flattened if you w ant it to w ork like a cookie cutter (hollow shape w ith a frame) and canbe composed of brush or pencil lines. It can also be a solid shape, many solid filled shapes, and even manysolid filled overlapping shapes. W hen the matte is made of overlapping pieces, the cut image w ill be
multiplied at those zones to break apart in multiple layers. The matte draw ing should be hooked to the Image
Fracture's left port.
The tw o image objects overlap perfectly w hen combined in the Image Fracture. This means that you must takethe 12 by 12 field into account w hen judging the scale and proportion of these objects. If the matte does notoverlap a part of the image, that part of the image w ill not be cut. The matte does not have to be a continuous
shape. It could be three separate circles, w hich w ould then be cut and pulled aw ay from the image.

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NOTE
You can display the grid and use the Light Table feature in the Draw ing view w hile draw ing or
scaling the image and matte to ensure that they're the correct size relative to one another.

Here's an example of a node structure w ith the Image Fracture effect:896

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Image Fracture Properties

Generation Tab
Parameter

Description

Emission

Trigger

An on/off sw itch using binary code. 1 = on, 0 = off.

Type

You may w ant to design a variety of different draw ings that w ill vary theappearance of the particle system. In this case, you should put each draw ing on
its ow n cell in the draw ing layer. Each draw ing w ill then be a new type of particle.

Type Generation Strategy

Lets you sequentially or randomly assign a type (moving from one draw ing to thenext).

Particle Type 0This is the frame number of the first draw ing. If you have a 5-frame cycle thatstarts on frame 1, you w ould put a 1 here.

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Particle Type 1

This is the frame number of the last draw ing. If you have a 5-frame cycle thatstarts on frame 1, you w ould put 5 here.

Age

Age at BirthA different start frame number can be entered in this field. This means that a
particle can start w ith a different draw ing than the draw ing on frame 1.

Allow s a random deviation for the birth of the particles. If you have a five-frame
Age at Birth Standard
Deviation

cycle that starts on frame 1, but you w ant the particles to be a random type, thenyou may w ant to set the Age and Birth to 3 w ith a standard deviation of 2. Thatmeans the particles w ill randomly be born at any frame from 1 to 5.

Advanced

Particles Mass

Defines a mass for the particles w hich w ill affect how the particles interact w ith
gravity.

Align Initial Velocity

Aligns the initial velocity w ith the region from w hich the particles are being
emitted. If you are emitting from a sphere, the particles w ill all start out moving
aw ay from the centre of the sphere.

Rendering Tab
Parameter

Description

Transformation

Size over AgeLets you determine the size of the particle as it ages. Attach a function to this
attribute if you w ould like to, for example, have the particles get smaller as timegoes on.

Directional Scale

Scales the particle in the direction of its movement.

Directional Scale Exponent
FactorSets an exponent here for how much you w ould like that particle to scale.

Align w ith Direction

Aligns the particle in the direction of its movement.

Axis to Align

Select the axis that you w ant to align. This axis refers to the axis of the Draw ing

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grid from the Draw ing node plugged into the emitter.

Flip X Axis to Match
Direction

You may w ant to have the particle align to the X direction of movement. You can
see this property being used in the Lemmings example.

Flip Y Axis to Match Direction

Similar to flipping the X axis, you may w ant to flip the Y axis of a draw ing tomatch the direction of the particle movement.

Use Rotation of Particle

Enables rotation on the particle.

Keep Volume

W hen you choose to do a Directional Scale, this w ill automatically maintain thevolume of the particle by squashing it proportionally to how much it stretches asa result of the directional scale.

Colouring

Colouring Strategy

Lets you choose how to define the colour of the particle.

Use Draw ing Colour

The particle remains the same colour as it w as draw n w ith.

Map RGB Based on Age

Attach a function to this to vary the Red, Green, and Blue values of the particle as
it ages.

Map RGBA Based on Age

Attach a function to this to vary the Red, Green, Blue, and Alpha values of theparticle as it ages.

Apply Opacity Based on Age

Keeps the original RGB values from the draw ing, but vary the Alpha (Opacity)
according to a function that you define here.

Map RGB Based on Frame

Changes the Red, Green, and Blue values of the particles based on the frame.
Changing based on the frame means that ALL particles w ill change colour on thatframe, regardless of their age.

Map RGBA Based on Frame

Changes the Red, Green, Blue, and Alpha values of all particles on a given frame
by attaching a function.

Apply Opacity Based on
Frame

Uses the original RGB values from your draw ing, but varies the Alpha (Opacity) of
the particles on a certain frame by attaching a function to this.

Red, Blue, Green, AlphaThis is w here you can attach functions to the Red, Blue, Green and Alpha values.

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You can also click on the colour sw atch to adjust the colour.

Compositing

Blur

Lets you attach a function to define how you w ant the particles to blur based on
the age, frame or camera distance of each particle. There are low and high quality
blurs. Also, you can attach a function to define how all particles should beblurred.

Blur Intensity

Lets you set a value or attach a function to animate the blur according to the typeof blur that w as defined from the drop-dow n list.

The distance w here the blur fades from the edge of the image. Select a value
betw een 0 and 1.
Falloff Rate

A falloff rate of 0 causes the blur to fade out slow ly, distributing the blur evenly
from the edge of the draw ing to the farthest edge of the blur.
A falloff rate of 1 causes the blur to fade out quickly so that the blur is heaviest at
the edge of the draw ing.

Blend Mode

Defines a blend mode for the particles to get cool effects.

Blend Intensity

This is a percentage of how opaque you w ant the particles to be blended. 50 =50% transparent. 100 = opaque.

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Kill
The Kill effect lets you determine w hen particles disappear.

Kill Properties
Parameter

Description

Name

Allow s you to change the name given to the node.

Trigger

An on/off sw itch using binary code. 1 = on, 0 = off.

Use Maximum LifespanMakes particles disappear w hen they reach their maximum lifespan.

To use this parameter, you must attach a function to this property because if you
select this option at time 0, you w ill never see any particles. If you set Kill Younger
to 10, at time 0, there w ill be no particles older than 10, so you w ill never see any
particles.
Kill Younger

It may be useful to have the particles animating over time, and at some point in
time, you may w ant to kill all the younger particles. An example w ould be an
animation w here the particles change from blue to yellow . At every frame, newparticles are generated, and the particles that already exist age. Then you w ould
add an explosion that kills all particles younger than 10 frames. It w ould kill all
the blue particles, leaving only the yellow particles.

Kill Younger ThanThis is w here you can animate the effect for Kill Younger.

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Kill Older

Makes particles disappear w hen they reach a certain level of maturity.

Kill Older Than

Lets you set the age at w hich particles disappear.

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Move Particles

The Move Particles effect lets you determine w hether the particles are stationary (like grass) or moving (likerain), and you can animate this function on and off.

Move Particles Properties
Parameter

Description

Trigger

An on/off sw itch using binary code. 1 = on, 0 = off.

Ages the particles. Note that if you select the Move Position and Move Angle,
then the particles w ill age implicitly. If you do not w ant the particles to move, but
still w ant them to age, deselect Move Position and Move Angle, and select Age
Particles.
Age Particles

The Age Particles parameter also exists in the Baker, how ever w hatever happensin the Baker happens after everything else in the particle system. So, if forexample you have a Kill node, it w ill kill the particles before they age. You
probably w ant to age the particles before you determine w hether to kill them.
Therefore, if you have a Kill node, make sure to age the particles in your Movenode before you kill them. If you age the particles both in the Move and Baker
node, then the particles w ill age tw ice on that frame instead of once.

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Move Position

Lets you enable movement on the particles. There is also a Move Particles option
in the Baker. If it's deselected in the Baker and in the Move node, the particles w ill
not move; they w ill simply generate in place and stay there. If the option is
selected on the Baker, the particles w ill move. But if you need the particles tointeract w ith another Action, say a Sink, then you w ant the particles to move
before they reach the sink. This is w hy you have a separate Move node, so you canplace this Move before (to the right of) the Sink in your particle system composite.

Move Angle

Like the Move Position, this enables the rotation of particles in the particle
system.

Move Particles Follow Each
Other

Allow s one particle to follow another particle, through an attraction betw een theparticles. This is particularly useful w hen you w ant to create a snake-like effect,
w here the particles are animating across the screen and follow ing each other.

Follow Intensity

Lets you adjust the strength of the attraction betw een particles follow ing eachother.

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Orbit

The Orbit effect lets you define an axis the particles w ill be attracted to and orbit around. You can place a Peg
layer into the orbit to move the position of the orbit w ithout adjusting the parameters in the Layer Properties.
Fine-tuning the Orbit effect can take a bit of finesse because the orbit takes into account the velocity of theparticles, and uses this to determine w hether:•

The particle w ill orbit around the axis•

The particle w ill be influenced but eventually escape•

The particle w ill hardly be influenced at all.

This is just like how gravity betw een astral bodies w orks in space. Here are some examples of how having theorbit in the w rong place can give some cool (but perhaps not useful) effects:

You w ill also w ant to make sure that your initial velocity is varied, so use an interpolated speed and set tw odifferent values. That w ay, there w ill be a spread betw een them. If not, then you w ill get the effects as show n
above.
Also, you should use the Peg layer to move the position of the Orbit node around until you find the right spot
to get the look you're trying to achieve. It also helps to set some pre-roll frames on your Baker to get things
ramped-up before you start to manipulate the position of the Orbit node.
Here's an example of w hat a typical node structure w ith an Orbit node looks like:905

Chapter 3: Nodes / Layers

Orbit Properties
Parameter

Description

Name

Allow s you to change the name given to the node.

Trigger

An on/off sw itch using binary code. 1 = on, 0 = off.

Orbit Type

Lets you select the type of Orbit you w ant to use. For most scenarios, likeasteroids orbiting a planet, a point w ill suffice. If you w ant to rotate around an
axis instead, choose betw een the X, Y, Z axes or set up your ow n custom axis.

Magnitude

Adjust the amount that the acceleration of each particle w ill be adjusted. The

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higher the value, the more the particle w ill accelerate tow ards the orbit. A
magnitude of 0.001 is a good number to use for this. W hen the magnitude is set
too high, the particles w ill simply fly out into space.

Point X

Defines the X position of the centre of the Orbit. You may also leave this at 0 anduse a peg to move the position of the Orbit node.

Point Y and Z

Defines the Y and Z position of the centre of the Orbit.

Direction X

Defines the X component of the axis of rotation for the orbit. This is only taken
into account if you choose to set up a custom axis. If this is set to 1, and Y and Z
are set to 0, then the axis w ill be going in the same direction as the X axis. If the X
component is set to 1, and the Y component is also set to 1, then the axis w ill be
at a 45 degree angle betw een the tw o.

Direction Y and Z

Defines the Y and Z components of the axis of rotation for the orbit.

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Planar Region

Like the 3D region, this determines a region that you can use as a source or as a bounce plane, but instead of a
3D region, it's a 2D plane. Connect a peg to the right in-port to adjust the position of the plane.

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Planar Region Properties
Parameter

Description

Name

Allow s you to change the name given to the node.

Allow s you to define the type of shape of the plane.
The follow ing shape types are available:lBasic shape types:
Those are simple shapes that are defined by a small set of coordinates.
Depending on the type of shape you choose, the parameters below w ill beavailable or greyed out so that you can adjust the actual shape of theplane. How ever, you can also adjust the shape of the plane visually using
theShape TypeTransform tool. To do that, you must display the Planar-Region’scontrol by selecting the Planar-Region node in the Node view , then doing
one of the follow ing:l

In the Camera view toolbar, click on

Show Control .

l

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

lPress Shift + F11.

The follow ing basic shape types are available:l

Rectangle: A rectangle. You can set the size of the rectangle using
the W idth and Height parameters.

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Disc: A circle w ith a circular hole in the middle. You can adjust the
disc’s size by changing the Radius parameters, w here Minimum isthe radius of the hole and Maximum is the radius of the disc.

l

Triangle: A triangle. The coordinates of all three points can be set
in the X and Y fields under P1, P2 and P3.

lLine: A line. The coordinates of the tw o points defining the lines
can be set in the X and Y fields under P1 and P2.

lPoint: A single point. Its coordinates can be set in the X and Y
fields under P1.

Image shape types:
Those shape types use an input image to define the plane. To use them,connect a single draw ing layer to the left input port of the Planar-Region
node.

The tw o follow ing image shape types are available, and produce slightly
different results:lImage: W ith this option, the input image shape is used todetermine the planar region, but its alpha is also used to modulate
the density of the particles. For example, semi-transparent areas
w ill have less particles than fully opaque ones.
How ever, w ith this option, the region is cropped to the input
draw ing’s 4:3 grid. By default, this grid is shrunk to fit the verticalresolution of the scene. Hence, w ith this option, the particles w ill
be cropped by a frame that has a 4:3 aspect ratio and w ill notreach all the w ay to the left and right edges of the camera frame.
To w ork around this, you can use the Vector Drawing option, or
set your scene’s field of view to Horizontal Fit—see Scene
Settings Dialog Box on page 209.

l

Mirror Negative Frames

Vector Drawing: This uses the entire shape of the input draw ing
to define the planar region, w ithout accounting for the draw ing’s
grid. As a side effect, an input draw ing that is considerably bigger
than the camera frame w ill result in more sparse particles. This
option ignores the alpha of the input image, and only uses its
shape.

Mirrors the input peg transformation to generate positions for frames before the910

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scene begins.

W idth: The w idth of a rectangular shape.
Size
Height: Adjust the height of a rectangular shape.

Minimum: The radius of the hole for a disc shape.
RadiusMaximum: The radius of the w hole disc for a disc shape.

P1

X: The X position of Point 1. Point 1 could refer to the point on a triangle, line, orpoint.
Y: The Y position of Point 1.

X: The X position of Point 2. Point 2 could refer to the point on a triangle or line.
P2
Y: The Y position of Point 2.

X: The X position of Point 3. Point 3 refers to a point on a triangle.
P3
Y: The Y position of Point 3.

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RandomThe Random effects lets you put a random seed on some qualities like acceleration, speed, rotation speed, andposition. There's also a Seed value in the Baker, but you may only w ant to make one particular aspect of thesystem random. This effect gives you control over the randomness of a particular property.

Random Properties

Parameter

Description

Name

Allow s you to change the name given to the node.

Trigger

An on/off sw itch using binary code. 1 = on, 0 = off.

Parameter

Lets you choose a parameter to make random: None, Acceleration, Speed,
Rotation Speed, and Position.

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Region Composite

The Region Composite effect lets you composite multiple regions, 3D regions or planar regions. You may w ant
to emit particles from multiple regions in the same particle system.

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RepulseThe Repulse effect repulses a particle around a region, but is different than the Bounce node as it is repelled
before it physically hits the region.

Repulse Properties
Parameter

Description

Name

Allow s you to change the name given to the node.

Trigger

An on/off sw itch using binary code. 1 = on, 0 = off.

Magnitude

This value should be betw een 0 and 2. The higher the value, the more drasticallythe particles w ill be repulsed.

Look Ahead

Determines how far ahead of the particle's current position to see w hether there's
an obstacle coming. This value should be betw een 0 and 100.

EpsilonAffects how quickly the effect of the repulse w ears off. The smaller the number,the longer the effect lasts. This value should be betw een 0.1 and 0.0001.

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Rotation Velocity

The Rotation Velocity effect lets you define the initial rotational velocity of the particles. The values that you
set up for this node refer to each individual particle's draw ing axes. This means that if you choose to rotate
around the X-axis, it w ill rotate around each particle's local X-axis as defined by its draw ing plane.
The rotational velocity should be set before you emit the particles, such as to the right, so the velocity is taken
into account w hen the particles are created.

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Rotation Velocity Properties
Parameter

Description

Name

Allow s you to change the name given to the node.

Trigger: An on/off sw itch using binary code. 1 = on, 0 = off.
Axis Type: Lets you select the type of axis to use.
•

GeneralAxis

Use Input Shape: Uses a region to define the rotational axis of theparticles. The axis of each particle's rotation w ill be perpendicular to theplane that particle is created on.
•

Constant Axis: If you choose to rotate the particles around a constantaxis, then each particle w ill rotate around the same axis. This axis w illthen be defined as Axis0.

•Interpolated Axis: If you choose to rotate the particles around aninterpolated axis, that means each particle w ill have its ow n rotational
velocity w hich lies somew here betw een Axis0 and Axis1.

Axis0 X: Defines the X component of Axis0. If you set the X to 1, and the Y and Z
to 0, then the particle w ill rotate around its X-axis as defined by its draw ing
plane. If you set X to 1 and also Y to 1, then it w ill rotate around an axis that is 45
degrees betw een X and Y.
Axis0 Y: Defines the Y component of Axis0.
Axis0 Z: Defines the Z component of Axis0.

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Axis1 X: Defines the X component of Axis1. This applies only w hen you haveselected an Interpolated axis.
Axis1 Y: Defines the Y component of Axis1.
Axis1 Z: Defines the Z component of Axis1.

Minimum: The minimum initial rotation that a particle can have, in degrees perframe.
Speed (Degrees/Frame)
Maximum: The maximum initial rotation that a particle can have, in degrees perframe.

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Sink
The Sink effect causes particles to disappear w hen outside the region that is plugged into the sink. It can also
be inverted, so the particles disappear w hen they enter the region instead.

Sink Properties
Parameter

Description

Name

Allow s you to change the name given to the node.

Invert

The default behaviour of the sink is for particles to disappear w hen they departthe region. W hen inverted, the particles disappear w hen they enter the region
instead.

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Size
The Size effect lets you animate the size of the particles.

Size Properties
Parameter

Description

Name

Allow s you to change the name given to the node.

Trigger

An on/off sw itch using binary code. 1 = on, 0 = off.

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Size Type

Lets you select a type for the size. If you choose Constant Size, then all particles
w ill be animated to have the same size. If you choose Input Shape instead, thenyou must input a Region into the in-port of the Size node. It w ill use this region todetermine the size of the particles.

Size

Lets you adjust the size of the particles.

:
:

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Sprite Emitter

The Sprite Emitter effect is an all-purpose emitter. You can plug it into a draw ing layer to generate particles
that look like your draw ing layer. You could also just output dot particles if you have no image layer connected.
There are many parameters to control how particles are emitted.

Sprite Emitter Properties
Generation Tab

Parameter

Description

Emission

Trigger: An on/off sw itch using binary code. 1 = on, 0 = off.

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Number of Particles: This is w here you can define how many particles w ill beemitted on each frame.

Probability of Generating Any Particles: This is a probability percentage betw een 0
and 100. If the probability is set to 100%, it w ill generate the Number of Particles
specified. If you set the percentage to 50%, then there's only a 50% chance that it
w ill generate the number of particles set in the Number of Particles. You can playw ith this value to add random spacing to the generation of particles.

Streak Seed: The number of streaks to generate.
Source Sampling Time Offset: Sets the streak start at a different time to offset its
position.
Source Sampling Duration: This parameter is the key to generating streaks. If set to0, the behaviour is the same as before. If set to -10 for example, it w ill sample theinput region (in this example the Planar-Region) 10 frames in the past. If in thismode, the Number of Particles parameter is the number of streaks to generate. If you
w ant to generate five streaks for example, you need to set the Streak Size to a value
different than 0, otherw ise all the streaks w ill be at the same spot.

Generator

Source Samples Per Frame: The number of subdivisions for each frame. A value of 1
generates a particle for each frame. A value of 16 generates a particle on each
1/16th of a frame.
Streak Size: The radius of the sphere used for sampling the offset of the streak.
Region Size for Baked Particle Input: The Baked Particle Input property refers tow hen you use a Baker as an input to a Sprite Emitter. You can do this w hen you w ant
to generate particles from other particles. W hen you do this, you have the option ofsetting a sphere around the source particle from w hich the new particle system w ill
generate particles. That is the region w hich is referred to in this value. If you look at
the follow ing example, you'll see that the purple smiley faces are generating smaller
green, blue, and yellow smiley faces. This is done by plugging the Baker from thepurple smiley faces into the Sprite Emitter of the other smiley faces. See thefollow ing images:

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You may w ant to design a variety of different draw ings that w ill vary the appearanceof your particle system. To do this, you should put each draw ing on its ow n cell inthe draw ing layer. Each draw ing w ill then be a new Type of particle.
Type Generation Strategy:
Lets you sequentially or randomly assign a type (moving from one draw ing to thenext).
Type

Particle Type 0:
This is the frame number of the first draw ing. If you have a 5-frame cycle that starts
on frame 1, you w ould put a 1 here.
Particle Type 1:
This is the frame number of the last draw ing. If you have a 5-frame cycle that starts
on frame 1, you w ould put 5 here.

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Initial Parameters Tab

Parameter

Description

Age at Birth: A different start frame number can be entered in this field. This meansthat a particle can start w ith a different draw ing than the draw ing that you have onframe 1.

Age

Age at Birth Standard Deviation: Allow s a random deviation for the birth of theparticles. If you have a 5-frame cycle that starts on frame 1, but you w ant theparticles to be of a random type, then you may w ant to set the Age and Birth to 3
w ith a standard deviation of 2. That means that particles w ill randomly be born at
any frame from 1 to 5.

Set Maximum Lifespan: Makes particles die automatically.
Maximum Lifespan: This is how long the particle w ill exist before dying.
Maximum Lifespan Sigma: The lifespan variation of particles. If set to 0, all particles
w ill have the same lifespan. A larger value means that particle lifespans w ill be
distributed over a larger range.

Particles Mass: Define a mass for the particles. This mass w ill affect how theparticles interact w ith gravity.
Advanced

Copy Particle Velocity for Baked Particle Input: If you select this option, thevelocity of the parent system w ill be applied to the child system w hen a Baker isused as the region for a Sprite Emitter.
Add Particle Age for Baked Particle Input: If you select this option, the age of the924Harmony 22 Premium Reference Guide

parent system w ill be inherited by the child system w hen a Baker is used as theregion for a Sprite Emitter.
Align Initial Velocity: This aligns the initial velocity w ith the region from w hich theparticles are being emitted. If you are emitting from a sphere, then the particles w ill
all start out moving aw ay from the centre of the sphere.
Minimum Initial Rotation: Define a minimum rotation in degrees that the particle canhave w hen it is generated. There is also a separate Rotation-Velocity node in w hich
you can define this parameter.
Maximum Initial Rotation: Define a maximum rotation in degrees that the particle
can have w hen it is generated.

Rendering Tab

Parameter

Description

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Rendering Strategy: Select a method to determine the particle type definedfor each particle that is created.
•

Render as Dot: Renders each particle as a dot. This is usefulmainly for preview ing the effects of your particle system w ithout
using the draw ing layer (sprite).

•

Use Frame Number: As the frame number increases, the type ofparticle w ill change to match the frame number. This means that
ALL particles in the system w ill change together as the frame
number changes. If you only have a few draw ings, then you may
w ant to enable Cycling to cycle those draw ings.

Sprite Selection•

Use Frame Number as Index in Selector: W hen you select thisoption, you can use the Selector to animate the Frame Number it
uses over time. So, instead of taking the current frame as the
Frame Number, you can w rite your ow n function instead. For
example, if you animate the selector so that at frame 1, it starts
out at 2, then 8 frames later you add another keyframe to set thevalue to 4. Betw een frame 1 and frame 8, the particles w ill allchange type together from w hat they look like on frame 2 to w hat
they look like on frame 4.

•

Use Particle Type: Each particle that is generated w ill look likethe Particle Type that w as assigned on the Generation tab. For
example, if you use a value of 1 for Particle Type 0, and 6 forParticle Type 1, then each particle w ill be assigned a type from 1
to 6. This type corresponds to the draw ing that appears on the
sprite on that frame number. So if you have a draw ing layer called
Sprite that is plugged into the left in-port of the Emitter, it w ill
look for the draw ings in cells 1 to 6 of Sprite to assign thosedraw ings to each particle.

•

Use Particle Type as Index in Selector: This option allow s you to
use the Selector to manually create a function that assigns how
many of w hich particle w ill be created.
For example, you can set the Particle Type to go from 1 to 100 in
the Generation tab. Then use the Selector to remap the particle
types to a certain draw ing. So for example you could create fivedraw ings, labelled 1 to 5, and use the selector to create mainly
1s, no 2s, a few 3s, 4s, and a very few 5s. W hat it's doing islooking at the X-axis to find w hat the particle "type" is, thenlooking at the Y-axis to find out w hich draw ing to assign to that"type." W hen you use 1 to 100 as a type, then w hen you're
setting the values, they act as a percentage.

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Use Age: As the particle ages, it w ill change appearance fromw hat appears on the Sprite's first draw ing to the subsequentdraw ings. This means that each particle can have its appearance
animated as it gets older.

•

Use Age as Index in Selector: You can animate the Selector tochange how a particle ages over time. For example, if you have a
Sprite w ith six draw ings on it, you might w ant to animate it so itchanges from draw ing 1, on frame 1, to draw ing 2, on frame 10,
then draw ing 3 on frame 14, draw ing 4 on frame 16, draw ing 5
on frame 17, etc. so the particle rapidly ages. This allow s you tochange the timing of the aging dynamically through the selector,
instead of having to modify the exposure of the cells on the
Sprite.

Selector: Animates the Selector in conjunction w ith the Rendering Strategy
to adjust the parameters that control the particle’s appearance at birth andover time.
Cycling: If you're using rendering strategies like Frame Number or Age, you
may w ant to cycle the draw ings. For example, if you are using Frame
Number, but you've only got 5 frames w orth of draw ings in your Sprite, thenif you use "No Cycle," your Particles w ill disappear after frame 5. You canchoose to cycle Normally (1-2-3-4-5-1-2-3-4-5) or Back and Forth (1-2-34-5-4-3-2-1).
Number of Drawings in Cycle: Lets you indicate how many frames fromyour Sprite you'd like to cycle.

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Size over Age: Lets you determine the size of the particle as it ages. Attach afunction to this attribute if you w ant to, for example, have the particles get
smaller as time goes on.
Directional Scale: Scales the particle in the direction of its movement.
Directional Scale Exponent Factor: Sets an exponent here for how muchyou w ant that particle to scale.
Align with Direction: Aligns the particle in the direction of its movement.
Axis to Align: Select the axis that you w ant to align. This axis refers to theaxis of the Draw ing grid from the Draw ing node plugged into the emitter.
Transformation

Flip X Axis to Match Direction: You may w ant to have the particle align to
the X direction of movement. You can see this property being used in theLemmings example.
Flip Y Axis to Match Direction: Similar to flipping the X axis, you may w ant
to flip the Y axis of a draw ing to match the direction of the particle
movement..
Use Rotation of Particle: Enables rotation on the particle.
Keep Volume: W hen you choose to do a Directional Scale, this w ill
automatically maintain the volume of the particle by squashing it
proportionally to how much it stretches as a result of the directional scale.

Colouring Strategy: Lets you choose how to define the colour of the particle.
•

Use Drawing Colour: The particle remains the same colour as it
w as draw n w ith.

•

Map RGB Based on Age: Attach a function to this to vary theRed, Green, and Blue values of the particle as it ages.

•

Map RGBA Based on Age: Attach a function to this to vary theRed, Green, Blue, and Alpha values of the particle as it ages.

•

Apply Opacity Based on Age: Keeps the original RGB values
from the draw ing, but vary the Alpha (Opacity) according to afunction that you define here.

•

Map RGB Based on Frame: Changes the Red, Green, and Bluevalues of the particles based on the frame. Changing based on
the frame means that ALL particles w ill change colour on thatframe, regardless of their age.

•

Map RGBA Based on Frame: Changes the Red, Green, Blue, andAlpha values of all particles on a given frame by attaching afunction.

•

Apply Opacity Based on Frame: Uses the original RGB values
from your draw ing, but varies the Alpha (Opacity) of the particles

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on a certain frame by attaching a function to this.
•Use Particle Colour: Particles are created using the Red, Green,
Blue and Alpha values at the current frame. The colour and alphaof each particle remain static. If those values are animated, thecolour of new particles change, w hile existing particles remain
the same colour.

•

Use Particle Alpha: Particles are created w ith the Red, Green,
Blue and Alpha value of the current frame. W hile their colours
remain synchronized w ith the Red, Green and Blue values, thealpha of each particle remains static. So if the Red, Green, Blueand Alpha values are animated, the colour of all the particles w ill
be animated, but each particle w ill retain the alpha they had
w hen they w ere created.

Red, Blue, Green, Alpha: This is w here you can attach functions to the Red,
Blue, Green and Alpha values. You can also click on the colour sw atch toadjust the colour.

Blur: Lets you determine the Blur to apply to the particles.

Compositing•

No Blur: No blur w ill be applied to the particles.

•

Directional Blur Based on Age: Attaches a function to define
how you w ant the particles to blur based on the age of eachparticle. The particle w ill blur in the direction of movement.

•

Directional Blur Based on Frame: Attaches a function to define
how all particles should be blurred at a particular frame. The
particle w ill blur in the direction of movement.

•

Low Quality Radial Blur Based on Age: Attaches a function todefine how you w ant the particles to blur based on the age ofeach particle. This w ill be a low quality blur.

•

Low Quality Radial Blur Based on Frame: Attaches a function todefine how all particles should be blurred at a particular frame.
This w ill be a low quality blur.

•

Low Quality Radial Blur Based on Camera Distance: Defines
how you w ant the particles to blur based on their distance fromthe camera. This is a low quality blur.

•High Quality Radial Blur Based on Age: Attaches a function todefine how you w ant the particles to blur based on the age ofeach particle. This is a high quality blur.

•High Quality Radial Blur Based on Frame: Attaches a function
to define how all particles should be blurred at a particular frame.
This is a high quality blur.

•High Quality Radial Blur Based on Camera Distance: Defines

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how you w ant the particles to blur based on their distance fromthe camera. This is a high quality blur.
Blur Intensity: Lets you set a value or attach a function to animate the bluraccording to the type of blur that w as defined from the drop-dow n list.
Falloff Rate: The distance w here the blur fades from the edge of the image.
Select a value betw een 0 and 1. A falloff rate of 0 causes the blur to fade out
slow ly, distributing the blur evenly from the edge of the draw ing to thefarthest edge of the blur. A falloff rate of 1 causes the blur to fade out
quickly so that the blur is heaviest at the edge of the draw ing.
Blend Mode: Defines a blend mode for the particles to get cool effects.
Blend Intensity: This is a percentage of how opaque you w ant the particles
to be blended. 50 = 50% transparent. 100 = opaque.

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System Composite
The System Composite node is w here you connect all the "Actions" of your particle system. An action includes
any of the light-purple nodes, like Gravity, Emitters, and velocity parameters. All of the "Actions" help todefine the behaviour of the particle system.

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Velocity
The Velocity effect defines the initial velocity of the particles that are emitted in the particle system. You canselect this node and select View > Show > Control to display the manipulation handles to help you set theparameters of this node. Use your Transform tool to modify the manipulation handles in the Camera or
Perspective view .

Velocity Properties
Parameter

Description

Trigger: Is an on/off sw itch using binary code, w here 1 = on, w hile 0 = off.
General

Velocity Type•Use Input Shape: If you plug a Region into the in-port of the Velocity

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node, it w ill take the shape of this region to determine the initial
velocity of the particles. They w ill take a velocity that is perpendicular
to the surface of the shape.
•

Constant Speed: Sets a constant speed for the initial velocity of theparticles.

•

Interpolated Speed: Each particle is assigned an initial speed that issomew here betw een the tw o values set for Interpolated Speed.

•

Random in All Directions 2D: All particles w ill be assigned a random
velocity in any direction on a 2D plane.

•

Random in All Directions 3D: All particles w ill be assigned a random
velocity in any direction.

•

Random in Cone: Particles w ill be assigned an initial velocity
anyw here in the shape of a cone.

•

Random in 2D- Pie: Particles w ill be assigned an initial velocity
anyw here in the shape of a pie slice on a 2D plane.

Bilateral: Generates positive and negative velocities in a given direction. For
example, you can generate particles w ith cone-shaped velocity, (e.g. a bazooka
firing) going only in the forw ard direction, but you can also generate velocities in
the opposite direction.

Lets you input values for the perpendicular direction for the Random property in
All Directions 2D.

Direction of Normal (forRandom in all Directions 2D)

X: Sets a value betw een 0 and 1 to determine how much influence the X-axis hasover the direction of the normal. For example, if the X value is set to 1, and Y and
Z are set to 0, then the perpendicular (normal) w ill be going in the X direction. If X
is set to 1, and Y is also set to 1, then the axis w ill be 45 degrees, halfw ay
betw een X and Y. Feel free to use the Manipulation Handles for the velocity node
by selecting the Velocity node and then selecting View > Show > Control. Thisw ill allow you to use the Transform tool in the Camera View or the Perspective
View to set the appropriate values.
Y: Set a value betw een 0 and 1 to determine how much influence the Y-axis hasover the direction of the normal.
Z: Set a value betw een 0 and 1 to determine how much influence the Z-axis hasover the direction of the normal.

Speed

Minimum: There are some speeds that are constant, and some that are a range ofvalues betw een a minimum and maximum. Set the minimum speed here.
Maximum: Set the maximum speed for interpolated speeds.

Deviation from Direction

Minimum Angle: This is used for Cone and Pie shapes. Put a non-zero value here933

Chapter 3: Nodes / Layers

if you w ant there to be a hole in the middle of your cone or pie.
Maximum Angle: Set the maximum angle for your cone or pie here.

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Visualizer
The Particle-Visualizer effect renders and flattens the particle system dow n to a single plane. You can plug a
peg module into the left port to animate the position of the w hole particle system. Plugging a peg into theright port w ill move the depth w here the flat plane is generated, so you can move it behind or in front ofvarious other draw ing layers in your scene. You can even have tw o Visualizers w ith pegs in the right in-portsthat are at different depths to display some particles in front of and some particles behind a character ordraw ing in the scene.

Visualizer Properties

Parameter

Description

Force Render as Dots

Temporarily renders your system as Dots w hen preview ing a simulation. All
draw ings are ignored and the system is forced to render as dots.
Note: You can also use the option View > Particle > Show Particles as Dots in
OpenGL. W hen enabled, the particles w ill alw ays be displayed as dots in the
OpenGL preview mode to make playback speed faster for heavy scenes.

Lets you set the order in w hich you w ant the particles to appear in the render.
Back to Front: Added particles w ill appear behind existing particles.
Front to Back: Added particles w ill appear in front of existing particles.
Rendering Order

Oldest to Youngest: Older particles w ill appear behind younger particles.
Youngest to Oldest: Older particles w ill appear in front of younger particles.
Ascending Types: Low er types w ill appear behind higher types.
Descending Types: Low er types w ill appear in front of higher types.

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Fix Output AlphaThis is an important option w hen using some filters like Screen or Multiply in the
Blend Mode that can be specified in the Rendering tab of the Emitter. W hen
w orking w ith premultiplied images, if the alpha is not fixed in the visualizer, you
may see some unusual artifacts.

Scale Particle System Using
Parent Peg

Respects the scaling of a particle system so you can position and resize it as you
like. Old scenes w ith particle system w ill still w ork as this option is disabled.

Global Scaling Factor

Lets you set the scaling factor for particle system.

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VortexThe Vortext effect allow s you to define an axis as a vortex, so the particles w ill spin around this axis.

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Vortex Properties
Parameter

Description

Trigger

An on/off sw itch using binary code, w here 1 = on and 0 = off.

X Direction

Defines the X portion of the axis of rotation for the Vortex.

Y Direction

Defines the Y portion of the axis of rotation for the Vortex.

Z Direction

Defines the Z portion of the axis of rotation of the Vortex.

RadiusDefines the radius at the top of the vortex.

Exponent (1=cone)

Defines a curve that gives the Vortex a certain silhouette. 1 forms a cone, greaterthan 1 curves inw ard.

Up Acceleration

Defines the vertical acceleration of the particles that are inside the Vortex.

In Acceleration

Defines the inw ard acceleration of particles that are outside the Vortex.

Around Acceleration

Defines the acceleration around the vortex of particles that are inside the Vortex.

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W ind- Friction
The W ind-Friction effect lets you define the amount of w ind in the scene, and animate the w ind over time.

W ind- Friction Properties
Parameter

Description

Trigger

An on/off sw itch using binary code, w here 1 = on and 0 = off.

Friction/W ind X, Y, Z

Defines the amount that the w ind w ill dampen or increase the speed of theparticles in the X, Y or Z direction.

Min Speed

The minimum speed of particles that w ill be affected by the w ind. Particles
moving slow er than this w ill not be affected

Max Speed

The maximum speed of particles that w ill be affected by the w ind. Particles
moving faster than this w ill not be affected.

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Shading Nodes
Harmony provides you w ith a w ide series of parameters to customize your light shading effects.
Ambient Occlusion Node941

Cast Shadow Node945

Light Position Node952

Light Shader Node954

Light Shader Properties - Surface Light Tab

958

Normal Map Node959

Normal Map Converter Node963

Shape Curve Node965

Shape Line Node968

Shape Render Node970

Surface Map Node973

Layer Properties

974

Surface Normal Node977

Tone Shader Node979

Tone Share Properties - Surface Light tab

982

Volume Object Node

983

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Ambient Occlusion Node
The Ambient Occlusion node is part of the Surface Shading set of nodes and uses the Surface Map node to
calculate the shadow s.

The ambient occlusion node creates a shadow that helps to emphasize the depth and roundness of acharacter. This node shades areas on a surface that w ould be difficult for any ambient lighting to reach. The
value of the shadow is relative to the depth of the pixel compared to depth of the surrounding pixels in arange. This shadow does not refer to the position of the light, but instead behaves as an ambient shadow inthe scene.

NOTE
For more information on how to use the Surface Shading set of nodes, refer to the User Guide.

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Layer Properties

Parameter

Description

Shading

All properties relating to the shading method appear in the Shading category.

The percentage multiplier defining the darkness of the shadow .
Darkness

A higher value w ill produce a darker shadow . Often, the ambient occlusion requires a larger
multiplier in order to amplify its effect.

Affected Range

The range in pixels that is scanned w hen calculating the ambient occlusion. A low er value w ill
produce a smaller, sharper shadow .

Shadow Max
Depth Range

In order to prevent major differences in shadow s from surface to surface, the Shadow Max
Depth Range limits the maximum difference betw een surface depths to the value defined.

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Parameter

Description

Shadow Bias

The Shadow Bias can be used to lighten a shadow . This value is subtracted from the shadow ’svalue w hen calculated.
Darker shadow s w ill be kept, but values below the shadow bias w ill be removed.

The Abruptness is a value that is used to change the sharpness of a shadow and affects its
rate of change.
Abruptness
A value of one produces a linear shadow that falls off smoothly, a higher value w ill cause
darker areas to become darker, and lighter areas to become lighter.

Defines the rate of change in a shadow .
Shadow Gamma

A low er value w ill produce a shadow that appears softer and changes from light to darkslow ly. A higher value w ill appear sharper and darker, and changes from light to dark quickly.

Post-Blur

The range of the blur applied to the calculated Ambient-Occlusion effect.

Post-Blur Depth
ThresholdIn order to separate different surface elevations, this depth range defines a bucket-range in
w hich the shadow s are separated and blurred together. This can be used to keep certain
edges of the cast shadow sharp, and other areas blended.

ColourAll properties relating to colour and value of the shadow .

Use ImageW hen checked, the colour of the cast shadow is tinted by the source image provided in the943

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Parameter

Description

Colourfirst image port of the Cast Shadow node.

Colour (Red,Green, Blue andAlpha)

The colour used for the Cast Shadow .

Matte

If the Use Image Colour option is checked, this colour is used as a tint and is applied to theimage colour based on the Image Colour Intensity parameter.

Properties relating to the optional Matte port of the Cast Shadow node. If you connect a nodethat outputs an image to the left edge of the Cast Shadow node, it w ill create a matteconnection, and this image w ill be used as the matte for the Cast Shadow node effect.

The Matte Port of the Cast Shadow node masks out pixels based on the opacity of theattached image.
Invert Matte

W hen unchecked, the default behaviour is to render cast shadow s only in areas w ith
transparent or translucent pixels.
W hen checked, this behaviour is inverted and cast shadow s w ill render only in areas w ith
opaque or translucent pixels.

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Cast Shadow Node
The Cast Shadow node is part of the Surface Shading set of nodes. It uses the Surface Map node generate castshadow s over the generated surface of a rig.

The Cast Shadow is connected to an image source, the Surface Map node and a Light Position node. Based on
the relative heights in the Surface Map and the Light Position, shadow s are created w hen the light on a surface
is being occluded by another surface in the w ay of the light.

NOTE
For more information on how to use the Surface Shading set of nodes, refer to the User Guide.

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Layer Properties
Shadow Tab

Parameter

Description

Shading

All properties relating to the shading method appear in the Shading category.

l

Directional: A light that is parallel in the scene. Each “beam” of light follow s the
direction defined by the light source and target, and point in the same direction. This
type of light is used w hen the light source is far aw ay or very big, like the sun.

lPoint: A light that illuminates everything around it. Its “beam” of light w ill go in all
directions like a fire.

Light Type946

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Parameter

DescriptionlSmooth: The shadow effect w ill have smooth edges.

lSharp: The shadow effect w ill have sharp edges.

Shading TypeThe shadow length defines how far, in pixels, the shadow w ill be cast after first being
occluded on the surface.
Shadow Length

A value of 0 w ill not limit the shadow length, and instead, it w ill be defined by the position of
the light source.
A low er value w ill create a smaller shadow and a higher value w ill create a longer shadowthat falls off as it recedes from the occluded point.

Angle Bias

W hen calculating the cast shadow s, this value is used as a bias comparing the light’s angle
and the occlusion angle. A positive value w ill increase the occlusion angle and the shaded
areas w ill appear darker. A negative value w ill decrease the occlusion angle and the shaded
areas w ill lighten.
This bias is applied prior to all further calculations.

Expand Render
SourceIn order to avoid over-rendering content out of screen this value defaults to 0. Otherw ise, thisvalue defines the range that the cast shadow w ill scan outside of the frame w hen rendering
the shadow .

Consider Truck
FactorKeeps the same ratio for the Light Shading system w hen the camera zooms in or out.

Blur

All properties relating to blurring the final cast image appear in the Blur category.

Final Blur

The range of the blur applied to the calculated cast shadow effect.

Final Blur
ThresholdIn order to separate different surface elevations, the final blur threshold defines a bucketrange in w hich the shadow s are separated and blurred together.
This can be used to keep certain edges of the cast shadow sharp, and other areas blended.

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Parameter

Description

This value w orks in conjunction w ith the Anti-Alias Blend.
Anti-Alias Bias

W hen a shadow begins on an occluded surface, the bias is the amount of pixels ignored
before rendering the shadow . This allow s you to recede a shadow from its initial occlusion
source.

This value w orks in conjunction w ith the Anti-Alias Bias.
Anti-Alias Blend

W hen a shadow begins on a surface, the shadow is blended w ith the surface for the amountof pixels defined by the Anti-Alias Blend.

Anti-Alias Blur

This value defines a blur range that is applied specifically to the starting-edge of a shadow .

ColourAll properties relating to colour and value of the shadow .

Shadow
Darkness

A percentage value defining the opacity of the cast shadow .

Defines the rate of change in a shadow .
Shadow Gamma

Shadow Bias

A low er value w ill produce a shadow that appears softer and changes from light to darkslow ly. A higher value w ill appear sharper and darker, and changes from light to dark quickly.

The Shadow Bias can be used to lighten a shadow . This value is subtracted from the shadow ’svalue w hen calculated.

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Parameter

Description

The Abruptness is a value that is used to change the sharpness of a shadow and affects its
rate of change.
Abruptness
A value of one produces a linear shadow that falls off smoothly, a higher value w ill cause
darker areas to become darker, and lighter areas to become lighter.

Use ImageColour

W hen checked, the colour of the cast shadow is tinted by the source image provided in thefirst image port of the Cast Shadow node.

Colour (Red,Green, Blue andAlpha)

The colour used for the Cast Shadow .

Image Colour
Intensity

W hen the Cast Shadow uses the Image Colour, this colour is used as a tint and is applied tothe image colour based on the Image Colour Intensity.

W hen Use Image Colour is checked, the incoming colour and value of the source image isused to tint the Cast Shadow colour.
This percentage value defines how much of the Cast Shadow colour is provided by the source
image.

Properties relating to the optional Matte port of the Cast Shadow node. If you connect a node
Matte

that outputs an image to the left edge of the Cast Shadow node, it w ill create a matteconnection, and this image w ill be used as the matte for the Cast Shadow node effect.

The Matte Port of the Cast Shadow node masks out pixels based on the opacity of theattached image.
Invert Matte

W hen unchecked, the default behaviour is to render cast shadow s only in areas w ith
transparent or translucent pixels.
W hen checked, this behaviour is inverted and cast shadow s w ill render only in areas w ith
opaque or translucent pixels.

Sampling Tab

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Parameter

Description

For more advanced cast shadow s, the sampling values define the number of times the castshadow is calculated in order to produce a higher quality render.
Sample CountThe Sample Count defines the number of points on the light source that are sampled in aradius parallel w ith the surface.
A higher number w ill produce a more rounded shadow w ith more refined edges.

W hen using a higher Sampling Count, the sample size defines the range used w hen sampling
points from the light source. The samples are taken in an even distribution around the point of
the light source at a radius defined by the sample size.

Sample Size

The Soft Shadow Sample Count defines the number of points on the light source that aresampled in a line perpendicular w ith the surface.
Soft Shadow
Sample Count

This has less effect than the Sample Count, but is useful w hen calculating softer shadow s w ith
a larger Soft Shadow Sample Size.
This value defines how many times the shadow is resampled w hen occluded.

Soft Shadow
Sample Size

The Soft Shadow Sample Size is a useful attribute that helps to define the falloff of a shadow
as it recedes from the light source. A higher value w ill cause the trailing edge of a shadow toappear softer.

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Parameter

Description

Soft Shadow
W eight

The Soft Shadow W eight defines the exponential w eighting of the Soft Sampling. A value of
one w ill maintain a linear sampling rate. A higher value w ill cause each subsequent sample tobe taken from a further source than the last.

W hen rendering Cast Shadow s, adding noise to the sampling can often produce a result moreorganic in appearance.
Shadow Noise
Increasing the Shadow Noise property w ill add an offset of random noise to each sample
taken.

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Light Position Node
The Light Position node is the actual light source interacting w ith all the defined volume objects. You can set
its position in relation to the objects and animate it over time. All volumes w ill react according to the light's
motion.

This is not w here you set the light type or colour. You'll be adjusting these in the Light Shader and Tone
Shader nodes.

Light Position Properties

Parameter

Description

SourceLets you control the value of the light source.

Target

The point or direction at w hich the light is pointing

3D Path: Lets you use a 3D path w hen animating the light.

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Separate: Lets you enter separate values for the X, Y and Z axes.

(x) Axis: Lets you type in a new East/W est coordinate corresponding to thedesired position.

(y) Axis: Lets you type in a new North/South coordinate corresponding to thedesired position.

(z) Axis: Lets you type in a new Forw ard/Backw ard coordinate corresponding to
the desired position.

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Light Shader Node
The Light Shader node lets you adjust the highlight parameters, such as the colour, to create the desired
ambiance. You can animate most parameters over time to create a mood change, sunset or any other type oflight transition. The beveling height and smoothing is set in the Normal Map node.

Light Shader Properties - Parameters tab
The Parameters tab can be used for both Light Shading and Surface Shading features.

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Parameter

Description

Enable/Disable

Allow s you to enable or disable the node. W hen disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top view s.

Colour Sw atch

Sets the colour of the layer in the Timeline view and of the node in the Node view .

NameAllow s you to change the name given to the node.

Light

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Light Type

Directional: A light that is parallel in the scene. Each “beam” of light follow s the
direction defined by the light source and target, and point in the same direction.
This type of light is used w hen the light source is far aw ay or very big, like thesun.
Point: A light that illuminates everything around it. Its “beam” of light w ill go in
all directions like a fire.
Spot: A light that forms a conical shape like a flashlight.

Cone Angle

The value that defines the light’s cone angle. This option is only accessible w ith
the Light Type set to Spot.

DiffusionLets you play w ith the diffusion of the light on the surface of the draw ing. In otherw ords, it is the edge softness. This option is only accessible w ith the Light Typeset to Spot.

Light Source Elevation

Defines the height of the spotlight. This option is only accessible w hen the Light
Type set to Spot or Point.

Smooth: The light and tone fx w ill have smooth edges.
Shading TypeSharp: The light and tone fx w ill have sharp edges.

Define the polarization of the light.
W hen the Shade type is set to Smooth, it defines the w idth of the light’s smooth
zone.
Bias

W hen the Shade type is set to Sharp, the Bias defines the antialiasing on theedge of the hightlight or tone zone. But,if the Shade type is set to Sharp, the Bias
option need a small value such as 0.1 or 0.2. The exponent w ill be able tocompensate the limitation of this small value.

Abruptness

This is a multiplier value of the Bias option. It w ill define how quick thepolarization of the light w ill change from a value to another.

Adjust Light Intensity

Lets you adjust the light intensity.

Intensity

Lets you set the strength of the light.

MultiplierMultiplies the value of the Intensity option.

Surface Reflectivity

This option is useful for exaggerating the light on the edge of the 3D geometry.
The closer an edge is to the light source, the more intense the light w ill be.

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Colour

Red/Green/Blue/Alpha

The colour and transparency of the Colour Card. You can also attach theseparameters to function columns to change their values over time.
Click the colour sw atch to open the Colour Picker w indow and select a colour.

Colour Sw atch

Opens the Colour Picker w indow in w hich you can specify the colour.

Use Image Colour

Lets you use the colour of the draw ing in a lighter or darker colour for thehighlight and tone fx.

Image Colour Intensity

Lets you blend the colour of the light w ith the image colour.

Flatten Fx

This is useful w hen there are several highlight and tone fx, one over the other, but
are supposed to be merged together. Sometimes, shadow s and lights look betterw hen they do not overlap.

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Light Shader Properties - Surface Light Tab
The Surface Light tab can be used only w ith the Surface Shading feature, therefore it should be ignored w hen
using the Light Shading feature.

Parameter

Description

Use Surface Light

Checking the Use Surface Lighting w ill have the Light Shader node/Tone
Shader node consider the Surface depth w hen rendering the Light/Tone.
The specular detail and falloff is only available w hen this property is enabled.

Specular Transparency

The Specular Transparency property defines the opacity of the specular
highlight. A higher value w ill make the specular more visible and a low ervalue w ill have the specular blend into the diffuse.

Specular Strength

The Specular Strength defines the sharpness of the highlight. A higher value
results in a more defined, sharper highlight, a low er value results in a morediffused render.

The Distance Falloff is a percentage value defining the amount of light that
falls off betw een the Light Position’s source and the Light Position’s target.
Distance Falloff
A value of 0 w ill result in a render in w hich the light has no falloff and remains
consistent betw een the source and the target.

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Normal Map Node
The Normal Map node lets you centralize all Volume Object nodes and chisel out the shading 3D geometry(bevel height, smoothing, carving, etc.). It could be described as carving a bas relief. You only need one Normal
Map node per light shading effect and, in general, only one per scene.

A normal map can be used to create other effects. If you're are w orking w ith an OpenFX plugin or other plugin
requiring a normal map, you can use the Normal Map Converter node to translate the Harmony normal map to
a format supported by your plugin. The Normal Map Converter node has been optimized to w ork w ith
GenArts® plugins, but you also have the ability to use it on custom plugins..

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Normal Map Properties

Parameter

Description

Volume Creation

Lists all the different volume object IDs are listed. This is w here you can define
the basic volumetric shape of each Volume Object node connect to the Normal
Map.

Let you add or remove Volume Object nodes that are connected to the Normal
Map node.
ObjectAdd All Defined Objects: Adds all Volume Object nodes connected to theNormal Map node.
Remove Selected Objects: Removes all Volume Object nodes from the Volume
Creation list.

Name

The name that w as previously set ineach Volume Object node. This information
can be really helpful w hen there are many volume objects listed. W ith a good
name, it is easy to discover w hat the ID number is related to. W hen you hoverover this column, a tooltip appears listing all volume objects w ith the same ID.

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In the follow ing image, the tooltip indicates that three copies w ere made from
FootR-Object. By keeping the same name, you can easily see that each time you
see a Volume Object named “FootR-Object”, the ID w ill be the same.

In the second example, a specific name w as created for each volume object, even
if they have the same ID. That w ay, it is easy to find a specific nodenode w hen
searching for an element w ith the Search tool in the Netw orkNode view .

The identity number that w as previously set in the volume object nodenodeappears here. The tooltip in the ID column lists all draw ing elements that areconnected to the volume object w ith this identity number.

ID

Bevel Size

Defines the size of the bevel on the contour of all the draw ings related to a
specific ID number

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Elevation

Defines the elevation of a specific volume object. The higher the value, the more
the volumetry of this Volume Object resembles a conical or pyramidal shape.

Elevation Smoothness

Complementary to the Elevation column. Instead of keeping a conical or
pyramidal shape, the shape w ill be smoothed to create a sphere or a bump shape.
The edge w ill be round instead of sharp.

Bevel Multiplier

A multiplier of the Bevel Size value in the board. This affects every object listed.

Elevation Multiplier

A multiplier of the Elevation value in the board. This affects every object listed.

Elevation Smoothness
Multiplier

A multiplier of the Elevation Smoothness value in the list. This affects every
object listed.

Consider Truck Factor

Keeps the same ratio for the Light Shading system w hen the camera zooms in orout. This parameter cannot w ork properly if the size of the draw ing, w ith a volume
object nodenode, is changed on the draw ing itself. In other w ords, if theanimation is directly created on the draw ing layer.

Override Modelling by Colour

Add Colour

Lets you add or remove any colour that w ill affect the Adding/ Carving options in
the list beneath. W hen you select this button, each colour palette in the scene islisted and all their sw atches are displayed.

Sw atches

The first column of the Override Modelling by Colour board is the Sw atches. This
column does not have a name. W hen you select a colour sw atch from the Add
Colour list, the colour sw atch appears at the beginning of the list.

Generate Normals

Activates or deactivates the generation of the Normal Map.

Normal Map Quality

Lets you change the Quality of the Normal Map from low to high.

W hen selected, the Elevation is calculated and appears in the soft render mode.
Output Elevation in Blue
ChannelW hen deselected, the object ID appears in the soft render mode.
Because it is connected to the blue channel of a draw ing, the result w ill only
affect the blue channel.

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Normal Map Converter Node
The normal map w ill carve and emboss a flat plane using vectors. The X, Y and Z coordinates of the normal
map vectors are stored in RGB values to convert the 3D aspect into a visual result and use it to create various
effects, such as light reflections (light shading). The X value is stored in the Red channel. The Y value is stored
in the Green channel. The Z value is stored in the Blue channel.

NOTE
Note that not all normal map formats are supported.

The Normal Map Converter uses the follow ing formula per channel:lvalue * (+/- length) + offsetl* +/- depending if inverse is set to true ("-" if true)

Parameter

Description

Conversion TypeBy default, the conversion type is set to Genarts. If you w ork w ith a different
manufacturer and w ant to adjust the parameters, set the conversion type toCustom.

OffsetOffsets the original position of the vector. You need to read the plugin
documentation to know the offset you need to use. You must use the same offset
value as the manufacturer is using. By default the offset is set to 0.

LengthThe Normal Map Converter normalizes Harmony vectors to 1. By default thelength value is set to 1. If your plugin requires shorter or longer vectors, enter avalue smaller or greater than 1. It w ill multiply the vector length.

Invert Red

Inverts the red value (x). If your value is 125, the invert setting w ill transform it to
-125.

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Invert Green

Inverts the green value (y). If your value is 125, the invert setting w ill transform it
to -125.

Invert Blue

Inverts the blue value (z). If your value is 125, the invert setting w ill transform it to
-125.

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Shape Curve Node
The Shape Curve node is part of the Height Shape suite of nodes. It is used to define a curved region of aheight map and it is rendered w ith the Shape Render node.

Shape Curve nodes help to define bezier segments on a height map that can be used for the Height Map portof a Volume Object node. Each Shape Curve node creates a control point to define the height shape. W hen
Shape Curve and Shape Line nodes are chained together and connected to a Shape Render node, it generates
a w hole height shape.

NOTE
For more information on how to use the Height Shape nodes for a surface shading system, refer tothe User Guide.

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Layer Properties

Parameter

Description

Name

The name of the node as it appears in the Node View and the Timeline view . Each node musthave a name that is unique to its containing group.

The position of the control point for this node in the stage.
Control Point

Just like the position of a draw ing layer or a peg, the point can be positioned w ith a single 3D
Path function or separate functions for the x, y and z axes. The position of the point can be
animated so as to animate the w hole height shape.

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Parameter

Description

TIPS
lUsing theTransform tool, you can manipulate the control point of a Shape Curvein the Camera view by displaying its control. To do this, select the node in the NodeView , then do one of the follow ing:ll

In the Camera view toolbar, click onlShow Control .

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

lPress Shift + F11.

You can also display and manipulate all the control points for the entire height shapeby selecting the Shape Render node that your Shape Curve nodes are connected toand displaying its controls.

The position of the Bezier handles on each side of the control point. These handles affect the
curve of the contour on each side of the control point. The position of these handles can also be
defined w ith either a 3D Path or w ith separate functions, and they can be animated as w ell.

TIPS
lUsing theTransform tool, you can also manipulate the Bezier handles of the

Shape Curve’s control point in the Camera view . To do this, select the node in the NodeView , then do one of the follow ing:

Handlesll

In the Camera view toolbar, click on

Show Control .

l

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

lPress Shift + F11.

You can also display and manipulate all the control points for the entire height shapeby selecting the Shape Render node that your Shape Curve nodes are connected toand displaying its controls.

Flatten Z

This nullifies the camera’s parallax effect w hen the point is moved back and forth on the z-axis.
In other w ords, w hen enabled, moving the point on the z-axis w ill not change its apparent
horizontal and vertical position. It w ill make the point higher on the height map w ithout
affecting how the shape is rendered.

Close ShapeContourThis option is useful for the last point in a chain of Shape Line or Shape Curve nodes. The
nodes that are chained together are automatically linked by a contour, but the first and last
nodes are not linked by a contour by default. Enable this option on the last point in the chain tocreate and contour betw een the first and last point in the chain and make a closed shape.

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Shape Line Node
The Shape Line node is part of the Height Shape suite of nodes. It is used to define a linear region of a height
map and it is rendered w ith the Shape Render node.

Shape Line nodes help to define rigid linear surfaces on a height map that can be used in the Volume Object’s
Height Map port. Each Shape Line node creates a control point to define the height shape. W hen Shape Curveand Shape Line nodes are chained together and connected to a Shape Render node, it generates a w holeheight shape.

NOTE
For more information on how to use the Height Shape nodes for a surface shading system, refer tothe User Guide.

Layer Properties

Parameter

Description

Name

The name of the node as it appears in the Node View and the Timeline view . Each node must

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Parameter

Description

have a name that is unique to its containing group.

The position of the control point for this node in the stage.
Just like the position of a draw ing layer or a peg, the point can be positioned w ith a single 3D
Path function or separate functions for the x, y and z axes. The position of the point can be
animated so as to animate the w hole height shape.

TIPSlControl Point

Using theTransform tool, you can manipulate the control point of a Line Curve in

the Camera view by displaying its control. To do this, select the node in the Node View ,then do one of the follow ing:ll

In the Camera view toolbar, click on

Show Control .

l

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

lPress Shift + F11.

You can also display and manipulate all the control points for the entire height shapeby selecting the Shape Render node that your Shape Line nodes are connected to anddisplaying its controls.

Flatten Z

This nullifies the camera’s parallax effect w hen the point is moved back and forth on the z-axis.
In other w ords, w hen enabled, moving the point on the z-axis w ill not change its apparent
horizontal and vertical position. It w ill make the point higher on the height map w ithout
affecting how the shape is rendered.

Close ShapeContourThis option is useful for the last point in a chain of Shape Line or Shape Curve nodes. The
nodes that are chained together are automatically linked by a contour, but the first and last
nodes are not linked by a contour by default. Enable this option on the last point in the chain tocreate and contour betw een the first and last point in the chain and make a closed shape.

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Shape Render Node
The Shape Render node is the base node that uses Shape Curve nodes and Shape Line nodes to define andinterpolate a surface. The Shape renders a height-map representing the height w ith a pixel value that can beused in the Volume Object’s Height Map port.

To generate shapes w ith the Shape Render node, you must connect several Shape Line or Shape Curve nodes
in a chain, and connect the output port of the node at the bottom of the chain to theShape Render node. Each
Shape Line or Shape Curve in the chain w ill represent a point in the shape.
You can combine several shapes in the same Shape Render node by creating several chains and connecting
them in parallel to the Shape Render node.
You can display and manipulate the control points for all of the Shape Line and Shape Curve nodes connected
to your Shape Render node in the Camera view by selecting the Shape Render node in the Node View anddoing one of the follow ing:l

In the Camera view toolbar, click on

Show Control .

l

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

lPress Shift + F11.

NOTE
For more information on how to use the Height Shape nodes for a surface shading system, refer tothe User Guide.

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Layer Properties

Parameter

Description

Name

The name of the node as it appears in the Node View and the Timeline view . Each node
must have a name that is unique to its containing group.

The Edge Type defines how the height is interpolated past the bounds of the defined shape.
lHard Edge: The render w ill not render past the edges of the defined shape.
Anything outside of the shape w ill be transparent.

lExpand: The render w ill expand past the edges of the defined shape andinterpolates by extrapolating the values w ithin the shape.

Edge TypeScale

On larger shapes, a smooth interpolated height map can be expensive to render. The scale
property allow s you to shrink the scale of the render, low ering the quality in favour of speed.

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Parameter

Description

Discretization
Scale

The discretization scale defines the map detail in the defined shape. A low er value w ill add
more interpolation points to the mask, creating a higher quality height map but taking moretime to render.

Pre-Blur

The Pre-Blur defines how rigidly the height map w ill adhere to the defined shape. A higher
value w ill loosen the mapping, resulting in a less rigid map.

Post-Blur

The Post-Blur applies a blur to the final rendered height map.

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Surface Map Node
The Surface Map is part of the Surface Shading set of nodes. It is a more advanced version of the Normal Map
node and system. It provides a surface mapping that is used by the Surface Normal, Cast Shadow andAmbient Occlusion nodes, and it allow s you to define height ranges in a rig or a scene that help define thesurface being lit and shaded.

This mapping is different from the Normal Map, as it allow s for the height ranges to interact relative to eachother. A Surface Map is able to Cast Shadow s from one elevation to another and interacts w ithin the scene infield units.
The Surface Map requires that Volume Objects be set up to appropriately define the surfaces. Once theseVolume Objects have been created above the Surface Map, the map can be initialized.

NOTE
For more information on how to use the Surface Shading set of nodes, refer to the User Guide.

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Layer Properties

Parameter

Description

Name

The name of the node as it appears in the Node View and the Timeline view . Each node musthave a name that is unique to its containing group.

Volume Creation

Allow s you to add or remove Volume Object nodes that are connected to the Surface Map
node to the Volume Creation list, so that you can specify their properties.
The drop-dow n menu w ill list every Volume Object node connected to the Surface Map nodeso that you can add them individually, as w ell as the follow ing commands:
Objectl

Add All Defined Objects: Adds all Volume Object nodes connected to the Surface
Map node.

lRemove Selected Objects: Removes all Volume Object nodes from the Volume
Creation list.

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Parameter

Description

Lists the different volume objects that are connected to the Surface Map node and w hichw ere added through the Object menu. In this list, you can define the basic volumetric shapeand height range of each Volume Object node using the follow ing fields:lName: The name that w as previously set in each Volume Object node. This
information can be really helpful w hen there are many volume objects listed. W ith agood name, it is easy to identify to w hich Volume Object node the ID number relates.
W hen you hover over this column, a tooltip appears listing all volume objects w ith thesame ID. The star (*) denotes multiple Volume Objects share the same ID.

l

ID: The identity number that w as previously set in the volume object node appears
here. The tooltip in the ID column lists all draw ing elements that are connected to thevolume object w ith this identity number.

l

Bevel Size: Defines the size of the bevel on the contour of all the draw ings related toa specific ID number. The bevel is applied by blurring the Volume Objects sharing thesame ID.

lElevation Min: The Z position in Field Units at w hich the low est point of the Volume ismapped. Any baseline height, or Carving values at 0% w ill be mapped to thisminimum Z value. Otherw ise, the surface height is mapped to an interpolated value
betw een the Elevation Min and Elevation Max.

l

Elevation Max: The Z position in Field Units at w hich the highest point of the Volume
is mapped. Any baseline height, or Carving values at 100% w ill be mapped to thismaximum Z value. Otherw ise, the surface height is mapped to an interpolated value
betw een the Elevation Min and Elevation Max.

l

Elevation Smoothness: Complementary to the Elevation column. Instead of keeping a
conical or pyramidal shape, the shape w ill be smoothed to create a sphere or a bumpshape. The edge w ill be round instead of sharp.

Volume Creation
list

Elevation
Smoothness
Multiplier

A multiplier of the Elevation Smoothness value in the list. This affects every object listed.

Consider Truck
FactorKeeps the same ratio for the Light Shading system w hen the camera zooms in or out.

Override Modelling by Colour

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Parameter

Description

Allow s you to add or remove a Override Modelling by Colour list below .

Add Colour

Zones that are painted w ith the colours added to the list w ill have more or less elevation. This
allow s you to use specific colours to carve from or add to the surface of the volume object,
and add complexity to its surface.
You can draw w ith one of the colours in the list on the Colour Art or Underlay Art layer sothat the colour itself is hidden behind the artw ork in the Line Art layer. The shape of the zone
painted w ith this colour w ill still affect the surface.

The list of colours that are used to override the surface of the volume object. Zones painted
w ith the colours in this list w ill have a different elevation than the remainder of the volume
object.
Override
Modelling by
Colour list

W hether the elevation of the surface painted by the colour is low er or higher, and by how
much, is determined by the value in the Carving <- - - - - - > Adding field for that colour. If thatvalue is higher than the Volume Object’s Elevation Baseline parameter, then the zones
painted w ith that colour w ill be more elevated. If the value is low er than the Volume Object’s
Baseline parameter, then the zones painted w ith that colour w ill be less elevated.

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Surface Normal Node
The Surface Normal node is part of the Surface Shading set of nodes. It converts the output of a Surface Map
node into a directional normal map, w hich is the same kind of output that is given by the Normal Map node in
the legacy Light Shading system, and w hich is used by the Light Shader and Tone Shader nodes to create lightshading effects.

Using the Surface Map and Surface Normal node instead of the Normal Map node allow s you to use the moredetailed height maps and height mattes from the Volume Objects w ith the Light and Tone shaders, as w ell as
to animate the surface definition on a rig.

NOTE
For more information on how to use the Surface Shading set of nodes, refer to the User Guide.

Layer Properties

Parameter

Description

Name

The name of the node as it appears in the Node View and the Timeline view . Each node must

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Parameter

Description

have a name that is unique to its containing group.

The surface normal quality provides three levels of quality w hen calculating and rendering thenormal:Surface Normal
Qualityl

Low: Renders very fast and provides the first immediate normal direction.

lMedium: Renders all four available surfaces orientations at a given pixel and averages
the result.

l

High: Medium render speed. Calculates all available normals on a surface and blends
the nearest normals at the given pixel.

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Tone Shader Node
The Tone Shader node lets you adjust the tone parameters, such as the colour, to create the desired ambiance.
You can animate most parameters over time to create shade transitions. The beveling height and smoothing is
set in the Normal Map node.

Tone Shader Properties - Parameters tab
The Parameters tab can be used for both Light Shading and Surface Shading features.

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Parameter

Description

Enable/Disable

Allow s you to enable or disable the node. W hen disabled, a node has no visible
effect on the rendered image, nor on the preview in the Camera, Perspective, Sideand Top view s.

Colour Sw atch

Sets the colour of the layer in the Timeline view and of the node in the Node view .

NameAllow s you to change the name given to the node.

Light

Light Type

Directional: A light that is parallel in the scene. Each “beam” of light follow s the
direction defined by the light source and target, and point in the same direction.
This type of light is used w hen the light source is far aw ay or very big, like thesun.
Point: A light that illuminates everything around it. Its “beam” of light w ill go in
all directions like a fire.
Spot: A light that forms a conical shape like a flashlight.

Cone Angle

The value that defines the light’s cone angle. This option is only accessible w ith
the Light Type set to Spot.

DiffusionLets you play w ith the diffusion of the light on the surface of the draw ing. In otherw ords, it is the edge softness. This option is only accessible w ith the Light Typeset to Spot.

Light Source Elevation

Defines the height of the spotlight. This option is only accessible w hen the Light
Type set to Spot or Point.

Smooth: The light and tone fx w ill have smooth edges.
Shading TypeSharp: The light and tone fx w ill have sharp edges.

Define the polarization of the light.
W hen the Shade type is set to Smooth, it defines the w idth of the light’s smooth
zone.
Bias

W hen the Shade type is set to Sharp, the Bias defines the antialiasing on theedge of the hightlight or tone zone. But,if the Shade type is set to Sharp, the Bias
option need a small value such as 0.1 or 0.2. The exponent w ill be able tocompensate the limitation of this small value.

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Abruptness

This is a multiplier value of the Bias option. It w ill define how quick thepolarization of the light w ill change from a value to another.

Adjust Light Intensity

Lets you adjust the light intensity.

Intensity

Lets you set the strength of the light.

MultiplierMultiplies the value of the Intensity option.

Surface Reflectivity

This option is useful for exaggerating the light on the edge of the 3D geometry.
The closer an edge is to the light source, the more intense the light w ill be.

Colour

Red/Green/Blue/Alpha

The colour and transparency of the Colour Card. You can also attach theseparameters to function columns to change their values over time.
Click the colour sw atch to open the Colour Picker w indow and select a colour.

Colour Sw atch

Opens the Colour Picker w indow in w hich you can specify the colour.

Use Image Colour

Lets you use the colour of the draw ing in a lighter or darker colour for thehighlight and tone fx.

Image Colour Intensity

Lets you blend the colour of the light w ith the image colour.

Flatten Fx

This is useful w hen there are several highlight and tone fx, one over the other, but
are supposed to be merged together. Sometimes, shadow s and lights look betterw hen they do not overlap.

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Tone Share Properties - Surface Light tab
The Surface Light tab can be used only w ith the Surface Shading feature, therefore it should be ignored w hen
using the Light Shading feature.

Parameter

Description

Use Surface Light

Checking the Use Surface Lighting w ill have the Light Shader node/Tone
Shader node consider the Surface depth w hen rendering the Light/Tone.
The specular detail and falloff is only available w hen this property is enabled.

Specular Transparency

The Specular Transparency property defines the opacity of the specular
highlight. A higher value w ill make the specular more visible and a low ervalue w ill have the specular blend into the diffuse.

Specular Strength

The Specular Strength defines the sharpness of the highlight. A higher value
results in a more defined, sharper highlight, a low er value results in a morediffused render.

The Distance Falloff is a percentage value defining the amount of light that
falls off betw een the Light Position’s source and the Light Position’s target.
Distance Falloff
A value of 0 w ill result in a render in w hich the light has no falloff and remains
consistent betw een the source and the target.

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Volume Object Node
The Volume Object node allow s you to define w hich parts of your rig constitute a single volume to w hichshading should be applied. For example, if you need the arm, forearm and hand of your character to be shaded
together, you can connected all the nodes that constitute these body parts to the same Volume Object node,and the shading w ill be applied to these parts of your rig as if they w ere a single object.

NOTES
l

Even if you w ant to apply shading separately to a single draw ing, you must connect a Volume
Object node under that draw ing.

l

If you create separate Volume Object nodes for parts of your rig that are attached together, you
may see bumps in the shading w here the joints overlap.

Volume Object Properties

NOTE
Volume Object nodes are connected to a Normal Map or Surface Map node to be composited
together. You can define the parameters of each volume in your rig in the properties of the Normal
Map or Surface Map node to w hich they are connected.

Parameter

Description

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Chapter 3: Nodes / Layers

Name

W ith the light shading feature, the naming of the nodes becomes important. Since
there isn’t any limitation on the number of Volume Object nodes that can be
added to a node structure, it's quite important to give a good name to each
Volume Object node. These names w ill later appear in the Normal Map node, inthe Volume Creation section.

ID

This is the identity number you assign to a draw ing or a group of draw ings thatw ill be represented in the same volume once it is generated by the Normal Map
node. This ID is also in the Normal Map node, w here a list of all Volume Objects is
applied.

W hen this option is not selected, Harmony cuts the 3D geometry (shading bas
relief) of the draw ing after it has been generated by the Normal Map node.
Cut Volume Cues w ith
Geometry

Some nodes, such as filters, can affect the shape or colour of the draw ing. Those
nodes w ill be processed and recognized by the Normal Map node. Therefore, it ispossible to limit the 3D geometry only on a part of the draw ing, but not all of it.
The 3D geometry follow s the edge of the entire draw ing and w ill not be affect by
the filters.

Use Draw ing to Create
VolumeDuring the generation created by the Normal Map node, the shape of the draw ing
or group of draw ings identified w ith the same ID w ill be recognized to create thevolume. W hen this option is selected, the Light Shader and Tone Shader effectappear inside the contour of those draw ings.

Elevation Baseline

The baseline defines how much you can add or carve the Volume Object. The
draw ing or group of draw ings connected to this Volume Object node share thesame baseline value. Because this setting is closely tied to the adding/curving
option called Intensity (0-100) (accessible in the Volumetric Colour Information of
the Normal Map node), both places need to have some parameters set. Playing
only w ith the Geometry Intensity w on’t change anything if there aren’t any
parameters set in the Normal Map node.

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Plugin Nodes
There are 2 plug-in node effects available in Harmony:lBrightness-Contrast—see Brightness Contrast Node on page 624lSparkle985

Chapter 3: Nodes / Layers

SparkleThe Sparkle effect transforms a vector draw ing into sparkles. You have a high degree of control over theappearance of the sparkles.
The sparkle effect can only be used w ith vector draw ings. If the sparkle effect node is attached to a composite,verify that the Composite editor is set to Vector Flatten Output.

Use the Sparkle editor to modify how the Sparkle node creates the sparkle effect. You can also use Bezier andEase function curves to change the values of factors over time.

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Sparkle Properties
Parameter

Description

Start Angle

Enter a value betw een -360 and 360 to indicate the angle of rotation of eachsparkle.

Scale

Sparkles are determined by the size of the bounding box of the coloured areas in
the draw ing. Enter the multiple to use to scale the sparkle size.

FactorEnter a value betw een 0.1 and 1 to determine how pointy the sparkle is. A value
closer to 0 w ill result in a more pointed sparkle. A value closer to 1 w ill result in amore rounded sparkle.

Density

Adjusts the density level.

Number of Points

Enter the number of points you w ant each sparkle to have.

Probability of Appearing

Enter the percentage of possibility that sparkles w ill be displayed. Enter 100 to
alw ays show sparkles. Enter 0 to alw ays hide sparkles.

Point NoiseEnter a value betw een 0.1 and 1 to indicate the amount by w hich points in a
sparkle w ill distort.

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Centre NoiseEnter a value betw een 0.1 and 1 to indicate the amount by w hich the angles
betw een each point in a sparkle w ill distort.

Angle NoiseEnter a value betw een 0.1 and 1 to indicate the amount by w hich the Start Angle
in a sparkle w ill distort.

Random Seed

Enter a positive integer value that w ill be used to determine the sparkle pattern.

Select this option to use the colour attributes of the draw ing for the sparkle
Use Draw ing Colours

colour. W hen this selection is disabled (default setting), the colour values w ill be
used as they are entered in the editor.

Flatten Sparkles of SameColour

Flatten all draw ings of the same colour into a single layer.

Red/Green/Blue/AlphaIn the RGBA fields, enter the values to use for the sparkle colour.

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Selection Preset Note Node
The Selection Preset Note node appears in the Node view after an initial Selection Preset is created.

Selection Preset Note Properties
Parameter

Description

Enable/Disable

Checking this option enables the node. Unchecking this option disables the node.

Click on this sw atch to open the Select Colour w indow . Select a colour and click
OK to mark the node w ith the selected colour.
Track Colour

Name

Allow s you to change the name given to the node.

Text

Displays the code text for the Selection Presets list that can be found in the
Selection Presets w indow .

Close

Closers the Properties w indow .

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Sound Layer
W hen you select a sound layer in the Timeline view , the options related to that layer appear in the Layer
Properties view .

If you double-click on a sound layer in the Timeline view , or in a sound column in the Xsheet view , the Sound
Element Editor dialog w ill open. This dialog allow s you to fine-tune the sound track's lip sync, start time, stoptime and volume.

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NOTE
Contrary to all other layers, sound layers are not represented by nodes in the Node view .

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Chapter 4: Tools Properties

Chapter 4: Tools Properties
Harmony has a w ide variety of draw ing and manipulation tools and each one of them has a series of options
and modes available in the Tool Properties view . This section covers these options.

Brush Tool Properties

994

Centerline Editor Tool Properties

1017

Close Gap Tool Properties

1019

Colour Eyedropper Tool Properties

1020

Contour Editor Tool Properties

1021

Cutter Tool Properties

1026

Draw ing Pivot Tool Properties

1031

Edit Gradient/Texture Tool Properties

1034

Ellipse Tool Properties

1035

Envelope Tool Properties

1045

Eraser Tool Properties

1048

Ink Tool Properties

1070

Inverse Kinematics Tool Properties

1072

Line Tool Properties

1075

Morphing Tool Properties

1087

Node Caching Toolbar

1091

Paint Tool Properties

1092

Pencil Tool Properties

1099

Pencil Editor Tool Properties

1110

Perspective Tool Properties

1115

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Polyline Tool Properties

1118

Rectangle Tool Properties

1126

Reposition All Draw ings Tool Properties

1136

Rigging Tool Properties

1138

Select Tool Properties

1141

Shift and Trace Tool Properties

1154

Smooth Editor Tool Properties

1157

Stamp Tool Properties

1159

Stroke Tool Properties

1167

Text Tool Properties

1169

Transform Tool Properties

1172

Zoom Tool Properties

1176

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Chapter 4: Tools Properties

Brush Tool Properties
The Brush tool allow s you to draw by creating shapes based on your draw ing strokes and filling them w ith
colour or textures. W hen used w ith a tablet, it is pressure sensitive, just like a real life brush.

How to access the Brush tool properties
1. In the Tools toolbar, select the Brushtool.

The tool's properties are displayed in the Tool Properties view .

Brush Properties
The follow ing properties affect the brush's size, smoothing and other properties for the draw ing style of yourbrush. Those properties can be saved into brush presets for later use.
Property

Description

The Preview area lets you see a preview of the stroke your draw ing tool w ill make.
Preview Area

Brush Properties Dialog

The arrow button right of the preview area opens the Brush Properties dialog.

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Property

Description

W hile the Tool Properties view only gives you access to a few of the brushproperties, a list of brush presets and other draw ing options, the Brush Properties
dialog gives you access to all the available options for your brush's tip and texture.
For more information on the Brush Properties dialog, see the Brush Properties Dialog
section below .

Defines the maximum w idth of brush strokes.
Maximum Size

If the tool is used w ith a pressure sensitive pen tablet, the w idth of the stroke w illvary betw een its maximum size and minimum size depending on the amount ofpressure used. If used w ith a mouse, the w idth of the stroke w ill alw ays be its
maximum size.

Allow s you to set the opacity for each instance of the brush tip that gets printed into
your canvas. Contrary to the Opacity parameter, the flow parameter has a cumulative
effect. This means that a low er flow w ill make your brush strokes more transparent
tow ards its extremities and more opaque in its center. Your stroke's flow w ill also
accumulate if you draw over it. By default, your brush's flow varies w ith the amountFlowof pressure you put on your tablet pen.

NOTE
This option is only displayed in the Tool Properties view w hen draw ing on abitmap layer.

The Opacity parameter are w here Lets you set the opacity of your brush strokes.
Contrary to the Flow parameter, the Opacity parameter is non-cumulative. Yourw hole brush stroke's opacity w ill not exceed the Opacity parameter. By default, theOpacity parameter varies depending on the amount of pressure you put on yourtablet pen.
Opacity

NOTEThis option is only displayed in the Tool Properties view w hen draw ing on abitmap layer.

Brush Presets
These options allow you to select, create and manage brush presets.

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Chapter 4: Tools Properties

Icon

Property

Description

By default, Harmony has preloaded brush presets. You can also create
your ow n brush presets by configuring your brush, then saving its
properties into a new preset. It is also possible to export and importbrush presets.

Presets list

New Brush Preset

Creates a new preset based on the current tool properties.

Delete Brush

Deletes the currently selected preset.

Open a menu that contains the follow ing options:l

New Brush Preset: Creates a new preset based on the current
tool properties.

lDelete Brush: Deletes the currently selected preset.

lRename Brush: Allow s you to rename the currently selected
preset.

lImport Brushes: Allow s you to import brush presets exported
from Harmony.

l

Export Brushes: Allow s you to export your brush presets into
an .xml file.

l

Small Thumbnail: Displays presets in a grid of small
thumbnails w ith a preview of their tip.

lLarge Thumbnail: Displays presets in a grid of big thumbnails,
w ith their name and a preview of their tip.

lStroke View: Displays presets in a list, w ith their name and apreview of a stroke done w ith each preset.

Brush Presets Menu

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Drawing Options
These options affect the w ay your draw ing strokes are added to your artw ork.
Icon

Property

Description

W hen enabled, your brush strokes w ill appear behind the existingartw ork.

Draw Behind

NOTEYour brush stroke w ill temporarily appear over your artw ork as
you draw it, until you release the mouse cursor or tablet pen.

W hen enabled, draw ing a closed shape w ill automatically fill it w ith thecurrently selected Paint colour.

Auto Fill

TIP
By default the pencil line and its fill w ill be the same colour. To
select different colours for the line and its fill, do the follow ing:
1. In the Colour view , click the
2. Click on the

Unlock Three Colours button.

Set Current Brush Colour sw atch. Then, inthe colour list, select the desired colour sw atch for youroutline.
3. Click on the

Set Current Paint Colour sw atch. Then, in thecolour list, select the desired colour sw atch for the fill.

Repaint BrushW hen enabled, your brush strokes w ill only repaint existing artw ork andw ill not add colour to empty areas. If you repaint semi-transparent
artw ork, your artw ork w ill not become more opaque than it already is.

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Chapter 4: Tools Properties

As you draw in the Line Art layer, the Automatically Create Colour Art
option instantly creates the corresponding strokes in the Colour Art
layer.

Automatically Create
Colour Art

NOTEThis option is only available w hen draw ing on a vector layer.

By default, w hen draw ing on a vector layer, each new stroke is createdas a separate draw ing object, w hich can be edited independently fromother parts of the artw ork. W hen enabled, the Auto-Flatten option
automatically merges strokes into existing artw ork.
Auto-Flatten Mode

NOTE
This option is only available w hen draw ing on a vector layer.
W hen draw ing on a bitmap layer, artw ork is alw ays flattened.

Allow s you to enable or disable snapping for this tool and all otheranimation and draw ing tools that support snapping, as w ell as to selectw hich types of snapping are enabled.

Snapping

If you double-click or long-click on this button, it w ill open a pop-up
menu in w hich you can toggle different snapping modes. You can also
click on this button to toggle it off, w hich w ill disable all snapping
modes, and click on it again and toggle it on to re-enable the snapping
modes w hich w ere previously enabled.
This tool supports the follow ing snapping mode:l

Respect Protected
ColourSnap to Alignment Guides: W hile draw ing, the draw ing tool
w ill snap against nearby alignment guides.

In the Colour view , it is possible to make some of the colours in yourpalettes protected from change. W hen enabled, the Respect Protected998

Harmony 22 Premium Reference Guide

Colour option w ill prevent the brush tool from draw ing over areas filled
w ith a protected colour.

NOTE
This option is only available w hen draw ing on a vector layer.
W hen draw ing on a bitmap layer, colour is not linked to yourpalettes and cannot be protected.

The Use Stored Colour Gradient option can be used w hen painting w ith
a gradient colour to alw ays position the gradient in the same w ay it w asstored, making it consistent across brush strokes. You can store a
gradient by selecting a zone painted w ith a gradient w ith the Select tool,
Use Stored Colour
Gradient

then clicking on Store Colour Gradientin the Tool Properties view .

NOTEThis option is only available w hen draw ing on a vector layer.

Brush Properties Dialog
Brushes have an extensive set of options and properties that are not displayed in the Tool Properties view , butrather, in a dialog you can access from it. To open the Brush Properties dialog, click on the arrow button rightof the stroke display area.

The Brush Properties dialog has five different tabs, minus the Smoothing tab if you are w orking on a bitmap
layers. Below is detailed information about the options available in each tab:l

Tip Tab on page 999lSmoothing Tab on page 1006lTransparency Tab on page 1007l

Dual Tip Tab on page 1011lPaper Texture Tab on page 1014

Tip TabThe Tip tab allow s you to configure the shape, size, hardness and spacing of your brush tip.

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Chapter 4: Tools Properties

NOTE
The "Size Proportional to Camera" option has been moved to the new Size Properties w indow .

Property

Description

Allow s you to select betw een one of the follow ing brush types:lSolid Vector Brush: Creates vector shapes filled w ith a solid colour.
Makes artw ork lightw eight, scalable and easy to tw eak. Since this kind ofbrush can only create solid colour shapes, solid vector brushes have alimited set of options including size, roundness, angle, centerline
smoothing and contour smoothing.

l

Textured Vector Brush: Creates vector shapes filled w ith a texture. This
gives you access to bitmap brush tips, paper textures, transparency andseveral other options.

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NOTE
This option is not available w hen w orking on a bitmap layer. W ith bitmap
layers, brushes are alw ays textured, and textured brush options are alw ays
available.

Brush Tip LibraryThis is w here you select the shape of the brush tip. By default it is round. Notethat some tips are designed to have semitransparent areas, even w hen the
maximum brush opacity is set to 100%.
To create a custom brush tip, you must prepare the file ahead of time, either inHarmony or in a third-party softw are, such as Adobe Photoshop. Colour is notsupported and transparency is not supported in the traditional sense. Black
appears as 100% opaque, w hite appears as 100% transparent and all the
shades of grey in betw een appear as varying degrees of semitransparency. A
range of file formats are supported—.jpeg, .png, .tif, .psd, .tga to name a few .
Alpha channels are disregarded on import. It is recommended that your file bebetw een 100 x 100 pixels and 400 x 400 pixels.
You can also import brush tips that you exported from Harmony, so you canshare them w ith colleagues.

The minimum and maximum sizes of your draw ing tool produce the thick andthin effect on your stroke. This w orks w ith the pressure sensitivity of a pen tablet.
l

Maximum Size: Defines the maximum w idth of the stroke.

l

Minimum Size: Defines the minimum w idth of the stroke in relation toand as a percentage of the maximum size.

Minimum and Maximum Size
You can control the size properties by clicking on the arrow button on right andthe dialog box w ill appear as show n below .

1001

Chapter 4: Tools PropertieslPressure: Allow s you to apply more pressure and increases the size ofthe brush. You can check the box to invert this behaviour.

l

Tilt: Allow s you to tilt the pen closer to tablet for a bigger stroke. You cancheck the box to invert this behaviour.

l

Speed: Allow s you to reduce the size of the stroke by draw ing at a fast
speed. You can check the box to invert this behaviour.

l

Speed Sensitivity: A slider is used to control how fast must the stroke bedraw n to reach the minimum value.

lTaper: Allow s you to reduce the value of a property at the start or theend of each stroke. The value can be expressed using tw o options:Distance and Percentage. Distance is selected by default. For example:
A taper of 200 w ill be the same length as the w idth (diameter) of a strokethat has its size set at 200.

You can enable Start and End Tapering option individually.
lStart Taper: W hen distance is selected as a Taper value, the effect ofstart taper can be visualized as the stroke is draw n.

l

End Taper: W hen distance or percentage is selected as a Taper value,
the effect of end taper can be visualized once the stroke is complete andvectorized as the length is unknow n until the stroke is complete.

l

Fade Distance: Allow s you to fade the value of property over a given
distance. It uses the same units as the size and is applied as the stroke isdraw n.

lSize Proportional to Camera: If you check this option, the size of the w ill
be adjusted to the position of the camera on the z-axis. This means that if

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the camera is zoomed in on the scene, the w ill be proportionally smaller
so that it appears the same size in the rendered image. Likew ise, if thecamera is zoomed out, the w ill be proportionally bigger.

NOTE
Setting the Minimum Size value to 100% eliminates the possibility ofcreating w idth variation on your stroke. In other w ords, you w ould be
forcing a uniform line w idth using the Maximum Size value.

The Roundness and Angle parameters allow you to change the shape andorientation of the tip.

Roundness and AnglelRoundness: The vertical scaling to apply to the tip. Reducing this setting
squashes the tip vertically, allow ing you to turn round or square tips into
flat tips.

lAngle: The angle at w hich to rotate the brush tip, counterclockw ise.

NOTE
The squashing is not relative to the angle—if the tip is rotated, thesquashing w ill still be done relative to the tip's original orientation.

If your pen and tablet support tilt sensitivity, this option allow s you to set
w hether your brush takes your pen's tilt angle into account, and how much.

Pen Tilt Sensitivity

W hen your pen is fully tilted, your brush tip w ill be stretched by the percentage
you set in this parameter, in the angle in w hich you tilt it. For example, if you set
the Pen Tilt Sensitivity to 50%, and you tilt your pen all the w ay up or dow n, yourbrush tip w ill be stretched vertically by 50%. W ith the same setting, if you tilt
your pen all the w ay left or right, your brush tip w ill be stretched horizontally by
50%.

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Chapter 4: Tools Properties

If enabled, your brush tip w ill rotate w ith the angle of your pen tip. You can selectone of the follow ing options:Angle FunctionlConstant: The static orientation of the brush tip expressed in degrees.

lHeading: The orientation of the brush tip is determined by the direction in
w hich the stroke is draw n. It changes dynamically as the stroke is draw n.

lAzimuth: W hen the pen is tilted, it uses the direction in w hich the pen
eraser is facing.

lTwist (if supported by pen): It uses the tw ist angle of the stylus and is
only available w ith W acom Art Pen.

The hardness value corresponds to the softness of the brush tip's edges. The
low er the value, the softer the tip edge. The higher the value, the sharper the tipedge. Be aw are that some brush tips are not 100% opaque, so they w ill alw ays
appear somew hat soft, even at 100% hardness.
Hardness

Spacing

Defines the amount of space betw een each stamp of the brush. A value of 100%
sets the stamp marks edge to edge, if there is no w hite space around the shape.
The larger the value, the greater the space betw een marks. A really large value
can make the brush stroke appear as a string of individual marks. Conversely, asmall spacing value w ill give the appearance of a fluid brush stroke.
Spacing is only evident w hen making a continuous stroke.

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You can create variation betw een the thick and thin of your brush stroke just by
setting the Maximum and Minimum Size values. If you add randomness to themix, pressure sensitivity from your draw ing tablet w ill still be applied. Lightpressure w ill create random values around the minimum, w hile heavy pressure
w ill create random values closer to the maximum. The larger the percentage, thelarger the range of random variation.

Random Size

NOTE
Setting the Minimum Size to 100% eliminates the possibility of creating
w idth variation on your stroke, w hether you are applying randomness ornot. Therefore, you w ould be forcing a uniform line w idth using theMaximum Size value.

Random Angle

Sets the range for random rotation around the set Angle value. For example, if
the Angle is set to 45° and the Random Angle set to 10°, the softw are w illchoose values betw een 40°–50° (plus or minus 5 degrees, equaling a total of 10
degrees).

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Chapter 4: Tools Properties

Sets the range for random spacing around the set Spacing value. For example, if
the Spacing is set to 50% and the Random Spacing is set to 10%, then Harmony
w ill choose values betw een 45%–55% (plus or minus 5 percent, equaling a totalof 10 percent).

Random Spacing

Smoothing Tab
The Smoothing tab contains options to configure how Harmony should automatically smooth your brushstrokes as you paint.

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NOTE
The Smoothing tab is only available w hen w orking on a vector layer, as bitmap layers do notsupport smoothing.

Property

Description

Centerline Smoothing

Defines the amount of smoothing Harmony should perform on the central line of thebrush stroke. A higher setting w ill prevent your line from being shaky, but is liable toreduce draw ing precision and turn sharp angles into curves.

Contour Smoothing

Defines the amount of smoothing Harmony should perform on the outer contour ofthe brush stroke. A higher setting w ill round sharp corners and reduce the amount ofcontrol points for the resulting vector shape.

Transparency Tab
The Transparency tab allow s you to decide if your brush has antialiasing as w ell as to set its flow and opacity
settings.

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Chapter 4: Tools PropertiesNOTE
The Transparency tab's options are only available on vector layers if the Brush Type option of the
Tip tab is set to Textured Vector Brush. On bitmap layers, those options are alw ays available.

Property

Description

Enabled by default. This option causes the contours of the brush strokes to blend
w ith the surrounding colours, to create an illusion of smoothness otherw ise notpossible due to the picture resolution.

Antialiasing

If antialiasing is disabled, the brush's texture w ill only render fully transparent or
fully opaque pixels. Disabling this option can be useful if you need your outlines
to be very crisp, if you w ant to make pixel art or if you need your brush strokes torender in solid colors w ith no variation, w hich makes them easier to repaint orprocess in third party softw are.

NOTE
W hen disabled, all other options in the Transparency tab are disabled.

The Maximum and Minimum Flow parameters let you set the range for the rate
at w hich paint flow s from your brush. The analogy w orks better w ith a pen. The
greater the flow , the more ink comes out, hence the more consistent the colour
and texture of the line. If the flow is light, then the colour and texture of the line
may look spotty. This feature w orks w ith the pressure sensitivity of a pen tablet.

Maximum and Minimum FlowlMaximum Flow: Sets the maximum rate at w hich colour and texture areapplied as you create a fluid stroke.

l

Minimum Flow: Sets the minimum rate at w hich colour and texture areapplied as you create a fluid stroke. It is defined as a percentage of theMaximum Flow value. If the Minimum Flow value is set to 100%, thentablet pressure sensitivity w ill no longer be applicable. The flow w ill be
set to the constant rate of the Maximum Flow value.

You can control the flow properties by clicking on the arrow button on right andthe dialog box w ill appear same as show n for size properties above. Minimum

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and Maximum Size on page 1001.

The Maximum and Minimum Opacity parameters are w here you set the opacity
range for a brush mark. This w orks w ith the pressure sensitivity of a pen tablet.
l

Maximum Opacity: Sets the transparency limit of the brush mark w hen
the pressure is heavy.

lMinimum Opacity: Sets the transparency limit of the brush mark w hen
the pressure is very light. It is defined as a percentage of the Maximum
Opacity value. If the Minimum Opacity value is set to 100%, then tablet
pressure sensitivity w ill no longer be applicable. The opacity w ill be set
to the constant rate of the Maximum Opacity value.

Maximum Opacity and
Minimum Opacity

You can control the opacity properties by clicking on the arrow button on rightand the dialog box w ill appear same as show n for size properties above. Pleaserefer Minimum and Maximum Size on page 1001

RandomnessTh Randomness parameter lets you set the range for the randomness of the flow
and opacity. This w orks w ith the pressure sensitivity of a pen tablet.

Randomness Flow

You can create variation in the flow of your brush stroke just by setting theMaximum and Minimum Flow values. If you add randomness to the mix, pressure
sensitivity from your draw ing tablet w ill still be applied. Light pressure w illcreate random values around the minimum, w hile heavy pressure w ill create
random values closer to the maximum. The larger the percentage, the larger therange of random variation.

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Chapter 4: Tools Properties

NOTE
Setting the Minimum Flow value to 100% eliminates the possibility ofcreating flow variation on your stroke, w hether you are applying
randomness or not. That is, you w ould be forcing a uniform flow using theMaximum Flow value.

You can create variation in the opacity of your brush stroke just by setting theMaximum and Minimum Opacity values. If you add randomness to the mix,pressure sensitivity from your draw ing tablet w ill still be applied. Light pressure
w ill create random values around the minimum, w hile heavy pressure w ill create
random values closer to the maximum. The larger the percentage, the larger therange of random variation.

Random Opacity

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NOTE
Setting the Minimum Opacity value to 100% eliminates the possibility ofcreating opacity variation on your stroke, w hether you are applying
randomness or not. That is, you w ould be forcing a uniform opacity using
the Maximum Opacity value.

Dual Tip Tab
The Dual Tip tab lets you set the parameters for creating a dual tip brush. The primary bitmap brush tip andthe dual tip alw ays w ork together. You can set the parameters for the primary tip in the Tip tab and those forthe dual tip in the Dual Tip tab. The Blend mode you select determines how the tips are combined.
By default, the Blend Mode is set to Multiply and the Random Angle to 360°.

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Chapter 4: Tools Properties

NOTE
To use a Dual Tip, you must enable option by checking the checkbox inside the Dual Tip tab.
Additionally, if you are w orking on a vector layer, the Brush Type option of the Tip tab must be set
to Textured Vector Brush.

Property

Description

The checkbox inside the tab allow s you to decide w hether or not your brush uses a
Enable/Disable

dual tip. If this checkbox is unchecked, the options in the Dual Tip tab w ill bedisabled.

Blend Mode

The Blend modes let you decide how the primary tip and the dual tip are combined.

This is the default blend mode. W hen the tw o brush tips are combined in this mode,
they essentially cut each other out in overlapping areas, w here one or both tips havean area of 100% transparency. The less opaque the brush tips are, the lighter their
combination.

Multiply

Colour Dodge

In this mode, the primary tip cuts out the shape of the dual tip. W here the tip shapes
overlap, w ithin the boundaries of the primary shape, the colour and opacity appear
darker.

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Property

CombineDescription

This mode treats the tw o tips as tw o different and separate brushes that have thesame colour and follow the same path.

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Property

Description

Paper Texture Tab
The Paper Texture tab lets you configure a paper-like texture for your brush. You can also add textures byimporting image files, or import paper textures that w ere previously exported from Harmony.

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NOTE
To use a Paper Texture, you must enable option by checking the checkbox inside the Paper
Texture tab. Additionally, if you are w orking on a vector layer, the Brush Type option of the Tip
tab must be set to Textured Vector Brush.

Property

Description

Enable/Disable

The checkbox inside the tab allow s you to decide w hether or not your brush uses apaper texture. If this checkbox is unchecked, the options in the Paper Texture tab w ill
be disabled.

Texture Scale

Increase or decreases the size of the paper texture.

Additive

This option layers the texture on top of itself as you scribble overlapping lines in one
continuous stroke. If this option is turned off, areas of overlapping lines from a single,
continuous stroke w ill appear the same, in terms of darkness and texture, as non-1015

Chapter 4: Tools Properties

Property

Description

overlapping areas.

This option defines the w ay separate, overlapping strokes behave. If this option isenabled, the paper texture's position does not change w ith each sw eep of the brush.
If this option is disabled, each sw eep of the brush produces a different texture
position. The texture orientation alw ays stays the same.

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Centerline Editor Tool Properties
The Centerline Editor tool allow s you to edit brush strokes by their centreline rather than by their contour. This
makes it easier to tw eak the tips, curves and corners of brush strokes. The purpose of this tool is to make it aseasy to edit brush strokes as it is to edit pencil lines w ith the Contour Editor tool.

How to access the Centerline Editor tool properties
1. In the Tools toolbar, select the Centerline Editor

tool.

2. The tool's properties are displayed in the Tool Properties view .

Tool Options
Icon

Property

Description

Allow s you to choose the method to visually select multiple
elements:
Lasso: Allow s you to select multiple elements byldraw ing an irregular closed shape around them w ith
your mouse.
Marquee: Allow s you to select multiple elementslSelection Modeby draw ing a rectangle around them. This is faster, as
you only need to drag your mouse from one corner ofthe rectangle to its opposite corner, but it may not be as
precise as you w ant.

TIP
You can press and hold the Alt key to temporarily use
the other selection mode.

Show Centerline Editor Controls

W hen enabled, selecting several control points w ill make amanipulator bounding box appear. You can use thismanipulator to scale and rotate the selection of points.

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Icon

Property

Description

Allow s you to perform draw ing operations on both the Line Art
and Colour Art layers of your draw ing simultaneously.
Apply to Line and Colour Art

NOTE
If you have Overlay and Underlay Art layers enabled,
they w ill also be affected w hen this option is enabled.

Centerline Smoothness

Allow s you to adjust the amount of control points on thecentreline that is generated from the selected stroke. A low ervalue w ill create a centreline w ith less points, w hich makes it
easier to manipulate large lengths of the stroke, and a higher
value w ill generate a centreline w ith more points, allow ing you
to tw eak details.

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Close Gap Tool Properties
The paint tool requires the area you attempt to fill to be closed in order to know exactly w hat area of yourartw ork must be filled. How ever, it is common for artists to accidentally leave small gaps in their artw ork.
The Close Gap tool allow s you to quickly close small gaps in a shape by creating an invisible stroke connecting
tw o extremities of the gap. You can then fill the area using the Paint tool, as this invisible stroke w ill be takenin account to determine the outline of the shape to fill.

TIP
You do not need to use the Close Gap tool w ith precision. If you draw a crude stroke near the gap
you w ant to close, the tool w ill automatically detect the tw o closest line extremities and w ill draw
an invisible straight line connecting them. closing the gap betw een them.

How to access the Close Gap tool properties
1. In the Tools toolbar, select the Close Gap

tool.

The tool's properties are displayed in the Tool Properties view .

Tool Options
Icon

Property

Description

The Close Gap tool creates an invisible draw ing stroke to close the shape.
Enabling this option w ill merge the stroke into the artw ork instead of adding thestroke on top of it.
Auto Flatten

NOTE
The area you close w ith the Close Gap tool w ill be fillable regardless ofw hether or not this option is enabled.

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Colour Eyedropper Tool Properties
The Colour Eyedropper tool allow s you to pick a colour from your draw ing w ithout going to the Colour view .

NOTE
The follow ing options w ill only have an effect w hen picking colours from a bitmap layer, as theyaffect the colour that gets picked. W hen w orking on a vector layer, you can only pick colours thatare available in one of the palettes in your scene. Therefore, the colour you pick w ill alw ays be
exactly the colour that w as used to fill the shape or stroke you clicked on.

How to access the Colour Eyedropper tool properties
1. In the Tools toolbar, select the Colour Eyedroppertool.

The tool's properties are displayed in the Tool Properties view .

Icon

Property

Description

Sample All Layers

By default, the Colour Eyedropper tool picks the colour from the active
draw ing layer only. This means that if the colour is semi-transparent, it w ill
still only take the colour from the active layer, along w ith its transparency,
and ignore the colours from layers behind it.
W ith this option enabled, the Colour Eyedropper tool w ill pick the colour as
it appears on the screen instead, allow ing you to pick colours that are theresult of several layers composited together.

Do Not Pick
Transparency

By default, the Colour Eyedroppertool picks the colour's alpha value as w ell
as its colour values. W hen enabled, the colour picked w ill alw ays have analpha value of 255.

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Contour Editor Tool Properties
The Contour Editor lets you reshape vector shapes, brush strokes and lines in your draw ings.
Artw ork in Harmony is made of vector shapes. Vector shapes are defined by points, the lines joining the points
together (contours) and the curve vectors, represented by Bezier handles, w hich make the curve of said lines.

The Contour Editor tool allow s you to select a contour or point, and change the position of points, add andremove points from the shape, rotate, lengthen and shorten curve handles to influence the curve of contours
betw een those points, or drag contours betw een points to change their curve directly.

How to access the Contour Editor tool properties
1. In the Tools toolbar, select the Contour Editor

tool.

The tool's properties are displayed in the Tool Properties view .

Tool Modes
Icon

Property

Description

Allow s you to choose the method to visually select multiple
elements:l

Selection Mode

Lasso: Allow s you to select multiple elements bydraw ing an irregular closed shape around them w ith yourmouse.

lMarquee: Allow s you to select multiple elements by1021

Chapter 4: Tools Properties

Icon

Property

Description

draw ing a rectangle around them. This is faster, as you only
need to drag your mouse from one corner of the rectangle toits opposite corner, but it may not be as precise as you w ant.

TIP
You can press and hold the Alt key to temporarily use theother selection mode.

Allow s you to enable or disable snapping for this tool and all otheranimation and draw ing tools that support snapping, as w ell as toselect w hich types of snapping are enabled.
If you double-click or long-click on this button, it w ill open a pop-up
menu in w hich you can toggle different snapping modes. You canalso click on this button to toggle it off, w hich w ill disable allsnapping modes, and click on it again and toggle it on to re-enable
the snapping modes w hich w ere previously enabled.
This tool supports the follow ing snapping modes:lSnap to Contour: W hen enabled, moving the control point
in a contour near another contour w ill snap that control
point against that contour. This w ill lock the point and thecontour together, and moving the control point w ill deformthe contour.

Snapping

This option can be especially useful if you need to makes theedges of tw o shapes snap together, like so:

You can also use this option to make a control point snap
against another control point, allow ing you to join lines
together.

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Icon

Property

Description

NOTE
W hen a control point is snapped against a contour
or another control point in your draw ing, the Contour
Editor w ill manipulate them together. How ever,even if you make a point in one draw ing stroke snap
against another draw ing stroke, they w ill remain
separate draw ing strokes unless they are flattened
together, and you w ill still be able to manipulatethem individually w ith the Select

tool.

l

Snap to Alignment Guides: W hile moving the selection or
one of its control points, it w ill snap against nearbyalignment guides.

lSnap and Align: Snaps the selected anchor point to any
existing line w hile displaying temporary rulers as a guidethat you can also snap your anchor point to.

lSnap to Grid: W hile moving the selection, the mouse cursor
w ill snap against the intersecting points of the grid.

TIP
To display the grid, select View > Grid > Show Gridfrom the top menu or press Ctrl + '.

W hen enabled, selecting several control points w ill make amanipulator bounding box appear. You can use this manipulator toscale and rotate the selection of points.
Show Contour Editor
Controls

Tip StyleIf you select and remove part of a pencil line, this option allow s you
to choose w hich kind of line tip the removed segment should leavebehind:1023

Chapter 4: Tools Properties

Icon

Property

Descriptionl

Tip Style: Round: Leaves rounded tips at the extremitiesof the deleted line segment.

l

Tip Style: Flat: Leaves flat tips at the extremities of thedeleted line segment.

Allow s you to perform draw ing operations on both the Line Art andColour Art layers of your draw ing simultaneously.
Apply to Line and Colour
Art

NOTE
If you have Overlay and Underlay Art layers enabled, theyw ill also be affected w hen this option is enabled.

Operations
Icon

Property

Description

The Smooth operation lets you smooth out selected draw ing
strokes and remove extra points.

Smooth Selection

TIP
You can also smooth the selection by selecting Drawing>
Optimize > Smooth from the top menu or by pressing Alt +Shift + S.

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Icon

Property

Description

W hen draw ing w ith the Polyline tool, your draw ing has an even line
thickness. You can use the Pencil Editor to adjust the thickness point
by point, but if you w ant to adjust it quicker, you can use the Split
Pencil Line and Point Pencil Lines options to create segments andapply a pencil stencil to your draw ing. Note that if you did not join
the pencil lines on your polyline stroke, the segments betw een the
points w ill act as separated segments.

Split Pencil Line
Join Pencil Lines

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Chapter 4: Tools Properties

Cutter Tool Properties
The Cutter tool lets you cut out part of a draw ing so that you can transform it, copy it or delete it. It also allow s
you to trim overshot lines.

How to access the Cutter tool properties
1. In the Tools toolbar, click and hold on the Selectthe Cutter

tool to display the menu beneath and selecttool.

The tool's properties are displayed in the Tool Properties view .

Tool Options
Icon

Property

Description

Allow s you to choose the method to visually select multiple elements:lLasso: Allow s you to select multiple elements by draw ing anirregular closed shape around them w ith your mouse.

lSelection Mode

Marquee: Allow s you to select multiple elements by draw ing a
rectangle around them. This is faster, as you only need to drag yourmouse from one corner of the rectangle to its opposite corner, but it
may not be as precise as you w ant.

TIP
You can press and hold the Alt key to temporarily use the otherselection mode.

Easy Drag

W hen enabled, you can drag the selection by clicking anyw here inside its
bounding box. By default, you must click on the artw ork in the selection to beable to drag it.

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Icon

Property

Description

W hen this option is enabled along w ith the Lasso

selection type, quickly

draw ing a line w ith the Cutter tool over a line segment in your artw ork w ill
instantly delete it. This can be useful if you w ant to use the Cutter tool toquickly clean up your artw ork.

Use Mouse
GestureIt allow s you to cut in tw o modes as follow s:lSingle Line Cutting Gesture: It deletes first line segment over w hicha straight gesture is draw n w ith the cutter.

lMultiple Lines Cutting Gesture: It deletes all line segments overw hich a straight gesture is draw n w ith the cutter.

NOTE
This option w ill only w ork w hen using the Cutter tool on separate
brush or pencil strokes. Hence, it is important not to flatten yourartw ork if you intend to use this option to clean up your draw ings. This
option has no effect on bitmap layers as the artw ork in bitmap layers is
alw ays flattened.

Use Mouse
Gesture BreakerMode

W hen using the Lasso selection type, the Use Mouse Gesture Breaker Mode
option lets you draw an invisible stroke on a pencil line to cut it in tw oindividual objects. Once a pencil line is cut w ith this option, you w ill be able
to select the tw o portions independently w ith either the Cutter tool, Pencil
Editor tool or Select tool.

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Chapter 4: Tools Properties

Icon

Property

Description

NOTE
This option only w orks w ith pencil lines.

W hen cutting through pencil lines, this option decides w hat kind of pencil
line tips to put at the extremities of the remaining pencil line segments,
w here they w ere cut.

By default, this is set to Bevel, w hich w ill leave the tip of the pencil line

cut at the same angle as your cutter stroke. If you prefer, you can make pencil
lines that you split w ith the Cutter tool have Flat

or Roundtips

instead.
Tip StyleW hen w orking on bitmap artw ork, enabling this w ill smooth the edges of theartw ork you cut out, so that they do not appear pixelated.
Antialiasing

NOTE
This option is only available w ith bitmap layers.

Apply to Visible
Draw ing Layers

This option allow s you to select w hich layers the tool should affect. It can be
toggled on or off. W hen toggled on, it has tw o different modes. You canselect a mode by clicking and holding on the button.

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Icon

Property

Descriptionl

Off: W hen this button is toggled off, the tool only w orks on thecurrently selected layers. If several layers are selected, the tool w ill
w ork on all these layers simultaneously.

l

On W hen this button is toggled on, the tool w ill w ork on all thevisible layers.

l

Apply to Visible Drawing Layers: The tool w ill w ork on all thevisible layers in the Camera view .

lApply to Synced Drawing Layers: If the currently selected layer
is synced w ith another layer, the tool w ill w ork on both the current
layer and its synced layer.

NOTE
This option only w orks in the Camera view .

This option allow s you to determine w hich draw ings in the current layer the
tool should affect. It can be toggled on or off. W hen toggled on, it has tw odifferent modes. You can select a mode by clicking and holding on the button.
l

Apply to All
Frames

Off: W hen this button is toggled off, the tool only w orks on thedraw ing in the current frame.

lApply to All Frames: The tool w ill w ork on every exposeddraw ing in the selected layer simultaneously.

lApply to Onion Skin Range: The tool w ill w ork on every draw ing
displayed in the Onion Skin. Onion Skin must be enabled for thisoption to w ork.

Allow s you to perform draw ing operations on both the Line Art and Colour
Art layers of your draw ing simultaneously.
Apply to Line andColour Art

NOTE
If you have Overlay and Underlay Art layers enabled, they w ill also beaffected w hen this option is enabled.

Operations
Icon

Property

Description1029

Chapter 4: Tools Properties

Flip Horizontal

Flips the current selection horizontally.

Flip Vertical

Flips the current selection vertically.

Rotate 90 Degrees
CW

Rotates the current selection 90 degrees clockw ise.

Rotate 90 Degrees
CCW

Rotates the current selection 90 degrees counter-clockw ise.

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Drawing Pivot Tool Properties
The Draw ing Pivot tool lets you set the pivots on your character. You can set the draw ing pivots on draw ings
and symbols.

Tool Options
Icon

Property

Description

The Set the Pivot for Symbol on All Frames option
is enabled by default. W hen you set a draw ing
pivot on a symbol, all of its cells use the samedraw ing pivot. This means you do not have to set adraw ing pivot on all frames. Once you set it, it isdone.

Setting the Draw ing Pivot for Symbols on
All Frames

If you prefer to set a different draw ing pivot for aseries of cells, you can deselect the option and set
your pivots on each cell or cell range.

NOTE
If you have already set several different
pivots on your symbol's cells and selected
the Set the Pivot for Symbol on All
Frames option, once you set a new pivoton the same symbol, all of its pivots w ill
be reset and w ill use your new pivot.

Allow s you to enable or disable snapping for thistool and all other animation and draw ing tools that
support snapping, as w ell as to select w hich typesof snapping are enabled.
Snapping

If you double-click or long-click on this button, it
w ill open a pop-up menu in w hich you can toggle
different snapping modes. You can also click on
this button to toggle it off, w hich w ill disable allsnapping modes, and click on it again and toggle it1031

Chapter 4: Tools Properties

Icon

Property

Description

on to re-enable the snapping modes w hich w ere
previously enabled.
This tool supports the follow ing snapping modes :lSnap to Contour: W hen moving the pivot,
it w ill snap against the nearby points andcontours of your artw ork.

lSnap to Alignment Guides: W hen moving
the pivot, it w ill snap against nearbyalignment guides.

lSnap and Align: W hen moving the pivot, it
w ill align w ith the edges of elements in thedraw ing.

lSnap to Grid: W hen moving the pivot, it
w ill snap against the intersecting points ofthe grid.

TIP
To display the grid, select View >Grid > Show Grid from the top
menu or press Ctrl + '.

Reset Pivot

W hen you click the Reset Pivot option, the draw ing
pivot of the selected draw ing or symbol is reset tothe centre of the Camera view .

Copying Pivot on Parent Symbol

W hen you import new extra draw ings, such as
hands and mouths, you can use the draw ing pivotthat w as set on your draw ings and report them tothe symbol's cells. Use the Copy Pivot to Parent
Symbol command for this.

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Icon

Property

Description

NOTE
W hen you copy draw ing pivots to theparent symbol, there is no link betw een
the draw ings' pivots and the symbol's
pivots. If you modify the draw ing pivot
later, it w ill not link to the symbol. You
w ould need to perform the operation
again. If you need to modify the symbol's
pivots, you can do it directly on thesymbol's cells.

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Chapter 4: Tools Properties

Edit Gradient/Texture Tool Properties
The Edit/Gradient Texture tool allow s you to move, rotate and scale a gradient or texture fill w ithin the shapeit fills, w ithout modifying the shape itself.

How to access the Edit Gradient/Texture tool properties
1. In the Tools toolbar, select the Edit Gradient/Texture

tool.

The tool's properties are displayed in the Tool Properties view .

Tool Options
Icon

Property

Description

This option allow s you to select w hich layers the tool should affect. It can be
toggled on or off. W hen toggled on, it has tw o different modes. You canselect a mode by clicking and holding on the button.

Apply to Visible
Draw ing LayerslOff: W hen this button is toggled off, the tool only w orks on thecurrently selected layers. If several layers are selected, the tool w ill
w ork on all these layers simultaneously.

l

On W hen this button is toggled on, the tool w ill w ork on all thevisible layers.

l

Apply to Visible Drawing Layers: The tool w ill w ork on all thevisible layers in the Camera view .

lApply to Synced Drawing Layers: If the currently selected layer
is synced w ith another layer, the tool w ill w ork on both the current
layer and its synced layer.

NOTE
This option only w orks in the Camera view .

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Ellipse Tool Properties
The Ellipse tool allow s you to quickly draw an ellipse or a circle.

How to access the Ellipse tool properties
1. In the Tools toolbar, select the Ellipse

tool.

The tool's properties are displayed in the Tool Properties view .

Pencil Properties
Just like other shape tools, this tool creates pencil lines. Hence, its tool properties are similar to the ones of thePencil tool and it can be used w ith pencil presets.

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Chapter 4: Tools Properties

Property

Description

The Preview area lets you see a preview of the stroke your draw ing tool w ill make.
Preview Area

The arrow button right of the preview area opens the Pencil Properties dialog.

Pencil Properties
DialogSize

W hile the Tool Properties view only gives you access to a few of the pencil properties,
a list of pencil presets and other draw ing options, the Pencil Properties dialog gives youaccess to all the available options for your pencil's shape and texture. For more
information on the Pencil Properties dialog, see the Pencil Properties Dialog on page1040 section below .

Defines the w idth of the pencil line used to draw the shape.

You can adjust the start, end, and join style of a pencil line.

Shape

l

Start: Lets you select the style of the start tip, w hich is the first tip you drew .
You can choose betw een Round or Flat style.

lEnd: Lets you select the style of the end tip, w hich is the last tip you drew . You
can choose betw een Round or Flat style.

lJoin: Lets you select the joint style. The joints are w here the line curves
abruptly. You could also define the Join style as the corner style. You can choose
betw een Round, Mitre and Bevel style.

Pencil Presets
These options allow you to select, create and manage pencil presets.

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Icon

Property

Description

Harmony provides a variety of pencil presets and thickness stencils andalso lets you create and save your ow n. It is a good idea to create andsave pencils w ith precise sizes and parameters w hen you draw for
efficiency and consistency.

Presets list

A thickness stencil saves the thickness information across the length ofthe line. W hen draw ing w ith a thickness stencil, the pressure sensitivityof the tablet is discarded. A thickness stencil can be used w hile draw ing,
or applied afterw ards.
You also have the possibility to apply different textures to your lines byeither using the default presets or to import your ow n.
You can export the pencil presets that you have created and importthose that others have created. This is a good w ay for you and project
collaborators to keep a consistent look for the project.

New Brush Preset

Creates a new preset based on the current tool properties.

Delete Brush Preset

Deletes the currently selected preset.

Open a menu that contains the follow ing options:l

New Brush Preset: Creates a new preset based on the current
tool properties.

lDelete Brush: Deletes the currently selected preset.

lRename Brush: Allow s you to rename the currently selected
preset.

lImport Brushes: Allow s you to import brush presets exported
from Harmony.

l

Export Brushes: Allow s you to export your brush presets into an.xml file.

l

Small Thumbnail: Displays presets in a grid of small thumbnails
w ith a preview of their tip.

lLarge Thumbnail: Displays presets in a grid of big thumbnails,
w ith their name and a preview of their tip.

lStroke View: Displays presets in a list, w ith their name and apreview of a stroke done w ith each preset.

Brush Presets Menu

Drawing Options
These options affect the w ay your shape is added to your artw ork.

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Chapter 4: Tools Properties

Icon

Property

Description

W hen enabled, your brush strokes w ill appear behind the existingartw ork.

Draw Behind

NOTEYour brush stroke w ill temporarily appear over your artw ork as
you draw it, until you release the mouse cursor or tablet pen.

W hen enabled, the shape you draw is automatically filled w ith theselected colour. By default, draw ing a shape only creates its outlines.

Auto Fill

TIP
By default the pencil line and its fill w ill be the same colour. To
select different colours for the line and its fill, do the follow ing:
1. In the Colour view , click the
2. Click on the

Unlock Three Colours button.

Set Current Pencil Colour sw atch. Then, inthe colour list, select the desired colour sw atch for youroutline.
3. Click on the

Set Current Paint Colour sw atch. Then, in thecolour list, select the desired colour sw atch for the fill.

Allow s you to enable or disable snapping for this tool and all otheranimation and draw ing tools that support snapping, as w ell as to selectw hich types of snapping are enabled.
Snapping

If you double-click or long-click on this button, it w ill open a pop-up
menu in w hich you can toggle different snapping modes. You can also
click on this button to toggle it off, w hich w ill disable all snapping
modes, and click on it again and toggle it on to re-enable the snapping

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Icon

Property

Description

modes w hich w ere previously enabled.
This tool supports the follow ing snapping modes:lSnap to Contour: W hen enabled, w hile you're draw ing, themouse cursor w ill snap to the nearby contours of the artw ork inyour draw ing.

lSnap to Alignment Guides: W hile draw ing, the draw ing tool
w ill snap against nearby alignment guides.

lSnap and Align: W hen enabled, w hile you're draw ing, themouse cursor w ill automatically align to the rectangularbounding boxes of other strokes and shapes in your draw ing.

lSnap to Grid: W hile moving the selection, the mouse cursor w ill
snap against the intersecting points of the grid.

TIP
To display the grid, select View > Grid > Show Grid fromthe top menu or press Ctrl + '.

As you draw in the Line Art layer, the Automatically Create Colour Art
option instantly creates the corresponding strokes in the Colour Art
layer.
Automatically Create
Colour Art

By default, w hen draw ing on a vector layer, each new stroke is createdas a separate draw ing object, w hich can be edited independently fromother parts of the artw ork. W hen enabled, the Auto-Flatten option
automatically merges strokes into existing artw ork.
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Chapter 4: Tools Properties

Icon

Property

Description

NOTE
Using the Select tool, you can use select and remove a segment offlattened pencil lines. Overlapping pencil lines draw n w ith theAuto-Flatten mode are essentially cut into segments by theoverlap and can be treated as individual lines.

Use Stored Colour
Gradient

The Use Stored Colour Gradient option can be used w hen painting w ith
a gradient colour to alw ays position the gradient in the same w ay it w asstored, making it consistent across brush strokes. You can store a
gradient by selecting a zone painted w ith a gradient w ith the Select tool,
then clicking on Store Colour Gradientin the Tool Properties view .

W hen enabled, the ellipsis tool w ill alw ays draw an ellipsis of equal
w idth and height, making it a perfect circle.
Draw Circle

TIP
You can also draw a perfect circle by holding the Shift key w hiledraw ing.

Pencil Properties Dialog
The Ellipse tool draw s the same type of line as the Pencil tool. Hence, you can configure the Ellipse tool's lines
using the Pencil Properties dialog, w hich you can open by clicking on the arrow button right of the stroke
display area in the Tool Properties view .

Size and Smoothness Tab
The Size and Smoothness tab allow s you to select your pencil's size, its smoothing parameters as w ell as theshape of its tips and corners.

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Property

Description

Maximum Size

Defines the maximum size of the pencil line. If the tool is used w ith a pressure
sensitive pen tablet, the w idth of the stroke w ill vary betw een its maximum size andminimum size depending on the amount of pressure used. If used w ith a mouse, thew idth of the stroke w ill alw ays be its maximum size.

Minimum Size

Defines the minimum size of your stroke as a percentage of the maximum size. If you
do not have pressure sensitivity from a pen table, the minimum size value w ill beignored.

Proportional to Camera

If you check this option, the size of the pencil w ill be adjusted to the position of thecamera on the z-axis. This means that if the camera is zoomed in on the scene, thepencil w ill be proportionally smaller so that it appears the same size in the rendered
image. Likew ise, if the camera is zoomed out, the pencil w ill be proportionally bigger.

Centerline Smoothing

Defines the amount of smoothing Harmony should perform on the central line of thepencil stroke. A higher setting w ill prevent your line from being shaky and w ill reduce
the amount of control points it has, making it easier to tw eak, but is liable to reducedraw ing precision and turn sharp angles into curves.

Defines the amount of smoothing Harmony should perform on the outer contour ofthe pencil stroke.

Contour Smoothing

A pencil line is defined by its centreline and its variations in thickness, rather than its
apparent shape. W hen draw ing a pencil line w ith a mouse, its thickness is uniform.
Therefore, its outer contour does not have any control point, except at its extremities,
and no smoothing is required for its contour.
How ever, w hen draw ing a pencil line w ith a pressure sensitive tablet, its contour w ill
have control points and Bezier curves to define the line's variations in thickness, and1041

Chapter 4: Tools Properties

Property

Description

thus smoothing must be performed on its contour. An increased contour smoothing
w ill reduce the amount of control points on the line's thickness and smoothen its
curves, but may affect the precision of the variations in line thickness.

You can adjust the start, end, and join style of a pencil line.

Shape

l

Start: Lets you select the style of the start tip, w hich is the first tip you drew .
You can choose betw een Round or Flat style.

lEnd: Lets you select the style of the end tip, w hich is the last tip you drew .
You can choose betw een Round or Flat style.

lJoin: Lets you select the joint style. The joints are w here the line curves
abruptly. You could also define the Join style as the corner style. You canchoose betw een Round, Mitre and Bevel style.

Texture Tab
In the Pencil Properties view , the Texture tab allow s you to select a pencil texture from the currently selected
pencil texture palette to use w ith the Pencil tool. You can also add, remove or rename textures, save thecurrent pencil texture palette as the default one, or import the pencil texture palette into your scene.
The pencil texture palette used in the Texture tab of the Pencil Properties dialog is the one selected in the
Colour view . You can select a pencil texture palette by selecting it from the pencil texture palette list in the
Colour view —see Colour View on page 1261.

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Icon

Property

Description

This option is available from the menu
Use as Default Pencil
Texture Palettebutton. Sets the currently

selected pencil texture palette as the default pencil texture palette inyour user preferences. The default pencil texture palette is added toevery scene you create in Harmony. The palette is copied in yourpreferences, so it w ill be added to your new scenes in the exact state it
is w hen you make it the default pencil texture palette.

Reload Default Texture
PaletteNew Texture

Imports the default pencil texture palette as a new pencil texture
palette into your scene's palette list, and selects it as the current pencil
texture palette.

Allow s you to import an image file into a new pencil texture sw atch inthe current pencil texture palette. The pencil texture's effect on yourpencil line w ill be based on the image's transparency channel, and w illfollow your pencil lines on its horizontal axis. This option is alsoavailable from the menu

Delete Texture

Rename Texture

Pencil Texture Display

button.

Deletes a pencil texture sw atch from the current pencil texture palette.
This option is also available from the menu

button.

Renames the selected pencil texture sw atch in the current pencil
texture palette. This option is also available from the menu

button.

Displays the pencil textures in the current pencil texture palette and1043

Chapter 4: Tools Properties

Icon

Property

Description

allow s you to select one to use w ith the Pencil tool.

Pencil Texture Palette

Displays the name of the currently selected pencil texture palette, forreference. To select a different pencil texture palette, you must select itin the Colour view —see Colour View on page 1261.

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Envelope Tool Properties
Selecting the Envelope tool displays its properties and options in the Tool Properties view .

Icon

Tool Name

Description

Increase the w idth and height values to add more columns and row s to thedeformation grids.

W idth andHeight

Sets the selection mode to Lasso, w hich allow s you to select multiple items bydraw ing a lasso around them.
Lasso

TIP
W hen this option is enabled, you can press and hold the Alt key totemporarily use Marquee mode.

Marquee

Sets the selection mode to Marquee, w hich allow s you to select multiple items
by draw ing a rectangle around them.

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Chapter 4: Tools Properties

Icon

Tool Name

Description

TIP
W hen this option is enabled, you can press and hold the Alt key totemporarily use Lasso mode.

Allow s you to enable or disable snapping for this tool and all other animationand draw ing tools that support snapping, as w ell as to select w hich types ofsnapping are enabled.
If you double-click or long-click on this button, it w ill open a pop-up menu in
w hich you can toggle different snapping modes. You can also click on thisbutton to toggle it off, w hich w ill disable all snapping modes, and click on it
again and toggle it on to re-enable the snapping modes w hich w ere previously
enabled.
This tool supports the follow ing snapping modes:

SnappinglSnap to Contour: W hile moving the selection or one of its control
points, it w ill snap against the nearby points and contours of yourartw ork, allow ing you to snap parts of your artw ork together.

lSnap to Alignment Guides: W hile moving the selection or one of its
control points, it w ill snap against nearby alignment guides.

lSnap and Align: W hen enabled, w hile moving a selection, therectangular bounding box of the selection w ill snap to the rectangularbounding box of any other draw ing stroke in the draw ing, allow ing you
to align draw ing strokes laterally.

lSnap to Grid: W hile moving the selection, the mouse cursor w ill snap
against the intersecting points of the grid.

TIP
To display the grid, select View > Grid > Show Grid from the top
menu or press Ctrl + '.

Show Advanced
Controls

To display more controls,you can click on the Show Advanced Controls button.

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Icon

Tool Name

Description

Allow s you to perform draw ing operations on both the Line Art and Colour Art
layers of your draw ing simultaneously.
Apply to Lineand Colour Art

NOTE
If you have Overlay and Underlay Art layers enabled, they w ill also beaffected w hen this option is enabled.

Flip Horizontal

Flips the current selection horizontally.

Flip Vertical

Flips the current selection vertically.

Rotate 90
Degrees CW

Rotates the current selection 90 degrees clockw ise.

Rotate 90
Degrees CCW

Rotates the current selection 90 degrees counter-clockw ise.

SmoothYou can modify the central line smoothness of your line using this option. Thisparameter smooths the deformed lines. Increasing the value w ill result in asmoother line w ith few er control points. The more you increase the value, theless details and curves you w ill get. Use the left and right arrow s to increment
the value by one full unit. Use the Up - Dow n slider to quickly increment thevalue.

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Chapter 4: Tools Properties

Eraser Tool Properties
The Eraser tool allow s you to erase artw ork by draw ing eraser strokes over it. W hen using the Eraser tool w ith
a tablet, it is pressure sensitive, like w ith the Brush and Pencil tool.

How to access the Eraser tool properties
1. In the Tools toolbar, select the Eraser

tool.

The tool's properties are displayed in the Tool Properties view .

Eraser Properties
The w ay the Eraser tool is configured is almost identical to the w ay the Brush tool is configured.
Property

Description

The Preview area lets you see a preview of the stroke your draw ing tool w ill make.
Stroke Preview Area

Eraser Properties
Dialog

The arrow button right of the display area opens the Eraser Properties dialog, w hichgives you access to all the parameters and options for your eraser. The Tool Properties

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Property

Description

view only gives you access to a few of the eraser properties, a list of eraser presets andoptions for the Eraser tool that are not related to the eraser properties. For more
information on the Eraser Properties dialog, see the Eraser Properties Dialog section
below .

Defines the maximum size of the eraser.
Maximum Size

Flow

If the tool is used w ith a pressure sensitive pen tablet, the w idth of the stroke w ill vary
betw een its maximum size and minimum size depending on the amount of pressureused. If used w ith a mouse, the w idth of the stroke w ill alw ays be its maximum size.

Lets you set the opacity for each instance of the eraser tip that gets erased from yourartw ork. Contrary to the Opacity parameter, the flow parameter has a cumulative effect.
This means that a low er flow w ill make your eraser strokes less effective tow ards its
extremities and more effective in its center. Your stroke's flow w ill also accumulate if
you draw over it. By default, your eraser's flow varies w ith the amount of pressure you
put on your tablet pen.

NOTE
This option is only displayed in the Tool Properties view w hen draw ing on abitmap layer.

The Opacity parameter are w here Lets you set the opacity of your brush strokes.
Contrary to the Flow parameter, the Opacity parameter is non-cumulative. Your w holebrush stroke's opacity w ill not exceed the Opacity parameter. By default, the Opacity
parameter varies depending on the amount of pressure you put on your tablet pen.
Opacity

NOTEThis option is only displayed in the Tool Properties view w hen draw ing on abitmap layer.

Eraser Presets
These options allow you to select, create and manage eraser presets.

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Chapter 4: Tools Properties

Icon

Property

Description

Presets list

By default, Harmony has preloaded eraser presets. You can also
create your ow n eraser presets by configuring your eraser, thensaving its properties into a new preset. It is also possible to export
and import eraser presets.

New Brush Preset

Creates a new preset based on the current tool properties.

Delete Brush

Deletes the currently selected preset.

Rename Brush

Allow s you to rename the currently selected preset.

Import Brushes

Allow s you to import brush presets exported from Harmony.

Export Brushes

Allow s you to export your brush presets into an .xml file.

Small Thumbnail

Displays presets in a grid of small thumbnails w ith a preview of theirtip.

Large Thumbnail

Displays presets in a grid of big thumbnails, w ith their name and apreview of their tip.

Stroke View

Displays presets in a list, w ith their name and a preview of a stroke
done w ith each preset.

Erasing Options
These options affect the w ay your eraser strokes are applied to your artw ork.
Icon

Property

Description

Allow s you to perform draw ing operations on both the Line Art andColour Art layers of your draw ing simultaneously.
Apply to Line andColour Art

NOTE
If you have Overlay and Underlay Art layers enabled, they w illalso be affected w hen this option is enabled.

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Icon

Property

Description

W hen you erase part of a pencil line, this option determines the shape ofthe extremity of the pencil line w here you erased:lRound: Leaves a round tip at the extremities of the pencil
line you erased.

l

Flat: Leaves a flat tip at the extremities of the pencil line you
erased. A flat tip is alw ays perpendicular to the angle of thecentreline of the pencil line, so it may not match the angle of youreraser stroke.

Tip Stylel

Bevel: Leaves a bevel tip at the extremities of the pencil line
you erased. A bevel tip is flat, but its angle matches the angle ofyour eraser stroke.

Allow s you to enable or disable snapping for this tool and all otheranimation and draw ing tools that support snapping, as w ell as to selectw hich types of snapping are enabled.

Snapping

If you double-click or long-click on this button, it w ill open a pop-up
menu in w hich you can toggle different snapping modes. You can also
click on this button to toggle it off, w hich w ill disable all snapping
modes, and click on it again and toggle it on to re-enable the snapping
modes w hich w ere previously enabled.
This tool supports the follow ing snapping mode:lSnap to Alignment Guides: W hile erasing, the eraser w ill snap1051

Chapter 4: Tools Properties

Icon

Property

Description

against nearby alignment guides.

Apply to Synced
Draw ing Layers

If the currently selected layer is synced w ith another layer, the tool w ill
w ork on both the current layer and its synced layer.

Eraser Properties Dialog
Erasers have an extensive set of options and properties that are not displayed in the Tool Properties view , butrather, in a dialog you can access from it. To open the Eraser Properties dialog, click on the arrow button rightof the stroke display area.

The Eraser Properties dialog has five different tabs, minus the Smoothing tab if you are w orking on a bitmap
layers. Below is detailed information about the options available in each tab:l

Tip Tab on page 1052

lSmoothing Tab on page 1059lTransparency Tab on page 1060l

Dual Tip Tab on page 1063lPaper Texture Tab on page 1067

Tip TabThe Tip tab allow s you to configure the shape, size, hardness and spacing of your eraser tip.

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Property

Description

Allow s you to select betw een one of the follow ing eraser types:

Eraser Typel

Solid Vector: Simply cuts out the eraser stroke's shape from the vector artw ork.
A solid vector eraser alw ays completely erase the artw orks leaving hard seams.

lTextured Eraser: Allow s to configure the eraser w ith the same options as w ith
a textured brush. A textured eraser w ill decrease the opacity of bitmap texturesin textured brush strokes if it doesn't completely erase it. If it completely erases
a brush stroke, it w ill cut out the erased part from the vector artw ork.

lTextured, Preserve Vector: Like a Textured Eraser, except that it w ill not cut
out from the vector shapes, even if it fully erases pixels in a textured brushstroke's texture.

NOTE
Textured erasers only w ork as expected on textured brush strokes. Using a
Textured eraser on a solid vector brush stroke or on a pencil line w ill only cut theeraser stroke's shape out of it. If you use a Textured, Preserve Vector type eraser
on a solid vector shape or on a pencil line, the eraser w ill not erase anything.

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Chapter 4: Tools Properties

Property

Description

NOTE
This option is not available w hen w orking on a bitmap layer. W ith bitmap layers,erasers are alw ays textured, and textured eraser options are alw ays available.

Eraser Tip LibraryThis is w here you select the shape of the eraser tip. By default, it is round. Note thatsome tips are designed to have semitransparent areas, even w hen the maximum eraser
opacity is set to 100%.
To create a custom eraser tip, you must prepare the file ahead of time, either inHarmony or in a third-party softw are, such as Adobe Photoshop. Colour is notsupported and transparency is not supported in the traditional sense. Black appears as
100% opaque, w hite appears as 100% transparent and all the shades of grey inbetw een appear as varying degrees of semitransparency. A range of file formats aresupported—.jpeg, .png, .tif, .psd, .tga to name a few . Alpha channels are disregardedon import. It is recommended that your file be betw een 100 x 100 pixels and 400 x 400
pixels.
You can also import eraser tips that you exported from Harmony, so you can sharethem w ith colleagues.

The minimum and maximum sizes of your draw ing tool produce the thick and thineffect on your stroke. This w orks w ith the pressure sensitivity of a pen tablet.

Minimum andMaximum SizelMaximum Size: Defines the maximum w idth of the stroke.

l

Minimum Size: Defines the minimum w idth of the stroke in relation to and as apercentage of the maximum size.

You can control the size properties by clicking on the arrow button on right and the
dialog box w ill appear as show n below .

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Property

DescriptionlPressure: Allow s you to apply more pressure and increases the size of thebrush. You can check the box to invert this behaviour.

l

Tilt: Allow s you to tilt the pen closer to tablet for a bigger stroke. You can checkthe box to invert this behaviour.

l

Speed: Allow s you to reduce the size of the stroke by draw ing at a fast speed.
You can check the box to invert this behaviour.

l

Speed Sensitivity: A slider is used to control how fast must the stroke bedraw n to reach the minimum value.

lTaper: Allow s you to reduce the value of a property at the start or the end ofeach stroke. The value can be expressed using tw o options: Distance andPercentage. Distance is selected by default. For example: A taper of 200 w ill
be the same length as the w idth (diameter) of a stroke that has its size set at200.

You can enable Start and End Tapering option individually.
lStart Taper: W hen distance is selected as a Taper value, the effect of starttaper can be visualized as the stroke is draw n.

l

End Taper: W hen distance or percentage is selected as a Taper value, theeffect of end taper can be visualized once the stroke is complete and vectorized
as the length is unknow n until the stroke is complete.

l

Fade Distance: Allow s you to fade the value of property over a given distance.
It uses the same units as the size and is applied as the stroke is draw n.

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Chapter 4: Tools Properties

Property

DescriptionlSize Proportional to Camera: If you check this option, the size of the w ill be
adjusted to the position of the camera on the z-axis. This means that if thecamera is zoomed in on the scene, the w ill be proportionally smaller so that it
appears the same size in the rendered image. Likew ise, if the camera is zoomed
out, the w ill be proportionally bigger.

NOTE
Setting the Minimum Size value to 100% eliminates the possibility of creating
w idth variation on your stroke. In other w ords, you w ould be forcing a uniform line
w idth using the Maximum Size value.

Proportional to Camera

If you check this option, the size of the eraser w ill be adjusted to the position of thecamera on the z-axis. This means that if the camera is zoomed in on the scene, theeraser w ill be proportionally smaller so that it appears the same size in the rendered
image. Likew ise, if the camera is zoomed out, the eraser w ill be proportionally bigger.

The Roundness and Angle parameters allow you to change the shape and orientationof the tip.
lRoundness: The vertical scaling to apply to the tip. Reducing this setting
squashes the tip vertically, allow ing you to turn round or square tips into flat
tips.

l

Roundness and Angle

Angle: The angle at w hich to rotate the brush tip, counterclockw ise.

NOTE
The squashing is not relative to the angle—if the tip is rotated, the squashing w ill
still be done relative to the tip's original orientation.

If your pen and tablet support tilt sensitivity, this option allow s you to set w hether youreraser takes your pen's tilt angle in account, and how much.
Pen Tilt Sensitivity

W hen your pen is fully tilted, your eraser tip w ill be stretched by the percentage you
set in this parameter, in the angle in w hich you tilt it. For example, if you set the Pen Tilt
Sensitivity to 50%, and you tilt your pen all the w ay up or dow n, your eraser tip w ill be
stretched vertically by 50%. W ith the same setting, if you tilt your pen all the w ay leftor right, your eraser tip w ill be stretched horizontally by 50%.

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Property

Description

If enabled, and if your pen and tablet support tip rotation, your eraser tip w ill rotate
w ith the angle of your pen tip.

Use Pen Rotation

The Hardness and Spacing parameters allow you to change the softness and spacingof the marks made by the eraser tip. You can preview the hardness and spacing at the
top of the Eraser Properties w indow , stroke preview area.

Hardness

Spacing

The hardness value corresponds to the softness of the eraser tip's edges. The low er
the value, the softer the tip edge. The higher the value, the sharper the tip edge. Be
aw are that some eraser tips are not 100% opaque, so they w ill alw ays appear
somew hat soft, even at 100% hardness.

Defines the amount of space betw een each stamp of the eraser. A value of 100% sets
the stamp marks edge to edge, if there is no w hite space around the shape. The larger
the value, the greater the space betw een marks. A really large value can make theeraser stroke appear as a string of individual marks. Conversely, a small spacing value
w ill give the appearance of a fluid brush stroke.
Spacing is only evident w hen making a continuous stroke.

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Chapter 4: Tools Properties

Property

Description

Randomness

The Randomness parameters let you create a varied bitmap eraser stroke. Refining
these options can give your stroke a lovely, non-mechanical look.

You can create variation betw een the thick and thin of your eraser stroke just by setting
the Maximum and Minimum Size values. If you add randomness to the mix, pressure
sensitivity from your draw ing tablet w ill still be applied. Light pressure w ill create
random values around the minimum, w hile heavy pressure w ill create random values
closer to the maximum. The larger the percentage, the larger the range of randomvariation.

Random Size

NOTE
Setting the Minimum Size to 100% eliminates the possibility of creating w idthvariation on your stroke, w hether you are applying randomness or not. Therefore,
you w ould be forcing a uniform line w idth using the Maximum Size value.

Random Angle

Sets the range for random rotation around the set Angle value. For example, if theAngle is set to 45° and the Random Angle set to 10°, the softw are w ill choose values
betw een 40°–50° (plus or minus 5 degrees, equaling a total of 10 degrees).

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Property

Description

Sets the range for random spacing around the set Spacing value. For example, if theSpacing is set to 50% and the Random Spacing is set to 10%, then Harmony w illchoose values betw een 45%–55% (plus or minus 5 percent, equaling a total of 10
percent).

Random Spacing

Smoothing Tab
The Smoothing tab contains options to configure how Harmony should automatically smooth your eraser
strokes as you paint.

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Chapter 4: Tools PropertiesNOTE
The Smoothing tab is only available w hen w orking on a vector layer, as bitmap layers do notsupport smoothing.

Property

Description

Centerline Smoothing

Defines the amount of smoothing Harmony should perform on your eraser stroke's
direction, curves and corners. A higher setting w ill prevent your line from being
shaky, but is liable to reduce draw ing precision and turn sharp angles into curves.

Contour Smoothing

Defines the amount of smoothing Harmony should perform on outer contour of theeraser stroke. A higher setting w ill round sharp corners and reduce the amount ofcontrol points for the resulting vector shape.

Transparency Tab
The Transparency tab allow s you to decide if your eraser has antialiasing as w ell as to set its flow and opacity
settings.

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NOTE
The Transparency tab's options are only available on vector layers if the Eraser Type option of the
Tip tab is set to Textured Vector or Textured, Preserve Vector.. On bitmap layers, those options
are alw ays available.

Property

Description

Enabled by default. This option causes the contours of the eraser strokes toblend w ith the surrounding colours, to create an illusion of smoothness
otherw ise not possible due to the picture resolution.

Antialiasing

If antialiasing is disabled, the eraser w ill either fully erase pixels or leave themintact.

NOTE
W hen disabled, all other options in the Transparency tab are disabled.

The Maximum and Minimum Flow parameters let you set the range for the rate
at w hich your eraser's effect flow s. The greater the flow , the more consistent theeffect is. If the flow is light, then the effect may look spotty. This feature w orks
w ith the pressure sensitivity of a pen tablet.
l

Maximum Flow: Sets the maximum rate at w hich colour and texture areapplied as you create a fluid stroke.

l

Minimum Flow: Sets the minimum rate at w hich colour and texture areapplied as you create a fluid stroke. It is defined as a percentage of theMaximum Flow value. If the Minimum Flow value is set to 100%, thentablet pressure sensitivity w ill no longer be applicable. The flow w ill be
set to the constant rate of the Maximum Flow value.

Maximum and Minimum Flow

Maximum Opacity and
Minimum Opacity

The Maximum and Minimum Opacity parameters are w here you set the opacity
range for a eraser mark. This w orks w ith the pressure sensitivity of a pen tablet.
l

Maximum Opacity: Sets the transparency limit of the eraser mark w hen
the pressure is heavy.

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Chapter 4: Tools Properties

Property

DescriptionlRandomness

Minimum Opacity: Sets the transparency limit of the eraser mark w hen
the pressure is very light. It is defined as a percentage of the Maximum
Opacity value. If the Minimum Opacity value is set to 100%, then tablet
pressure sensitivity w ill no longer be applicable. The opacity w ill be set
to the constant rate of the Maximum Opacity value.

Th Randomness parameter lets you set the range for the randomness of the flow
and opacity. This w orks w ith the pressure sensitivity of a pen tablet.

You can create variation in the flow of your eraser stroke just by setting theMaximum and Minimum Flow values. If you add randomness to the mix, pressure
sensitivity from your draw ing tablet w ill still be applied. Light pressure w illcreate random values around the minimum, w hile heavy pressure w ill create
random values closer to the maximum. The larger the percentage, the larger therange of random variation.

Randomness Flow

NOTE
Setting the Minimum Flow value to 100% eliminates the possibility ofcreating flow variation on your stroke, w hether you are applying
randomness or not. That is, you w ould be forcing a uniform flow using theMaximum Flow value.

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Property

Description

You can create variation in the opacity of your eraser stroke just by setting theMaximum and Minimum Opacity values. If you add randomness to the mix,pressure sensitivity from your draw ing tablet w ill still be applied. Light pressure
w ill create random values around the minimum, w hile heavy pressure w ill create
random values closer to the maximum. The larger the percentage, the larger therange of random variation.

Random Opacity

NOTE
Setting the Minimum Opacity value to 100% eliminates the possibility ofcreating opacity variation on your stroke, w hether you are applying
randomness or not. That is, you w ould be forcing a uniform opacity using
the Maximum Opacity value.

Dual Tip Tab
The Dual Tip tab lets you set the parameters for creating a dual tip eraser. The primary bitmap eraser tip andthe dual tip alw ays w ork together. You can set the parameters for the primary tip in the Tip tab and those forthe dual tip in the Dual Tip tab. The Blend mode you select determines how the tips are combined.
By default, the Blend Mode is set to Multiply and the Random Angle to 360°.

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Chapter 4: Tools Properties

NOTE
To use a Dual Tip, you must enable option by checking the checkbox inside the Dual Tip tab.
Additionally, if you are w orking on a vector layer, the Eraser Type option of the Tip tab must be set
to Textured Vector or Textured, Preserve Vector.

Tool Name

Description

Enable/Disable

The checkbox inside the tab allow s you to decide w hether or not your eraser uses adual tip. If this checkbox is unchecked, the options in the Dual Tip tab w ill bedisabled.

Blend Mode

The Blend modes let you decide how the primary tip and the dual tip are combined.

Multiply

This is the default blend mode. W hen the tw o eraser tips are combined in this mode,
they essentially cut each other out in overlapping areas, w here one or both tips havean area of 100% transparency. The less opaque the eraser tips are, the lighter their1064

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Tool Name

Description

combination.

Colour Dodge

In this mode, the primary tip cuts out the shape of the dual tip. W here the tip shapes
overlap, w ithin the boundaries of the primary shape, the colour and opacity appear
darker.

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Chapter 4: Tools Properties

Tool Name

CombineDescription

This mode treats the tw o tips as tw o different and separate erasers that have thesame colour and follow the same path.

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Tool Name

Description

Paper Texture Tab
The Paper Texture tab lets you configure a paper-like texture for your eraser. You can also add textures byimporting image files, or import paper textures that w ere previously exported from Harmony.

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Chapter 4: Tools Properties

NOTE
To use a Paper Texture, you must enable option by checking the checkbox inside the Paper
Texture tab. Additionally, if you are w orking on a vector layer, the Eraser Type option of the Tip
tab must be set to Textured Vector or Textured, Preserve Vector.

Property

Description

Enable/Disable

The checkbox inside the tab allow s you to decide w hether or not your eraser uses apaper texture. If this checkbox is unchecked, the options in the Paper Texture tab w ill
be disabled.

Texture Scale

Increase or decreases the size of the paper texture.

Additive

This option layers the texture on top of itself as you scribble overlapping lines in one
continuous stroke. If this option is turned off, areas of overlapping lines from a single,
continuous stroke w ill appear the same, in terms of darkness and texture, as non-

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Property

Description

overlapping areas.

This option defines the w ay separate, overlapping strokes behave. If this option isenabled, the paper texture's position does not change w ith each sw eep of the eraser.
If this option is disabled, each sw eep of the eraser produces a different texture
position. The texture orientation alw ays stays the same.

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Chapter 4: Tools Properties

Ink Tool Properties
W hen you select the Ink tool, its properties and options appear in the Tool Properties view .

Icon

Tool Name

Tool

Sets the selection mode to Lasso, w hich allow s
you to select multiple items by draw ing a lasso
around them.
Lasso

TIP
W hen this option is enabled, you canpress and hold the Alt key to temporarily
use Marquee mode.

Sets the selection mode to Marquee, w hich allow s
you to select multiple items by draw ing a rectangle
around them.
MarqueeTIP
W hen this option is enabled, you canpress and hold the Alt key to temporarily
use Lasso mode.

Show Inkable Lines

Highlights all pencil lines (no brush strokes) on theselected layer. Pencil line segments that are
already inked w ith the selected sw atch colour fromthe colour palette are also not highlighted.

Be Smart on Connecting Lines

As you hover and move the cursor acrossintersecting pencil lines, the path that you create
w ill be highlighted. W hen you click on your mouseor stylus the highlighted segments are inked. W ith
this option disabled, all the intersecting segmentsthat your cursor comes near w ill be highlighted
and become part of the selection, even if they w ere
not situated in the direction of the chosen path.

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NOTE
This option only w orks if the Ink tool is in
Hover mode.

Use this mode instead of the Hover Mode. In the
Hover Mode, any potentially inkable pencil line w ill
have its central vector line highlighted as the Inktool’s cursor hovers over it. Use Ctrl

Select Mode

(W indow s/Linux) or ⌘ (macOS) to toggle betw een
the tw o modes.

In the Paint tool properties, this option keeps aselection highlighted around the latest paintedzone after using the Paint, Repaint, Unpaint, orPaint Unpainted tool.

Select New ly Painted, Repainted,
and Unpainted Contours/LinesRaise

As you ink the pencil line, the segment w ill be
moved on top of the other intersecting strokes.
Disable this option for the line to be sent behind.
Hold dow n the Alt key to perform the opposite
operation as you ink.

Mitre

As you hover over tw o perpendicular or nearly
perpendicular segments, a highlighted path w ith acorner is created. Clicking on these highlighted
segments inks both segments and makes themappear as a single stroke w ith a corner or bend.
Options include: As Is, Round, Miter, and Bevel.

Tip StyleLets you customize the edge of the Ink tool.
Options include: Round, Flat, and Bevel.

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Inverse Kinematics Tool Properties
The IK tool has a series of different modes and options available in the Tool Properties view .

Mode
Mode

ButtonDescription

Enabled by default, this mode lets you click on any bone in acharacter and move it w ithout having to select the actual layer.
Bone Selection

W hen you disable this mode, you cannot move any bone except
the selected one. This allow s you to grab and rotate the selectedpart from many angles and locations. You can click completely
outside the character and move the pieces.

•

Simple Chain Mode: This is the default mode and w ill
only allow for the movement of parts attached to a single
chain up to the point of intersection. A single chain is astraight line w ith no secondary chain attached.

•

Direct Chain Mode: This mode allow s you to moveparts up a simple secondary chain to a principle chain, as
long as translation movement is possible (the principle
chain is attached to its ow n peg), but w ill ignore all
secondary chains. A direct chain is a single chain w hichgoes directly to the core.

Chain

•

All Chain Mode: This mode allow s you to move allparts attached to all chains in the IK skeleton. All chains areattached and move simultaneously w hen one part ismoved.

IK Manipulation

The main w orking mode for the IK tool. Enable this mode w hen
you w ant to animate and position a puppet.

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Ctrl + click (W indow s/Linux) or ⌘ + click (macOS) on a body partto select it. You do not need to select a part to be able to move it.

Apply IK Constraints

Lets you correct a part's position on a series of frames. For
example, if the character's foot is sinking into the floor, you cancorrect its position and angle over a series of frames.

Edit Min/Max Angle

Lets you set a rotation restriction on some of your parts, such as
elbow s, knees and ankles.

Bone Editing

Lets you fix the bone orientation on extremities, such as hands andfeet.

IK Options
Parameter

Description

IK Keyframe

Used in combination w ith the IK Constraints mode, this option determines thestarting frame of the constraint you w ill apply.

Ease ShapeW hile animating w ith the IK tool and before doing a movement, set an easingpreset so the motion is not so mechanical.
Before moving the part, select a preset from the Ease Shape menu:

If you select a new preset in the list and move the part again on the same

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keyframe, the easing w ill automatically update.

Selection
Parameter

Description

Enable Translation If Top of
Hierarchy
Used only on master pegs. This option is useful w hen you have this particluar
situation: You w ant the character to do a perfect split (sitting dow n w ith the legs
at right angles to the body or at the sides w ith the torso facing forw ards), then the
hip w ill need to translate and not just rotate on the spot. And since IK is all aboutrotation, you w ould select the hip layer and enable the translation option.

Enable Rotation

This option is enabled by default. The pivot disappears but you can still see thebone. W hen this option is disabled, the selected part cannot be rotated and w ill
remain in the same position. You can use this option to simulate an arm in aplaster cast.

Exclude from IK

This option lets you exclude certain parts of the puppet from the IK influence,such as the eyes and mouth.

IK Nails

These options let you temporarily fix a part of a character to a spot either intranslation or rotation, or enable maximum and minimum angle usage.

Stiffness

W hen a certain part is selected, you can apply a stiffness value to it. A different
stiffness value can be set to each body part individually. The greater the stiffness,the more difficult it is to make that part rotate, thereby rendering it stiff w hile theother parts continue to move freely on their joints.

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Line Tool Properties
The Line tool allow s you to quickly draw a line segment by dragging the mouse from its starting point to its
end point.

How to access the Line tool properties
1. In the Tools toolbar, select the Linetool.

The tool's properties are displayed in the Tool Properties view .

Pencil Properties
Just like other shape tools, this tool creates pencil lines. Hence, its tool properties are similar to the ones of thePencil tool and it can be used w ith pencil presets.

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Tool Name

Description

The Preview area lets you see a preview of the stroke your draw ing tool w ill make.
Preview Area

The arrow button right of the preview area opens the Pencil Properties dialog.

Pencil Properties
DialogSize

W hile the Tool Properties view only gives you access to a few of the pencil properties,
a list of pencil presets and other draw ing options, the Pencil Properties dialog gives youaccess to all the available options for your pencil's shape and texture. For more
information on the Pencil Properties dialog, see the Pencil Properties Dialog section
below .

Defines the w idth of the pencil line used to draw the line.

You can adjust the start, end, and join style of a pencil line.

Shape

l

Start: Lets you select the style of the start tip, w hich is the first tip you drew .
You can choose betw een Round or Flat style.

lEnd: Lets you select the style of the end tip, w hich is the last tip you drew . You
can choose betw een Round or Flat style.

lJoin: Lets you select the joint style. The joints are w here the line curves
abruptly. You could also define the Join style as the corner style. You can choose
betw een Round, Mitre and Bevel style.

Pencil Presets
These options allow you to select, create and manage pencil presets.

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Icon

Property

Description

Harmony provides a variety of pencil presets and thickness stencils andalso lets you create and save your ow n. It is a good idea to create andsave pencils w ith precise sizes and parameters w hen you draw for
efficiency and consistency.

Presets list

A thickness stencil saves the thickness information across the length ofthe line. W hen draw ing w ith a thickness stencil, the pressure sensitivityof the tablet is discarded. A thickness stencil can be used w hile draw ing,
or applied afterw ards.
You also have the possibility to apply different textures to your lines byeither using the default presets or to import your ow n.
You can export the pencil presets that you have created and importthose that others have created. This is a good w ay for you and project
collaborators to keep a consistent look for the project.

New Brush Preset

Creates a new preset based on the current tool properties.

Delete Brush Preset

Deletes the currently selected preset.

Open a menu that contains the follow ing options:l

New Brush Preset: Creates a new preset based on the current
tool properties.

lDelete Brush: Deletes the currently selected preset.

lRename Brush: Allow s you to rename the currently selected
preset.

lImport Brushes: Allow s you to import brush presets exported
from Harmony.

l

Export Brushes: Allow s you to export your brush presets into an.xml file.

l

Small Thumbnail: Displays presets in a grid of small thumbnails
w ith a preview of their tip.

lLarge Thumbnail: Displays presets in a grid of big thumbnails,
w ith their name and a preview of their tip.

lStroke View: Displays presets in a list, w ith their name and apreview of a stroke done w ith each preset.

Brush Presets Menu

Drawing Options
These options affect the w ay your draw ing strokes are added to your artw ork.

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Icon

Tool Name

Description

W hen enabled, your brush strokes w ill appear behind the existing artw ork.

Draw Behind

NOTEYour brush stroke w ill temporarily appear over your artw ork as you
draw it, until you release the mouse cursor or tablet pen.

Allow s you to enable or disable snapping for this tool and all otheranimation and draw ing tools that support snapping, as w ell as to selectw hich types of snapping are enabled.
If you double-click or long-click on this button, it w ill open a pop-up menu in
w hich you can toggle different snapping modes. You can also click on thisbutton to toggle it off, w hich w ill disable all snapping modes, and click on it
again and toggle it on to re-enable the snapping modes w hich w ere
previously enabled.
This tool supports the follow ing snapping modes:
SnappinglSnap to Contour: W hen enabled, w hile you're draw ing, the mouse
cursor w ill automatically snap to the nearby contours of existingartw ork, allow ing you to draw shapes that connect w ith other partsof your draw ing.

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Icon

Tool Name

Description

NOTE
If you draw a line w ith the Line tool and make its tip snap to acontour or another control point in your artw ork, they w ill belocked together. You can then manipulate both
simultaneously using theContour Editor tool. You canalso separate tw o draw ing strokes that have been snapped
together by selecting one of them w ith theSelect tooland moving it aw ay.

lSnap to Alignment Guides: W hile draw ing, the draw ing tool w ill
snap against nearby alignment guides.

lSnap and Align: W hen enabled, w hile you're draw ing, the mouse
cursor w ill automatically align w ith the edges of strokes and shapes
in your artw ork, allow ing you to draw shapes that align w ith parts ofyour draw ing.

l

W hen enabled, w hile you're draw ing, the mouse cursor w ill snap
against the intersecting points of the grid.

TIP
To display the grid, select View > Grid > Show Grid from the
top menu or press Ctrl + '.

As you draw in the Line Art layer, the Automatically Create Colour Art
option instantly creates the corresponding strokes in the Colour Art layer.
AutomaticallyCreate Colour Art

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Icon

Tool Name

Description

By default, w hen draw ing on a vector layer, each new stroke is created as aseparate draw ing object, w hich can be edited independently from otherparts of the artw ork. W hen enabled, the Auto-Flatten option automaticallymerges strokes into existing artw ork.

Auto-Flatten Mode

NOTE
Using the Select tool, you can use select and remove a segment offlattened pencil lines. Overlapping pencil lines draw n w ith the AutoFlatten mode are essentially cut into segments by the overlap and canbe treated as individual lines.

W hen enabled, small gaps betw een the pencil lines you draw w ill be closed
by an invisible stroke to make sure your shapes are closed and that they canbe filled w ith the Paint tool.

Auto-Close Gap

Line Building Mode

W hen draw ing contours w ith pencil lines, the centreline is used todetermine w hether or not the contour is closed, but the visible tips of thepencil line w ill extend a bit beyond the tips of its centreline, making it
possible to have shapes that appear closed, but are not really. This canprevent the shape from being filled w ith the Paint tool. Enabling this option
w hen draw ing w ith the Pencil or Line tool w ill prevent you from leaving
invisible gaps in your contours.

The Line Building mode is very useful w hen draw ing long lines and curves
in small increments w ith pencil lines or the Line tool. As the pencil lines arecentral vector lines, it may be difficult to align the line tips perfectly tocreate a uniform stroke and close all gaps.

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Icon

Tool Name

Description

In this mode, you can draw lines in small increments and the tips are merge
into one single stroke.

NOTE
This mode only w orks w ith pencil lines or the line tool.

Use Stored Colour
Gradient

The Use Stored Colour Gradient option can be used w hen painting w ith agradient colour to alw ays position the gradient in the same w ay it w asstored, making it consistent across brush strokes. You can store a gradientby selecting a zone painted w ith a gradient w ith the Select tool, thenclicking on Store Colour Gradientin the Tool Properties view .

Draw s a straight line.
In this mode, you can draw curved lines w ith the follow ing method:
1. Draw the line by clicking and dragging from the start point to theend point of the line, but don’t release the mouse button or pen yet.

Straight Line Mode

2. W hile holding the mouse button or pen dow n, press and hold theCtrl (W indow s/Linux) or ⌘ (macOS) and move the mouse or pen to
define the line’s curve.

3. Once the line’s curve looks right, release the mouse button or pen.

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Icon

Tool Name

Description

This mode allow s you to draw s a simple curved (quadratic Bezier) line in
tw o clicks:
1. Draw the line by clicking and dragging from the start point to theend point of the line.

Curve Line Mode
2. Move the mouse or pen to define the curve of the line and click.

Draw s an S-shaped (cubic Bezier) line. This mode allow s you to draw lines
w ith finely tuned or even S-shaped curves w ith three clicks:
1. Draw the line by clicking and dragging from the start point to theend point of the line.

S Curve Line Mode

2. Move the mouse or pen to define the Bezier position of the
beginning of the line and click.

3. Move the mouse or pen to define the Bezier position of the end of
the line and click.

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Icon

Tool Name

Description

Pencil Properties Dialog
Since the Line tool draw s pencil lines, you can use the Pencil Properties dialog to customize the type of lines it
draw s. To open the Pencil Properties dialog, click on the arrow button right of the stroke display area.

Size and Smoothness Tab
The Size and Smoothness tab allow s you to select your pencil's size, its smoothing parameters as w ell as theshape of its tips and corners.

Property

Description

Maximum Size

Defines the maximum size of the pencil line. If the tool is used w ith a pressure1083

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Property

Description

sensitive pen tablet, the w idth of the stroke w ill vary betw een its maximum size andminimum size depending on the amount of pressure used. If used w ith a mouse, thew idth of the stroke w ill alw ays be its maximum size.

Minimum Size

Defines the minimum size of your stroke as a percentage of the maximum size. If you
do not have pressure sensitivity from a pen table, the minimum size value w ill beignored.

Proportional to Camera

If you check this option, the size of the pencil w ill be adjusted to the position of thecamera on the z-axis. This means that if the camera is zoomed in on the scene, thepencil w ill be proportionally smaller so that it appears the same size in the rendered
image. Likew ise, if the camera is zoomed out, the pencil w ill be proportionally bigger.

Centerline Smoothing

Defines the amount of smoothing Harmony should perform on the central line of thepencil stroke. A higher setting w ill prevent your line from being shaky and w ill reduce
the amount of control points it has, making it easier to tw eak, but is liable to reducedraw ing precision and turn sharp angles into curves.

Defines the amount of smoothing Harmony should perform on the outer contour ofthe pencil stroke.

Contour Smoothing

A pencil line is defined by its centreline and its variations in thickness, rather than its
apparent shape. W hen draw ing a pencil line w ith a mouse, its thickness is uniform.
Therefore, its outer contour does not have any control point, except at its extremities,
and no smoothing is required for its contour.
How ever, w hen draw ing a pencil line w ith a pressure sensitive tablet, its contour w ill
have control points and Bezier curves to define the line's variations in thickness, andthus smoothing must be performed on its contour. An increased contour smoothing
w ill reduce the amount of control points on the line's thickness and smoothen its
curves, but may affect the precision of the variations in line thickness.

You can adjust the start, end, and join style of a pencil line.

Shape
l

Start: Lets you select the style of the start tip, w hich is the first tip you drew .
You can choose betw een Round or Flat style.

lEnd: Lets you select the style of the end tip, w hich is the last tip you drew .
You can choose betw een Round or Flat style.

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Property

DescriptionlJoin: Lets you select the joint style. The joints are w here the line curves
abruptly. You could also define the Join style as the corner style. You canchoose betw een Round, Mitre and Bevel style.

Texture Tab
In the Pencil Properties view , the Texture tab allow s you to select a pencil texture from the currently selected
pencil texture palette to use w ith the Pencil tool. You can also add, remove or rename textures, save thecurrent pencil texture palette as the default one, or import the pencil texture palette into your scene.
The pencil texture palette used in the Texture tab of the Pencil Properties dialog is the one selected in the
Colour view . You can select a pencil texture palette by selecting it from the pencil texture palette list in the
Colour view —see Colour View on page 1261.

Icon

Property

Description

This option is available from the menu
Use as Default Pencil
Texture Palette

Reload Default Texture
Palettebutton. Sets the currently

selected pencil texture palette as the default pencil texture palette inyour user preferences. The default pencil texture palette is added toevery scene you create in Harmony. The palette is copied in yourpreferences, so it w ill be added to your new scenes in the exact state it
is w hen you make it the default pencil texture palette.

Imports the default pencil texture palette as a new pencil texture
palette into your scene's palette list, and selects it as the current pencil

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Icon

Property

Description

texture palette.

New Texture

Allow s you to import an image file into a new pencil texture sw atch inthe current pencil texture palette. The pencil texture's effect on yourpencil line w ill be based on the image's transparency channel, and w illfollow your pencil lines on its horizontal axis. This option is alsoavailable from the menu

Delete Texture

Rename Texture

Pencil Texture Display

Pencil Texture Palettebutton.

Deletes a pencil texture sw atch from the current pencil texture palette.
This option is also available from the menu

button.

Renames the selected pencil texture sw atch in the current pencil
texture palette. This option is also available from the menu

button.

Displays the pencil textures in the current pencil texture palette andallow s you to select one to use w ith the Pencil tool.

Displays the name of the currently selected pencil texture palette, forreference. To select a different pencil texture palette, you must select itin the Colour view —see Colour View on page 1261.

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Morphing Tool Properties
As you create and adjust your morphing sequences, you w ill often use the Tool Properties view . Using thisview allow s you to do things such as toggle betw een your key draw ings, adjust the easing or select a hint
type.

Icon

Tool Name

Description

The Hint Type drop-dow n menu allow s you to selectthe correct hint to remedy any problem areas in yourdraw ing.

Hint TypeYou can have more than one hint type in yourdraw ings. You can mix all of the hint types in yourmorphing sequence.

Do not Pick Transparency

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The Hide Hints button temporarily Temporarily hides
the hint points from the key draw ings. Use this option
w hen you have a series of hint points hiding somelines you w ould like to see.

Chapter 4: Tools Properties

Show Morphing in PlaceThe Show Morphing In Place option is used w ithmorphing layers. Enabling this option prevents thecurrently selected morphing layer from being show n
on top of the others and maintains the correct layerordering.

Suggest Hints

The Suggest Hints option is used to automatically set
Automatically sets hint points on key draw ings as ahelp tool. If you're not sure w here to set hints, you can
use this option. It w ill set the main hints w hich you canthen fine tune.

The Sw itch Betw een Draw ings button is used totoggle Toggles betw een the tw o key draw ings in yourmorphing sequence. This option is useful w hile setting
hints. You can use the default keyboard shortcut F4 totoggle betw een your draw ings.

Sw itch Betw een
Draw ings

The Flatten option is used w hen you have to morph asequence w ith a semi-transparent or transparent
colour in it.

Flatten

The Quality setting is used to make the lines of themorphed draw ings smoother. Adjust this parameterw hen you are doing an extreme close up of youranimation.

Quality

The Morphing Layers option is used w hen w orking
w ith morphing layers. You can add, remove andmanage your different morphing layers in this space.

Morphing Layers

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To create new draw ings, double-click on the blankarea under the From section to create the source
draw ing and the To section for the destination
draw ing and type a different value than the ones used
for the main layer.

Add Layer

Adds a new Morphing layer.

Delete Layer

Deletes the selected Morphing layer.

Move Up

Moves the new layer up in the stack.

Move Dow n

Moves the new low er up in the stack.

Indicates the start frame of the selected Morphing
layer.

Start

Indicates the end frame of the selected Morphing
layer.

Stop

The Easing option is used to adjust the starting andending velocity of your morphing sequence so that the
motion is smooth and not mechanical.
You can adjust the Ease In and Ease Out value by
dragging your cursor up and dow n or typing a newvalue. The values go from -1.0 to 1.0.

Ease in and Ease out

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The Convert Hints option is used to sw itch the type ofthe selected hint points. This option is useful w hen
you position hints and then realize they are not theright type. You can select them and convert them tothe correct type instead of deleting them and setting
new ones.

Convert Hints

Use the Morphing tool to select the hints and thenconvert them by going to the Tool Properties view andselecting the new hint type from the Convert Hints
drop-dow n menu.

The Time field is used to set the timing on Appearing
Point and Vanishing Point hints. These hints are used
to set the trajectory of appearing and vanishingobjects, W ith the Time field, select your Appearing
Point or Vanishing Point hint and type the frame
number on w hich the object w ill start its appearing orTimevanishing animation.

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Node Caching Toolbar
The Node Caching toolbar allow s you to control how nodes in your scene are cached.

Icon

ButtonDescription

Toggle Node's
Cache

Toggles the Cached property of every selected node on or off.

Show cachedpreview

Re-enables cache for every element or rig in your scene for w hich it w as
temporarily disabled.

Alw ays
Playback w ith
CachedPreview s

W hen toggled on, if you play your scene, the cache w ill be re-enabled for every
element for w hich it w as temporarily disabled.

W hen toggled on, selecting a node in the Timeline or Node view w ill disable
caching for this node, or for any node connected underneath it.
Disable Preview
Cache w hen
selecting nodes

NOTE
Selecting an element in the Camera view alw ays disables the cache forthis element and its children, regardless of w hether this option is enabledor disabled. This option only affects w hat happens w hen selecting in theTimeline or Node view .

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Paint Tool Properties
The Paint tool allow s you to fill closed areas of your draw ing w ith the selected colour.

How to access the Paint tool properties
1. In the Tools toolbar, select the Paint, Paint Unpainted, Repaint

or Unpainttool.

The tool's properties are displayed in the Tool Properties view .

Paint Tool Options
Icon

Property

Description

Allow s you to choose the method to visually select multiple elements:lLasso: Allow s you to select multiple elements by draw ing anirregular closed shape around them w ith your mouse.

lSelection Mode

Marquee: Allow s you to select multiple elements by draw ing a
rectangle around them. This is faster, as you only need to dragyour mouse from one corner of the rectangle to its opposite corner,
but it may not be as precise as you w ant.

TIP
You can press and hold the Alt key to temporarily use the otherselection mode.

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Icon

Property

Description

The Paint tool has four different modes:lPaint: Paints or repaints selected zones, w hether or not they
are already filled.

lPaint Mode

Paint Unpainted: Only paints empty zones, and does not
repaint zones that are already filled w ith colour.

lRepaint: Only paints zones that are already filled w ith colour,and does not fill empty zones.

l

Unpaint: Removes colour from the selected zone, replacing it
w ith transparency.

Paint and Remove
Textures

The Paint and Remove Texture option is used w hen you vectorized images
as greyscale texture style. An image vectorized as texture is a mix ofbitmap filling encapsulated in a vector-based frame. Painting a textured
zones w ith the Paint tool w ill change the tint of the textured lines.
Painting the textured zones using the Paint and Remove Texture option
transforms the bitmap filling into a 100% vector based zone and fills it
w ith a solid colour.

This option allow s you to select w hich layers the tool should affect. It canbe toggled on or off. W hen toggled on, it has tw o different modes. You
can select a mode by clicking and holding on the button.

Apply to Visible
Draw ing LayerslOff: W hen this button is toggled off, the tool only w orks on thecurrently selected layers. If several layers are selected, the tool
w ill w ork on all these layers simultaneously.

l

On W hen this button is toggled on, the tool w ill w ork on all thevisible layers.

l

Apply to Visible Drawing Layers: The tool w ill w ork on all thevisible layers in the Camera view .

lApply to Synced Drawing Layers: If the currently selected
layer is synced w ith another layer, the tool w ill w ork on both thecurrent layer and its synced layer.

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Icon

Property

Description

NOTE
This option only w orks in the Camera view .

This option allow s you to determine w hich draw ings in the current layer
the tool should affect. It can be toggled on or off. W hen toggled on, it has
tw o different modes. You can select a mode by clicking and holding on the
button.
ll

Off: W hen this button is toggled off, the tool only w orks on thedraw ing in the current frame.
Apply to All Frames: The tool w ill w ork on every exposeddraw ing in the selected layer simultaneously.

lApply to All Frames

Respect Protected
ColourUse Stored Colour
Gradient

Apply to Onion Skin Range: The tool w ill w ork on every
draw ing displayed in the Onion Skin. Onion Skin must be enabled
for this option to w ork.

The Respect Protected Colour option is enabled by default. In your Colour
view , you can protect some colour sw atches to avoid repainting or
unpainting the zones linked to that sw atch.
If you disable this option the Paint tool w ill not follow the protect colour
rule and w ill repaint or unpaint the protected colours on your draw ings
until you enable the option again.

W hen you paint a zone w ith a gradient or textured colour sw atch, thegradient or texture’s position is set relative to the size of the zone you are
painting. If you w ant the Paint tool to use a particular size and position,
you must first store your desired position and size using the Select tooland then enable the Use Stored Colour Gradient option in the Paint tool
properties.

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Icon

Property

Description

In the Paint tool properties, this option keeps a selection highlighted
around the latest painted zone after using the Paint, Repaint, Unpaint, orPaint Unpainted tool.
Select New ly
Painted, Repainted,
and Unpainted
Contours/Lines

By default, if you attempt to fill a shape that has a small gap in its contour,
the Paint tool w ill not be able to fill the shape. This option allow s you tomake the Paint tool automatically add a stroke to close the shape w hen it
detects a small gap betw een tw o strokes in the shape.
The Close Gap setting can be set to a value betw een 0 and 10. This
determines the maximum size of a gap to close, in pixels. You can also use
one of the follow ing presets:
Close Gapl

No Close Gap: Sets the Close Gap setting to 0, disabling thefeature.

l

Close Small Gap: Sets the Close Gap setting to 2, making the
Paint tool close gaps that are barely visible.

l

Close Medium Gap: Sets the Close Gap setting to 4, making
the Paint tool close gaps that are somew hat visible.

l

Close Large Gap: Sets the Close Gap setting to 8, making the
Paint tool close gaps that are easy to notice.

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Bitmap Options
Since bitmap draw ings are made of pixels instead of shapes, and that the outlines of shapes in bitmap
draw ings are often feathered, it can be complicated to figure out exactly the area the Paint tool must fill w hen
trying to fill a zone in a bitmap draw ing. For example, if the Paint tool only replaces pixels w ith the exact same
colour as the one you click on w ith the selected colour, it w ill leave a small gap near the outlines of the shape.

The follow ing settings determine how the Paint tool figures out the area it must fill. W hen any of thesesettings are increased, the Paint tool's tolerance for colour or alpha differences increases and it w ill a bigger
area that it otherw ise w ould.
Icon

Property

Description

Allow s you to select w hich art layer to use in order to determine thefillable zone. By default, this is set to Current Art, w hich means thelayer you are filling w ill be used to determine the fillable zone.
How ever, if you w ant to keep your colour art on the Colour Art layer
and the line art on the Line Art layer, you can set the Source to Line Art, and then use the Paint tool on the Colour Art layer. The Paint tool

Sourcew ill use the artw ork in the Line Art layer to determine the area to fill
w ith colour, but w ill still add this colour to the Colour Art layer.
This property has the follow ing options:llCurrent Art: Bases the zone to fill on the current art layer.
Line Art: Bases the zone to fill on the Line Art layer,
regardless of w hich layer you are painting on.

lColour Art: Bases the zone to fill on the Colour Art layer,
regardless of w hich layer you are painting on.

--

Alpha

The alpha threshold that separates opaque and transparent zones.
W hen filling a "transparent" zone, the paint tool w ill apply the colour
under semi-transparent pixels, making them opaque. Then filling an"opaque" zone, the paint tool w ill replace the colour of semitransparent pixels w ithout affecting their transparency.
If you w ant to repaint lineart or shapes that have no outlines, you cando so by decreasing this setting completely. This w ill make it fill any

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Icon

Property

Description

pixel that isn't 100% transparent, so it w ill paint your outlines
completely. How ever, if you're using this method to repaint outlines,
they must not be filled yet for this method to w ork.
If you w ant to paint transparent zones that have dirt or semitransparent spots, you can increase this setting to make the Paint tool
paint behind them instead of around them.

NOTE
Raising this setting too high may cause the paint tool to ignore
outlines that are not 100% opaque, w hich can cause it to think
the shape is not closed. Hence, it might fail to find a zone to fill
and not do anything.

--

Colour Tolerance

The amount of tolerance the paint tool has for changes in colour w hen
filling an area. Raising this setting w ill allow the paint tool to fill overareas that have some variations in colour, but may cause it to fillbeyond the areas you meant to paint.

The maximum amount of pixels beyond the fillable zone that the Paint
tool can fill.
W hen this setting is set to any value above zero, the paint tool w ill fill
the zone until it finds a pixel that is a different colour, value ortransparency as the one you clicked on. Then, it w ill start filling pixels
beyond that point, up until it filled the amount of pixels in the
Maximum Overlap setting.
--

Maximum Overlap

If it lands outside of a fillable zone before it reached the maximum
overlap, it w ill stop filling at that point. How ever, if it lands intoanother fillable zone before reaching its maximum overlap, it w ill fillthat zone as w ell. Therefore, if you're filling shapes inside othershapes, you have to set this setting to the approximate w idth of youroutlines. Setting it higher w ill make the colour spill beyond the zone
you clicked on and fill the zone outside of it, and setting it low er isliable to leave a small gap betw een the fill and the outlines.

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Icon

Property

Description

NOTE
W hen you fill a zone w ith overlap, Harmony tries to detect andpreserve the outlines of your shape. This is easy to do w hen
filling a transparent shape, or w hen repainting a shape made ofsolid outlines and a solid fill. How ever, if you are trying torepaint an already painted zone, it may fail to detect youroutlines and may repaint over them if the colour of youroutlines or inside the shape isn't consistent. Therefore, it ishighly recommended to avoid repainting painted zones as muchas possible w hen w orking w ith bitmap layers.

W hen enabled, the outlines of the fill w ill be smoothed so that they do
not look pixelated.

Antialiasing

NOTE
The effect of this setting w ill not be visible if you fill all the w ay
to the outlines, as the Paint tool w ill preserve the antialiasing ofexisting outlines w hen filling up to them.

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Pencil Tool Properties
The Pencil tool allow s you to draw simple contour lines that are defined by their centerline and their thickness.
W hen you select the Pencil tool, the Tool Properties view displays the different Pencil modes that control how
the pencil line is draw n.

How to access the Pencil tool properties
1. In the Tools toolbar, select the Pencil

tool.

The tool's properties are displayed in the Tool Properties view .

Pencil Properties
The follow ing properties affect the pencil's size, smoothing, shape and other properties for the draw ing styleof your pencil. Those properties can be saved into pencil presets for later use.
Property

Description

The Preview area lets you see a preview of the stroke your draw ing tool w ill make.
Preview Area

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Property

Description

The arrow button right of the preview area opens the Pencil Properties dialog.

Pencil Properties
DialogW hile the Tool Properties view only gives you access to a few of the pencil properties,
a list of pencil presets and other draw ing options, the Pencil Properties dialog gives youaccess to all the available options for your pencil's shape and texture. For more
information on the Pencil Properties dialog, see the Pencil Properties Dialog section
below .

Defines the maximum w idth of the pencil line.
Maximum Size

Centerline Smoothing

If the tool is used w ith a pressure sensitive pen tablet, the w idth of the stroke w ill vary
betw een its maximum size and minimum size depending on the amount of pressureused. If used w ith a mouse, the w idth of the stroke w ill alw ays be its maximum size.

Defines the number of control points added to the centre line. The few er the control
points the smoother (but less faithful) the line.

You can adjust the start, end, and join style of a pencil line.

Shape

l

Start: Lets you select the style of the start tip, w hich is the first tip you drew .
You can choose betw een Round or Flat style.

lEnd: Lets you select the style of the end tip, w hich is the last tip you drew . You
can choose betw een Round or Flat style.

lJoin: Lets you select the joint style. The joints are w here the line curves
abruptly. You could also define the Join style as the corner style. You can choose
betw een Round, Mitre and Bevel style.

Pencil Presets
These options allow you to select, create and manage pencil presets.

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Icon

Property

Description

Harmony provides a variety of pencil presets and thickness stencils andalso lets you create and save your ow n. It is a good idea to create andsave pencils w ith precise sizes and parameters w hen you draw for
efficiency and consistency.

Presets list

A thickness stencil saves the thickness information across the length ofthe line. W hen draw ing w ith a thickness stencil, the pressure sensitivityof the tablet is discarded. A thickness stencil can be used w hile draw ing,
or applied afterw ards.
You also have the possibility to apply different textures to your lines byeither using the default presets or to import your ow n.
You can export the pencil presets that you have created and importthose that others have created. This is a good w ay for you and project
collaborators to keep a consistent look for the project.

New Brush Preset

Creates a new preset based on the current tool properties.

Delete Brush Preset

Deletes the currently selected preset.

Open a menu that contains the follow ing options:l

New Brush Preset: Creates a new preset based on the current
tool properties.

lDelete Brush: Deletes the currently selected preset.

lRename Brush: Allow s you to rename the currently selected
preset.

lImport Brushes: Allow s you to import brush presets exported
from Harmony.

l

Export Brushes: Allow s you to export your brush presets into an.xml file.

l

Small Thumbnail: Displays presets in a grid of small thumbnails
w ith a preview of their tip.

lLarge Thumbnail: Displays presets in a grid of big thumbnails,
w ith their name and a preview of their tip.

lStroke View: Displays presets in a list, w ith their name and apreview of a stroke done w ith each preset.

Brush Presets Menu

Drawing Options
These options affect the w ay your draw ing strokes are added to your artw ork.

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Icon

Property

Description

W hen enabled, your brush strokes w ill appear behind the existingartw ork.

Draw Behind

NOTEYour brush stroke w ill temporarily appear over your artw ork as
you draw it, until you release the mouse cursor or tablet pen.

W hen enabled, draw ing a closed shape w ill automatically fill it w ith thecurrently selected Paint colour.

Auto Fill

TIP
By default the pencil line and its fill w ill be the same colour. To
select different colours for the line and its fill, do the follow ing:
1. In the Colour view , click the
2. Click on the

Unlock Three Colours button.

Set Current Pencil Colour sw atch. Then, inthe colour list, select the desired colour sw atch for youroutline.
3. Click on the

Set Current Paint Colour sw atch. Then, in thecolour list, select the desired colour sw atch for the fill.

W hen enabled, draw ing a closed shape w ill automatically remove theoutstanding lines.
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Icon

Property

Description

W hen the Trim Extra Lines option is enabled, enable this option to makethe point w here the beginning and end of the stroke meet into a smooth
curve rather than a hard corner.

Align Handles AfterTrim

As you draw in the Line Art layer, the Automatically Create Colour Art
option instantly creates the corresponding strokes in the Colour Art
layer.
Automatically Create
Colour Art

By default, w hen draw ing on a vector layer, each new stroke is createdas a separate draw ing object, w hich can be edited independently fromother parts of the artw ork. W hen enabled, the Auto-Flatten option
automatically merges strokes into existing artw ork.

Auto Flatten

NOTE
Using the Select tool, you can select and remove a segment offlattened pencil lines. Overlapping pencil lines draw n w ith theAuto-Flatten mode are essentially cut into segments by theoverlap and can be treated as individual lines.

Auto-Close Gap

W hen enabled, small gaps betw een the pencil lines you draw w ill beclosed by an invisible stroke to make sure your shapes are closed and1103

Chapter 4: Tools Properties

Icon

Property

Descriptionthat they can be filled w ith the Paint tool.
W hen draw ing contours w ith pencil lines, the centreline is used todetermine w hether or not the contour is closed, but the visible tips of thepencil line w ill extend a bit beyond the tips of its centreline, making it
possible to have shapes that appear closed, but are not really. This canprevent the shape from being filled w ith the Paint tool. Enabling thisoption w hen draw ing w ith the Pencil or Line tool w ill prevent you fromleaving invisible gaps in your contours.

Allow s you to enable or disable snapping for this tool and all otheranimation and draw ing tools that support snapping, as w ell as to selectw hich types of snapping are enabled.

Snapping

If you double-click or long-click on this button, it w ill open a pop-up
menu in w hich you can toggle different snapping modes. You can also
click on this button to toggle it off, w hich w ill disable all snapping
modes, and click on it again and toggle it on to re-enable the snapping
modes w hich w ere previously enabled.
This tool supports the follow ing snapping mode:lLine Building Mode

Snap to Alignment Guides: W hile draw ing, the draw ing tool
w ill snap against nearby alignment guides.

The Line Building mode is very useful w hen draw ing long lines andcurves in small increments w ith pencil lines or the Line tool. As the
pencil lines are central vector lines, it may be difficult to align the line
tips perfectly to create a uniform stroke and close all gaps.
In this mode, you can draw lines in small increments and the tips are
merge into one single stroke.

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Icon

Property

Description

NOTE
This mode only w orks w ith pencil lines or the line tool.

The Auto Adjust Thickness tool is useful w hen you w ant to render aportion of a line thicker. W hen tracing a draw ing on paper, you w ill often
go back to a section of a curve to make it thicker to add dynamism to theline. Using the Auto Adjust Thickness tool, you can draw highlightstrokes over the section to make thicker. Once you release the pen or
mouse, the line becomes thicker follow ing the shape and curve of theoriginal stroke. This w ay is much faster and smoother than using thePencil Editor tool. You do not have to add extra points and adjust theposition and Bezier handles.
Auto Adjust Thickness

The default overlay colour is light yellow . If this colour is difficult to see
because of the background or draw ing colour, you can adjust the colour.

Line Pushing Mode

The Line Pushing Mode option lets you draw highlight strokes overexisting pencil lines. You can reshape the curves. Depending how you
draw the pushing stroke over your line, the highlighted section w ill bereshaped in one direction or the other.
The default overlay colour is light yellow . If this colour is difficult to see
because of the background or draw ing colour, you can adjust the colour.

ColourYou can change the colour of the temporary strokes that appear in thedraw ing space w hen using the Line Pushing Mode or the Auto Adjust

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Icon

Property

Description

Thickness option by clicking on the Colour sw atch and selecting a newcolour in the Colour Picker dialog.

Pencil Properties Dialog
Pencils have extra parameters w hich are not accessible from the Tool Properties view . To open the Pencil
Properties dialog, click on the arrow button right of the stroke display area.

Size and Smoothness Tab
The Size and Smoothness tab allow s you to select your pencil's size, its smoothing parameters as w ell as theshape of its tips and corners.

Property

Description

Maximum Size

Defines the maximum size of the pencil line. If the tool is used w ith a pressure
sensitive pen tablet, the w idth of the stroke w ill vary betw een its maximum size andminimum size depending on the amount of pressure used. If used w ith a mouse, thew idth of the stroke w ill alw ays be its maximum size.

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Property

Description

Minimum Size

Defines the minimum size of your stroke as a percentage of the maximum size. If you
do not have pressure sensitivity from a pen table, the minimum size value w ill beignored.

Proportional to Camera

If you check this option, the size of the pencil w ill be adjusted to the position of thecamera on the z-axis. This means that if the camera is zoomed in on the scene, thepencil w ill be proportionally smaller so that it appears the same size in the rendered
image. Likew ise, if the camera is zoomed out, the pencil w ill be proportionally bigger.

Centerline Smoothing

Defines the amount of smoothing Harmony should perform on the central line of thepencil stroke. A higher setting w ill prevent your line from being shaky and w ill reduce
the amount of control points it has, making it easier to tw eak, but is liable to reducedraw ing precision and turn sharp angles into curves.

Defines the amount of smoothing Harmony should perform on the outer contour ofthe pencil stroke.

Contour Smoothing

A pencil line is defined by its centreline and its variations in thickness, rather than its
apparent shape. W hen draw ing a pencil line w ith a mouse, its thickness is uniform.
Therefore, its outer contour does not have any control point, except at its extremities,
and no smoothing is required for its contour.
How ever, w hen draw ing a pencil line w ith a pressure sensitive tablet, its contour w ill
have control points and Bezier curves to define the line's variations in thickness, andthus smoothing must be performed on its contour. An increased contour smoothing
w ill reduce the amount of control points on the line's thickness and smoothen its
curves, but may affect the precision of the variations in line thickness.

You can adjust the start, end, and join style of a pencil line.

Shape

l

Start: Lets you select the style of the start tip, w hich is the first tip you drew .
You can choose betw een Round or Flat style.

lEnd: Lets you select the style of the end tip, w hich is the last tip you drew .
You can choose betw een Round or Flat style.

lJoin: Lets you select the joint style. The joints are w here the line curves
abruptly. You could also define the Join style as the corner style. You canchoose betw een Round, Mitre and Bevel style.

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Texture Tab
In the Pencil Properties view , the Texture tab allow s you to select a pencil texture from the currently selected
pencil texture palette to use w ith the Pencil tool. You can also add, remove or rename textures, save thecurrent pencil texture palette as the default one, or import the pencil texture palette into your scene.
The pencil texture palette used in the Texture tab of the Pencil Properties dialog is the one selected in the
Colour view . You can select a pencil texture palette by selecting it from the pencil texture palette list in the
Colour view —see Colour View on page 1261.

Icon

Property

Description

This option is available from the menu
Use as Default Pencil
Texture Palette

Reload Default Texture
PaletteNew Texture

button. Sets the currently

selected pencil texture palette as the default pencil texture palette inyour user preferences. The default pencil texture palette is added toevery scene you create in Harmony. The palette is copied in yourpreferences, so it w ill be added to your new scenes in the exact state it
is w hen you make it the default pencil texture palette.

Imports the default pencil texture palette as a new pencil texture
palette into your scene's palette list, and selects it as the current pencil
texture palette.

Allow s you to import an image file into a new pencil texture sw atch inthe current pencil texture palette. The pencil texture's effect on yourpencil line w ill be based on the image's transparency channel, and w illfollow your pencil lines on its horizontal axis. This option is alsoavailable from the menu

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Icon

Property

Delete Texture

Rename Texture

Pencil Texture Display

Pencil Texture Palette

Description

Deletes a pencil texture sw atch from the current pencil texture palette.
This option is also available from the menu

button.

Renames the selected pencil texture sw atch in the current pencil
texture palette. This option is also available from the menu

button.

Displays the pencil textures in the current pencil texture palette andallow s you to select one to use w ith the Pencil tool.

Displays the name of the currently selected pencil texture palette, forreference. To select a different pencil texture palette, you must select itin the Colour view —see Colour View on page 1261.

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Pencil Editor Tool Properties
W hen you select the Pencil Editor tool, its properties and options appear in the Tool Properties view .

Icon

Tool Name

Description

Allow s you to choose the method to visually select multiple elements:lLasso: Allow s you to select multiple elements by draw ing
an irregular closed shape around them w ith your mouse.

Selection ModelMarquee: Allow s you to select multiple elements bydraw ing a rectangle around them. This is faster, as you only
need to drag your mouse from one corner of the rectangle to its
opposite corner, but it may not be as precise as you w ant.

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TIP
You can press and hold the Alt key to temporarily use the otherselection mode.

This option allow s you to select w hich layers the tool should affect. It
can be toggled on or off. W hen toggled on, it has tw o different modes.
You can select a mode by clicking and holding on the button.
l

Off: W hen this button is toggled off, the tool only w orks on thecurrently selected layers. If several layers are selected, the tool
w ill w ork on all these layers simultaneously.

Apply to Visible Draw ing
Layersl

On W hen this button is toggled on, the tool w ill w ork on all thevisible layers.

l

Apply to Visible Drawing Layers: The tool w ill w ork on all
the visible layers in the Camera view .

lApply to Synced Drawing Layers: If the currently selected
layer is synced w ith another layer, the tool w ill w ork on boththe current layer and its synced layer.

NOTE
This option only w orks in the Camera view .

Defines the maximum w idth of the pencil line.
Maximum Size

Minimum Size

If the pencil line has a constant size, this w ill define the w idth of thepencil line all over. If the pencil line has a varying size, this w ill define
the w idth of its larger areas. Areas that are in-betw een the maximum
and minimum size w ill be resized proportionally.

Defines the minimum w idth of the pencil line. If the pencil line has avarying size, this w ill define the w idth of its smaller areas. Areas thatare in-betw en the maximum and minimum size w ill be resized
proportionally.

You can adjust the start, end, and join style of a pencil line.

Shape

l

Start: Lets you select the style of the start tip, w hich is the first1111

Chapter 4: Tools Properties

tip you drew . You can choose betw een Round or Flat style.
lEnd: Lets you select the style of the end tip, w hich is the last tip
you drew . You can choose betw een Round or Flat style.

lJoin: Lets you select the joint style. The joints are w here theline curves abruptly. You could also define the Join style as thecorner style. You can choose betw een Round, Mitre and Bevel
style.

Harmony provides a variety of pencil presets and thickness stencils
and also lets you create and save your ow n. It is a good idea to createand save pencils w ith precise sizes and parameters w hen you draw for
efficiency and consistency.

Presets

A thickness stencil saves the thickness information across the lengthof the line. W hen draw ing w ith a thickness stencil, the pressure
sensitivity of the tablet is discarded. A thickness stencil can be used
w hile draw ing, or applied afterw ards.
You also have the possibility to apply different textures to your lines byeither using the default presets or to import your ow n.
You can export the pencil presets that you have created and importthose that others have created. This is a good w ay for you and project
collaborators to keep a consistent look for the project.

New Brush

Allow s to create a new preset from the selected pencil line.

Delete Brush

Deletes the currently selected preset.

Rename Brush

Allow s you to rename the currently selected preset.

Small Thumbnail, Large
Thumbnail, and Stroke
View

Allow s you to display the presets as small square thumbnails, large
square thumbnails or a list of stroke preview .

This option is available from the menu
Use as Default Pencil
Texture Palette

Reload Default Texture
Palettebutton. Sets the currently

selected pencil texture palette as the default pencil texture palette inyour user preferences. The default pencil texture palette is added toevery scene you create in Harmony. The palette is copied in yourpreferences, so it w ill be added to your new scenes in the exact state it
is w hen you make it the default pencil texture palette.

Imports the default pencil texture palette as a new pencil texture
palette into your scene's palette list, and selects it as the current pencil

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texture palette.

New Texture

Adds a new custom pencil texture to the list.

Delete Texture

Deletes a texture preset from the list.

Rename Texture

Renames the selected texture to keep the list organized.

Presets

Harmony provides a variety of pencil texture presets and also lets you
create and save your ow n.

Pencil Texture Palette

Displays the colour palette assigned to hold the pencil textures. Use
the Colour View menu to assign a new palette.

The Smooth operation lets you smooth out selected draw ing strokes
and remove extra points.

Smooth Selection

TIP
You can also smooth the selection by selecting Drawing>
Optimize > Smooth from the top menu or by pressing Alt +Shift + S.

The Pump Pencil Pressure option is used to increase the line thicknessof a selected area on a pencil line.

Pump Pencil Pressure

Deflate Pencil Pressure

The Deflate Pencil Pressure option is used to decrease the line
thickness of a selected area on a pencil line.

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Because pencil lines are defined by their centre lines, tw o pencil linesthat brush against each other may not actually make a closed shape,even if they appear closed. If you select several pencil lines that areclose together, you can use this button to close the small gaps
betw een these pencil lines and make them into a single pencil line.
Merge Pencil Lines

The Reverse Pencil Thickness option inverts the thick and thin section
on a selected pencil line. This option w ill take the thickest size on theline and apply it to the thinnest, and it w ill apply the thinnest to thethickest.

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Perspective Tool Properties
The perspective tool allow s you to deform artw ork by creating a rectangular bounding box around it andallow ing you to manipulate any of the four corners. The selected artw ork w ill be deformed to fit the shape you
make by simulating a perspective effect.

How to access the Perspective tool properties
1. In the Tools toolbar, select the Perspectivetool.

The tool's properties are displayed in the Tool Properties view .

Icon

Tool Name

Description

Perspective Tool Options

Allow s you to choose the method to visually select multiple elements:lLasso: Allow s you to select multiple elements by draw ing
an irregular closed shape around them w ith your mouse.

lSelection Mode

Marquee: Allow s you to select multiple elements bydraw ing a rectangle around them. This is faster, as you only
need to drag your mouse from one corner of the rectangle toits opposite corner, but it may not be as precise as you w ant.

TIP
You can press and hold the Alt key to temporarily use the otherselection mode.

Snapping

Allow s you to enable or disable snapping for this tool and all otheranimation and draw ing tools that support snapping, as w ell as toselect w hich types of snapping are enabled.
If you double-click or long-click on this button, it w ill open a pop-up
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Icon

Tool Name

Description

click on this button to toggle it off, w hich w ill disable all snapping
modes, and click on it again and toggle it on to re-enable the snapping
modes w hich w ere previously enabled.
This tool supports the follow ing snapping modes:lSnap to Contour: W hile moving the selection or one of its
control points, it w ill snap against the nearby points andcontours of your artw ork, allow ing you to snap parts of yourartw ork together.

lSnap to Alignment Guides: W hile moving the selection or oneof its control points, it w ill snap against nearby alignment
guides.

lSnap and Align: W hen enabled, w hile moving a selection, therectangular bounding box of the selection w ill snap to therectangular bounding box of any other draw ing stroke in thedraw ing, allow ing you to align draw ing strokes laterally.

lSnap to Grid: W hile moving the selection, the mouse cursor
w ill snap against the intersecting points of the grid.

TIP
To display the grid, select View > Grid > Show Gridfrom the top menu or press Ctrl + '.

Allow s you to perform draw ing operations on both the Line Art andColour Art layers of your draw ing simultaneously.
Apply to Line and Colour
Art

NOTE
If you have Overlay and Underlay Art layers enabled, they w illalso be affected w hen this option is enabled.

Allow s you to select betw een one of the tw o follow ing deformation
modes:l

Perspective: Deforms the selection by simulating aperspective effect.

Deformation ModelLattice: Deforms the selection by simply making theartw ork fit the bounding box, w ithout applying a perspective
effect.

The difference betw een both modes becomes easier to understand if

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Icon

Tool Name

Description

you apply a transformation to a draw ing of a grid to make it look likeit's laid dow n on a surface:

Operations

Flip Horizontal

Flips the selection horizontally.

Flip Vertical

Flips the selection vertically.

Rotate 90 CW

Rotates the selection 90° clockw ise.

Rotate 90 CCW

Rotates the selection 90° counterclockw ise.

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Chapter 4: Tools Properties

Polyline Tool Properties
The Polyline tool allow s you to draw complex lines or shapes by defining each point and their Bezier handles
one by one.

How to access the Polyline tool properties
1. In the Tools toolbar, select the Polyline

tool.

The tool's properties are displayed in the Tool Properties view .

Pencil Properties
Just like other shape tools, this tool creates pencil lines. Hence, its tool properties are similar to the ones of thePencil tool and it can be used w ith pencil presets.
Icon

Property

Description

The Preview area lets you see a preview of the stroke your draw ing tool
w ill make.
Preview Area

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The arrow button right of the preview area opens the Pencil Properties
dialog.

Pencil Properties
DialogW hile the Tool Properties view only gives you access to the pencil size,
a list of pencil presets and other draw ing options, the Pencil Properties
dialog gives you access to all the available options for your pencil's
shape and texture. For more information on the Pencil Properties dialog,
see the Polyline Tool Properties section below .

SizeDefines the w idth of the pencil line used to draw the shape.

Pencil Presets
Icon

Property

Description

Presets list

Harmony provides a variety of presets and also lets you create and saveyour ow n. It is a good idea to create and save pencils w ith precise sizes
and parameters w hen you draw and design for efficiency andconsistency.
All tools using pencil lines share the same preset list. Therefore, thePolyline, Line, Rectangle, Ellipse, and Pencil tools share the same preset
list.

New Preset

Creates a new preset based on the current tool properties.

Delete Preset

Deletes the currently selected preset.

Presets Menu

Gives access to more options for managing presets.

Rename Brush

Allow s you to rename the currently selected preset.

Import Brushes

Allow s you to import brush presets exported from Harmony.

Export Brushes

Allow s you to export your brush presets into an .xml file.

Small Thumbnail

Displays presets in a grid of small thumbnails w ith a preview of their tip.

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Large Thumbnail

Displays presets in a grid of big thumbnails, w ith their name and apreview of their tip.

Stroke View

Displays presets in a list, w ith their name and a preview of a stroke done
w ith each preset.

Drawing Options
Icon

Property

Description

W hen this option is enabled, clicking close to a contour in your draw ing
w ill add the point to that contour. The line you are building w ill be linked
to that contour.

Snap to Contour

If this option is disabled, attempting to click on existing contours w ill
alw ays create a point very close to that contour, but not exactly on it.
Therefore, it is necessary to enable this mode if you w ant to create linesthat branch from into existing contours in your draw ing.

NOTE
If you draw a line w ith the Line tool and make its tip snap to acontour or another control point in your artw ork, they w ill belocked together. You can then manipulate both simultaneously
using theContour Editor tool. You can also separate tw o

draw ing strokes that have been snapped together by selecting
one of them w ith theSelect tool and moving it aw ay.

W hen enabled, draw ing a closed shape w ill automatically fill it w ith thecurrently selected Paint colour.

Auto Fill

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TIP
By default the pencil line and its fill w ill be the same colour. To
select different colours for the line and its fill, do the follow ing:
1. In the Colour view , click the
2. Click on the

Unlock Three Colours button.

Set Current Pencil Colour sw atch. Then, inthe colour list, select the desired colour sw atch for youroutline.
3. Click on the

Set Current Paint Colour sw atch. Then, in thecolour list, select the desired colour sw atch for the fill.

W hen enabled, draw ing a closed shape w ill automatically remove theoutstanding lines.
Trim Extra Lines

W hen the Trim Extra Lines option is enabled, enable this option to makethe point w here the beginning and end of the stroke meet into a smooth
curve rather than a hard corner.
Align Handles AfterTrim

As you draw in the Line Art layer, the Automatically Create Colour Art
option instantly creates the corresponding strokes in the Colour Art
layer.
Automatically Create
Colour Art

Auto-Flatten Mode

By default, w hen draw ing on a vector layer, each new stroke is createdas a separate draw ing object, w hich can be edited independently fromother parts of the artw ork. W hen enabled, the Auto-Flatten option
automatically merges strokes into existing artw ork.

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NOTE
Using the Select tool, you can use select and remove a segment offlattened pencil lines. Overlapping pencil lines draw n w ith theAuto-Flatten mode are essentially cut into segments by theoverlap and can be treated as individual lines.

Pencil Properties Dialog
The Polyline tool draw s the same type of line as the Pencil tool. Hence, you can configure the Polyline tool'slines using the Pencil Properties dialog, w hich you can open by clicking on the arrow button right of the stroke
display area in the Tool Properties view .

Size and Smoothness Tab
The Size and Smoothness tab allow s you to select your pencil's size, its smoothing parameters as w ell as theshape of its tips and corners.

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Property

Description

Maximum Size

Defines the maximum size of the pencil line. If the tool is used w ith a pressure
sensitive pen tablet, the w idth of the stroke w ill vary betw een its maximum size andminimum size depending on the amount of pressure used. If used w ith a mouse, thew idth of the stroke w ill alw ays be its maximum size.

Minimum Size

Defines the minimum size of your stroke as a percentage of the maximum size. If you
do not have pressure sensitivity from a pen table, the minimum size value w ill beignored.

Proportional to Camera

If you check this option, the size of the pencil w ill be adjusted to the position of thecamera on the z-axis. This means that if the camera is zoomed in on the scene, thepencil w ill be proportionally smaller so that it appears the same size in the rendered
image. Likew ise, if the camera is zoomed out, the pencil w ill be proportionally bigger.

Centerline Smoothing

Defines the amount of smoothing Harmony should perform on the central line of thepencil stroke. A higher setting w ill prevent your line from being shaky and w ill reduce
the amount of control points it has, making it easier to tw eak, but is liable to reducedraw ing precision and turn sharp angles into curves.

Defines the amount of smoothing Harmony should perform on the outer contour ofthe pencil stroke.

Contour Smoothing

A pencil line is defined by its centreline and its variations in thickness, rather than its
apparent shape. W hen draw ing a pencil line w ith a mouse, its thickness is uniform.
Therefore, its outer contour does not have any control point, except at its extremities,
and no smoothing is required for its contour.
How ever, w hen draw ing a pencil line w ith a pressure sensitive tablet, its contour w ill
have control points and Bezier curves to define the line's variations in thickness, andthus smoothing must be performed on its contour. An increased contour smoothing
w ill reduce the amount of control points on the line's thickness and smoothen its
curves, but may affect the precision of the variations in line thickness.

You can adjust the start, end, and join style of a pencil line.

Shape

l

Start: Lets you select the style of the start tip, w hich is the first tip you drew .
You can choose betw een Round or Flat style.

lEnd: Lets you select the style of the end tip, w hich is the last tip you drew .

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Property

Description

You can choose betw een Round or Flat style.
lJoin: Lets you select the joint style. The joints are w here the line curves
abruptly. You could also define the Join style as the corner style. You canchoose betw een Round, Mitre and Bevel style.

Texture Tab
In the Pencil Properties view , the Texture tab allow s you to select a pencil texture from the currently selected
pencil texture palette to use w ith the Pencil tool. You can also add, remove or rename textures, save thecurrent pencil texture palette as the default one, or import the pencil texture palette into your scene.
The pencil texture palette used in the Texture tab of the Pencil Properties dialog is the one selected in the
Colour view . You can select a pencil texture palette by selecting it from the pencil texture palette list in the
Colour view —see Colour View on page 1261.

Icon

Property

Description

This option is available from the menu
Use as Default Pencil
Texture Palettebutton. Sets the currently

selected pencil texture palette as the default pencil texture palette inyour user preferences. The default pencil texture palette is added toevery scene you create in Harmony. The palette is copied in yourpreferences, so it w ill be added to your new scenes in the exact state it
is w hen you make it the default pencil texture palette.

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Icon

Property

Description

Reload Default Texture
PaletteImports the default pencil texture palette as a new pencil texture
palette into your scene's palette list, and selects it as the current pencil
texture palette.

New Texture

Allow s you to import an image file into a new pencil texture sw atch inthe current pencil texture palette. The pencil texture's effect on yourpencil line w ill be based on the image's transparency channel, and w illfollow your pencil lines on its horizontal axis. This option is alsoavailable from the menu

Delete Texture

Rename Texture

button.

Deletes a pencil texture sw atch from the current pencil texture palette.
This option is also available from the menu

button.

Renames the selected pencil texture sw atch in the current pencil
texture palette. This option is also available from the menu

button.

Pencil Texture Display

Displays the pencil textures in the current pencil texture palette andallow s you to select one to use w ith the Pencil tool.

Pencil Texture Palette

Displays the name of the currently selected pencil texture palette, forreference. To select a different pencil texture palette, you must select itin the Colour view —see Colour View on page 1261.

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Rectangle Tool Properties
The Rectangle tool allow s you to quickly draw a rectangle or a square.

How to access the Rectangle tool properties
1. In the Tools toolbar, select the Rectangle

tool.

The tool's properties are displayed in the Tool Properties view .

Pencil Properties
Just like other shape tools, this tool creates pencil lines. Hence, its tool properties are similar to the ones of thePencil tool and it can be used w ith pencil presets.
Property

Description

The Preview area lets you see a preview of the stroke your draw ing tool w ill make.
Preview Area

Pencil Properties
Dialog

The arrow button right of the preview area opens the Pencil Properties dialog.

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Property

Description

W hile the Tool Properties view only gives you access to a few of the pencil properties,
a list of pencil presets and other draw ing options, the Pencil Properties dialog gives youaccess to all the available options for your pencil's shape and texture. For more
information on the Pencil Properties dialog, see the Pencil Properties Dialog on page1131 section below .

SizeDefines the w idth of the pencil line used to draw the shape.

You can adjust the start, end, and join style of a pencil line.

Shape

l

Start: Lets you select the style of the start tip, w hich is the first tip you drew .
You can choose betw een Round or Flat style.

lEnd: Lets you select the style of the end tip, w hich is the last tip you drew . You
can choose betw een Round or Flat style.

lJoin: Lets you select the joint style. The joints are w here the line curves
abruptly. You could also define the Join style as the corner style. You can choose
betw een Round, Mitre and Bevel style.

Drawing Options
These options affect the w ay your shape is added to your artw ork.
Icon

Property

Description

Draw Behind

W hen enabled, your brush strokes w ill appear behind the existingartw ork.

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Icon

Property

Description

NOTEYour brush stroke w ill temporarily appear over your artw ork as
you draw it, until you release the mouse cursor or tablet pen.

W hen enabled, the shape you draw is automatically filled w ith theselected colour. By default, draw ing a shape only creates its outlines.

Auto Fill

TIP
By default the pencil line and its fill w ill be the same colour. To
select different colours for the line and its fill, do the follow ing:
1. In the Colour view , click the
2. Click on the

Unlock Three Colours button.

Set Current Pencil Colour sw atch. Then, inthe colour list, select the desired colour sw atch for youroutline.
3. Click on the

Set Current Paint Colour sw atch. Then, in thecolour list, select the desired colour sw atch for the fill.

Allow s you to enable or disable snapping for this tool and all otheranimation and draw ing tools that support snapping, as w ell as to selectw hich types of snapping are enabled.

Snapping

If you double-click or long-click on this button, it w ill open a pop-up
menu in w hich you can toggle different snapping modes. You can also
click on this button to toggle it off, w hich w ill disable all snapping
modes, and click on it again and toggle it on to re-enable the snapping
modes w hich w ere previously enabled.
This tool supports the follow ing snapping modes:

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Icon

Property

DescriptionlSnap to Contour: W hen enabled, w hile you're draw ing, themouse cursor w ill snap to the nearby contours of the artw ork inyour draw ing.

lSnap to Alignment Guides: W hile draw ing, the draw ing tool
w ill snap against nearby alignment guides.

lSnap and Align: W hen enabled, w hile you're draw ing, themouse cursor w ill automatically align to the rectangularbounding boxes of other strokes and shapes in your draw ing.

l

W hen enabled, w hile you're draw ing, the mouse cursor w ill snap
against the intersecting points of the grid.

TIP
To display the grid, select View > Grid > Show Grid fromthe top menu or press Ctrl + '.

As you draw in the Line Art layer, the Automatically Create Colour Art
option instantly creates the corresponding strokes in the Colour Art
layer.
Automatically Create
Colour Art

By default, w hen draw ing on a vector layer, each new stroke is createdas a separate draw ing object, w hich can be edited independently fromother parts of the artw ork. W hen enabled, the Auto-Flatten option
automatically merges strokes into existing artw ork.
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Icon

Property

Description

NOTE
Using the Select tool, you can use select and remove a segment offlattened pencil lines. Overlapping pencil lines draw n w ith theAuto-Flatten mode are essentially cut into segments by theoverlap and can be treated as individual lines.

Use Stored Colour
Gradient

The Use Stored Colour Gradient option can be used w hen painting w ith
a gradient colour to alw ays position the gradient in the same w ay it w asstored, making it consistent across brush strokes. You can store a
gradient by selecting a zone painted w ith a gradient w ith the Select tool,
then clicking on Store Colour Gradientin the Tool Properties view .

W hen enabled, the rectangle tool w ill alw ays draw a rectangle of equal
w idth and height, making it a perfect square.
Draw Square

TIP
You can also draw a perfect square by holding the Shift key w hiledraw ing.

Pencil Presets
These options allow you to select, create and manage pencil presets.
Icon

Property

Description

Harmony provides a variety of pencil presets and thickness stencils andalso lets you create and save your ow n. It is a good idea to create andsave pencils w ith precise sizes and parameters w hen you draw for
efficiency and consistency.

Presets list

A thickness stencil saves the thickness information across the length ofthe line. W hen draw ing w ith a thickness stencil, the pressure sensitivityof the tablet is discarded. A thickness stencil can be used w hile draw ing,
or applied afterw ards.
You also have the possibility to apply different textures to your lines byeither using the default presets or to import your ow n.
You can export the pencil presets that you have created and importthose that others have created. This is a good w ay for you and project
collaborators to keep a consistent look for the project.

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Icon

Property

Description

New Brush Preset

Creates a new preset based on the current tool properties.

Delete Brush Preset

Deletes the currently selected preset.

Open a menu that contains the follow ing options:l

New Brush Preset: Creates a new preset based on the current
tool properties.

lDelete Brush: Deletes the currently selected preset.

lRename Brush: Allow s you to rename the currently selected
preset.

lImport Brushes: Allow s you to import brush presets exported
from Harmony.

l

Export Brushes: Allow s you to export your brush presets into an.xml file.

l

Small Thumbnail: Displays presets in a grid of small thumbnails
w ith a preview of their tip.

lLarge Thumbnail: Displays presets in a grid of big thumbnails,

Brush Presets Menu

w ith their name and a preview of their tip.
lStroke View: Displays presets in a list, w ith their name and apreview of a stroke done w ith each preset.

Pencil Properties Dialog
The Rectangle tool draw s the same type of line as the Pencil tool. Hence, you can configure the Rectangle
tool's lines using the Pencil Properties dialog, w hich you can open by clicking on the arrow button right of thestroke display area in the Tool Properties view .

Size and Smoothness Tab
The Size and Smoothness tab allow s you to select your pencil's size, its smoothing parameters as w ell as theshape of its tips and corners.

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Chapter 4: Tools Properties

Property

Description

Maximum Size

Defines the maximum size of the pencil line. If the tool is used w ith a pressure
sensitive pen tablet, the w idth of the stroke w ill vary betw een its maximum size andminimum size depending on the amount of pressure used. If used w ith a mouse, thew idth of the stroke w ill alw ays be its maximum size.

Minimum Size

Defines the minimum size of your stroke as a percentage of the maximum size. If you
do not have pressure sensitivity from a pen table, the minimum size value w ill beignored.

Proportional to Camera

If you check this option, the size of the pencil w ill be adjusted to the position of thecamera on the z-axis. This means that if the camera is zoomed in on the scene, thepencil w ill be proportionally smaller so that it appears the same size in the rendered
image. Likew ise, if the camera is zoomed out, the pencil w ill be proportionally bigger.

Centerline Smoothing

Defines the amount of smoothing Harmony should perform on the central line of thepencil stroke. A higher setting w ill prevent your line from being shaky and w ill reduce
the amount of control points it has, making it easier to tw eak, but is liable to reducedraw ing precision and turn sharp angles into curves.

Defines the amount of smoothing Harmony should perform on the outer contour ofthe pencil stroke.

Contour Smoothing

A pencil line is defined by its centreline and its variations in thickness, rather than its
apparent shape. W hen draw ing a pencil line w ith a mouse, its thickness is uniform.
Therefore, its outer contour does not have any control point, except at its extremities,
and no smoothing is required for its contour.
How ever, w hen draw ing a pencil line w ith a pressure sensitive tablet, its contour w ill
have control points and Bezier curves to define the line's variations in thickness, and1132

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Property

Description

thus smoothing must be performed on its contour. An increased contour smoothing
w ill reduce the amount of control points on the line's thickness and smoothen its
curves, but may affect the precision of the variations in line thickness.

You can adjust the start, end, and join style of a pencil line.

Shape

l

Start: Lets you select the style of the start tip, w hich is the first tip you drew .
You can choose betw een Round or Flat style.

lEnd: Lets you select the style of the end tip, w hich is the last tip you drew .
You can choose betw een Round or Flat style.

lJoin: Lets you select the joint style. The joints are w here the line curves
abruptly. You could also define the Join style as the corner style. You canchoose betw een Round, Mitre and Bevel style.

Texture Tab
In the Pencil Properties view , the Texture tab allow s you to select a pencil texture from the currently selected
pencil texture palette to use w ith the Pencil tool. You can also add, remove or rename textures, save thecurrent pencil texture palette as the default one, or import the pencil texture palette into your scene.
The pencil texture palette used in the Texture tab of the Pencil Properties dialog is the one selected in the
Colour view . You can select a pencil texture palette by selecting it from the pencil texture palette list in the
Colour view —see Colour View on page 1261.

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Icon

Property

Description

This option is available from the menu
Use as Default Pencil
Texture Palettebutton. Sets the currently

selected pencil texture palette as the default pencil texture palette inyour user preferences. The default pencil texture palette is added toevery scene you create in Harmony. The palette is copied in yourpreferences, so it w ill be added to your new scenes in the exact state it
is w hen you make it the default pencil texture palette.

Reload Default Texture
PaletteNew Texture

Imports the default pencil texture palette as a new pencil texture
palette into your scene's palette list, and selects it as the current pencil
texture palette.

Allow s you to import an image file into a new pencil texture sw atch inthe current pencil texture palette. The pencil texture's effect on yourpencil line w ill be based on the image's transparency channel, and w illfollow your pencil lines on its horizontal axis. This option is alsoavailable from the menu

Delete Texture

Rename Texture

Pencil Texture Display

button.

Deletes a pencil texture sw atch from the current pencil texture palette.
This option is also available from the menu

button.

Renames the selected pencil texture sw atch in the current pencil
texture palette. This option is also available from the menu

button.

Displays the pencil textures in the current pencil texture palette and1134

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Icon

Property

Description

allow s you to select one to use w ith the Pencil tool.

Pencil Texture Palette

Displays the name of the currently selected pencil texture palette, forreference. To select a different pencil texture palette, you must select itin the Colour view —see Colour View on page 1261.

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Reposition All Drawings Tool Properties
W hen you use the Reposition All Draw ings tool, its properties and options appear in the Tool Properties view .

Tool Options
Icon

OptionDescription

Easy Drag

W hen enabled, you can drag the selection by clicking anyw here inside its
bounding box. By default, you must click on the artw ork in the selection to beable to drag it.

Apply toSyncedIf the currently selected layer is synced w ith another layer, the tool w ill w ork on

Draw ing Layers

both the current layer and its synced layer.

Operations
Icon

OptionDescription

Flip Horizontal

Flips the current selection horizontally.

Flip Vertical

Flips the current selection vertically.

Rotate 90
Degrees CW

Rotates the current selection 90 degrees clockw ise.

Rotate 90
Degrees CCW

Rotates the current selection 90 degrees counter-clockw ise.

Offset X and Y

Use the Offset X and Offset Y operation fields to enter specific values andprecisely reposition the selected shape.

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Icon

OptionDescription

1. X: Type a value in this field to reposition your selection along the Xaxis.
2. Y: Type a value in this field to reposition your selection along the Yaxis.
3. Up/Down arrows: Use the up and dow n arrow s to modify the value in
the X or Y value field.

Use the W idth and Height operation fields to enter specific values to resize
the selected shape w ith precision.

W idth and Height
1. W idth: Type a value in this field to resize the w idth of your selection.
2. Height: Type a value in this field to resize the height of your selection.
3. Up/Down arrows: Use the up and dow n arrow s to modify the value in
the W idth or Height fields.
4. Lock icon: Click the lock icon to lock or unlock the ratio betw een the
W idth and Height values.

The Angle operation lets you to enter specific values and accurately rotate theselected shape.

Angle
1. Angle: Type a degree value in this field to rotate your selection.
2. Up/Down arrows: Use the up and dow n arrow s to modify the value in
the Angle value field.

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Rigging Tool Properties
In the Tool Properties view , you can customize not only the behaviour of the tool but also the settings of thedeformers that you w ill create.

Mode
ButtonName

Description

Automatic Mode

Sets the Rigging tool to automatically create a Bone or Curve
deformer, corresponding to the movement of the cursor in the
Camera view .

Bone Mode

Sets the Rigging tool to create Bone deformations.

Curve Mode

Sets the Rigging tool to create Curve deformations.

Envelope Mode

Sets the Rigging tool to create Envelope deformations.

Game Bone Mode

Sets the Rigging tool to create Game Bone deformations.

Free Form Mode

Sets the Rigging too to create Free Form deformations.

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Options
ButtonParameter

Description

Show All Manipulators

Lets you immediately see the resting position in red (Setup) and theanimated position in green.

Show All Regions ofInfluence

Automatically Create
Group w hen Creating a
New Deformation Rig

Lets you visualize the area w ithin w hich the art w ill be influenced
by the deformation effect—see Rigging Tool Properties on page
1138.

This option automatically creates a deformation group connectedto the input port of the selected element. This group includes all
the necessary deformation nodes you created.

Sets the zone of influence for new ly created Bone deformation
points:lZero Influence: The Zone of Influence does not exist. No
deformation w ill happen.

lInfinite Influence: This is the default option and is the mostcommonly used. The Zone of Influence has no boundaryand covers the w hole element to w hich the deformer islinked and its children, excluding areas that are already partof another elliptic or shaped Zone of Influence. The Infinite
Influence zone w ill extend from the centre of your skeleton
to infinity, w orking perpendicularly to the skeleton.

Bone

Influence Radius

Curve

l

Elliptic Influence: The Zone of Influence boundary isdefined by an elliptical shape; its size can be customized
using the Bone, Articulation or Curve node properties or byusing the Transform tool. The Elliptic Influence w ill most
likely be used on a bitmap picture you w ant to deform.

lShaped Influence: The Zone of Influence boundary isdefined by a shape w hich you can customize using theTransform tool. The Shaped Influence w ill most likely be
used on a bitmap picture you w ant to deform.

For Bone deformations w ith an Elliptic Influence, this sets the sizeof the influence zone.

Sets the zone of influence for new ly created Curve deformation
points:lZero Influence: The Zone of Influence does not exist. No

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ButtonParameter

Description

deformation w ill happen.
lInfinite Influence: This is the default option and is the mostcommonly used. The Zone of Influence has no boundaryand covers the w hole element to w hich the deformer islinked and its children, excluding areas that are already partof another elliptic or shaped Zone of Influence. The Infinite
Influence zone w ill extend from the centre of your skeleton
to infinity, w orking perpendicularly to the skeleton.

Influence RadiuslElliptic Influence: The Zone of Influence boundary isdefined by an elliptical shape; its size can be customized
using the Bone, Articulation or Curve node properties or byusing the Transform tool. The Elliptic Influence w ill most
likely be used on a bitmap picture you w ant to deform.

lShaped Influence: The Zone of Influence boundary isdefined by a shape w hich you can customize using theTransform tool. The Shaped Influence w ill most likely be
used on a bitmap picture you w ant to deform.

For Curve deformations w ith an Elliptic Influence, this sets the sizeof the influence zone.

Operations
ButtonName

Description

Convert Elliptic Zone ofInfluence to Shape

After you have created a deformation chain using Elliptic as theZone of Influence type, you can select your deformer and clickon this button to convert it to a Shaped type. Control points
w ill appear around the shape making it easy to customize.You
can also convert the Elliptic zone of influence to a shape. SelectAnimation > Deformation > Convert Elliptic Deformation
ROI to Shape. This w ill create a much smaller initial zone ofinfluence than if you w ere to convert it directly to a shape.

Reset Deform (Reset Current
Keyframe)

Copies the resting position of the deformation skeleton to thecurrent frame.

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Select Tool Properties
The Select tool lets you select strokes and apply basic transformations such as repositioning, rotating, scalingor skew ing, using the different handles of the bounding box.
If you have text or pencil lines selected w ith the Select tool, their properties w ill display in the Tool Properties
view , allow ing you to make changes to your selection.

How to access the Select tool properties
1. In the Tools toolbar, select either the Selecttool or the Select by Colour

tool.

The tool's properties are displayed in the Tool Properties view .

NOTE
Selecting the Select by Colour

tool from the Tools toolbar activates the Select tool, w ith theSelect by Colour option enabled. Hence, this topic covers the tool properties for both the Selectand Select by Colour tools.

Tool Options
Icon

Property

Description

Allow s you to choose the method to visually select multiple
elements:l

Selection Mode

Lasso: Allow s you to select multiple elements bydraw ing an irregular closed shape around them w ith yourmouse.

lMarquee: Allow s you to select multiple elements by1141

Chapter 4: Tools Properties

Icon

Property

Description

draw ing a rectangle around them. This is faster, as you only
need to drag your mouse from one corner of the rectangle toits opposite corner, but it may not be as precise as you w ant.

TIP
You can press and hold the Alt key to temporarily use theother selection mode.

Easy Drag

W hen enabled, you can drag the selection by clicking anyw here
inside its bounding box. By default, you must click on the artw ork inthe selection to be able to drag it.

Allow s you to enable or disable snapping for this tool and all otheranimation and draw ing tools that support snapping, as w ell as toselect w hich types of snapping are enabled.
If you double-click or long-click on this button, it w ill open a pop-up
menu in w hich you can toggle different snapping modes. You canalso click on this button to toggle it off, w hich w ill disable allsnapping modes, and click on it again and toggle it on to re-enable
the snapping modes w hich w ere previously enabled.
This tool supports the follow ing snapping modes:lSnap to Contour: W hile moving the selection or one of its
control points, it w ill snap against the nearby points andcontours of your artw ork, allow ing you to snap parts of yourartw ork together.

lSnap to Alignment Guides: W hile moving the selection or
one of its control points, it w ill snap against nearbyalignment guides.

lSnap and Align: W hile moving the selection, the rectangularbounding box of the selection w ill align w ith the rectangularbounding boxes of other strokes and shapes in your artw ork.
If you move one of your selection's control points, it w ill alsoalign w ith the bounding boxes of other strokes and shapes inyour artw ork.

Snapping

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Icon

Property

DescriptionlSnap to Grid: W hile moving the selection, the mouse cursor
w ill snap against the intersecting points of the grid.

TIP
To display the grid, select View > Grid > Show Gridfrom the top menu or press Ctrl + '.

W hen enabled, the w idth of pencil lines w ill be adjusted w hen
scaling them w ith the Select tool.
Scale Pencil Line
Thickness

TIP
You can quickly enable this mode by selecting the Scale
Pencil Line Thickness

tool, in the Selecttool'sproperties dialog.

W hen enabled, clicking on a coloured zone in your artw ork w ill
instantly select all the zones that are filled w ith the same colour.
Select by Colour

Select by Colour

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can also be accessed from the Tools toolbar.

Chapter 4: Tools Properties

Icon

Property

Description

NOTE
Only the zones painted w ith the same colour swatch in yourpalette w ill be selected. If another zone is coloured w ith theexact same colour, but not the same colour sw atch, it w ill not
be selected.

Allow s you maintain a selection w hile editing multiple draw ings.
Once this option is enabled, the selection zone made using the
Select tool w ill remain as you navigate through draw ings of thesame layer and draw ings from other draw ing layers.

Permanent Selection

This option allow s you to select w hich layers the tool should affect.
It can be toggled on or off. W hen toggled on, it has tw o different
modes. You can select a mode by clicking and holding on the button.

Apply to Visible Draw ing
Layersl

Off: W hen this button is toggled off, the tool only w orks on
the currently selected layers. If several layers are selected,
the tool w ill w ork on all these layers simultaneously.

l

On W hen this button is toggled on, the tool w ill w ork on all
the visible layers.

l

Apply to Visible Drawing Layers: The tool w ill w ork on
all the visible layers in the Camera view .

lApply to Synced Drawing Layers: If the currently
selected layer is synced w ith another layer, the tool w ill
w ork on both the current layer and its synced layer.

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Icon

Property

Description

NOTE
This option only w orks in the Camera view .

This option allow s you to determine w hich draw ings in the current
layer the tool should affect. It can be toggled on or off. W hen
toggled on, it has tw o different modes. You can select a mode byclicking and holding on the button.
ll

Off: W hen this button is toggled off, the tool only w orks on
the draw ing in the current frame.
Apply to All Frames: The tool w ill w ork on every
exposed draw ing in the selected layer simultaneously.

lApply to All Frames

Apply to Line and Colour
Art

Apply to Onion Skin Range: The tool w ill w ork on every
draw ing displayed in the Onion Skin. Onion Skin must be
enabled for this option to w ork.

Allow s you to perform draw ing operations on both the Line Art andColour Art layers of your draw ing simultaneously.

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Chapter 4: Tools Properties

Icon

Property

Description

NOTE
If you have Overlay and Underlay Art layers enabled, theyw ill also be affected w hen this option is enabled.

Operations
Icon

Property

Description

Flip Horizontal

Flips the current selection horizontally.

Flip Vertical

Flips the current selection vertically.

Rotate 90 Degrees CW

Rotates the current selection 90 degrees clockw ise.

Rotate 90 Degrees CCW

Rotates the current selection 90 degrees counter-clockw ise.

Smooth out selected draw ing strokes and remove extra points.

SmoothFlattenMerges draw ing objects and brush strokes into a single layer. If you
draw new lines to fix a draw ing or line w ith many brush strokes, it
can be useful to flatten them all into a single shape. By default, lines
are draw n one on top of each other. If you intend to repaint the lines
or modify their shape, it w ill be easier if they are flattened.

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Icon

Property

Description

Create Colour Art fromLine Art

Lets you use the outline you traced on one of the four embedded
layers (line art, colour art, overlay, underlay) and create invisible
strokes to paint your draw ings on separate layers. This provides
more inking and painting flexibility.
You can also configure this option to create the invisible strokes on
any of the four embedded layers.

The Distribute to Layers option is used to separate the selected art
strokes and send them to new draw ing layers. In the Camera view ,Distribute to Layers

Store Colour Gradientonce you have draw n your artw ork, you can select the strokes you
w ant to distribute using the Select tool and click on the Distribute toLayers button; you can also select Drawing > Distribute to Layers. It
w ill automatically take every stroke from the draw ing selection madein the Camera view and separate them into a different layer for each.
If an artw ork is composed of several strokes, you must group themusing Edit > Group > Group before using the Distribute to Layers
option. This option cannot be done from the Draw ing view .

Use the Store Colour Gradient operation to record the selectedgradient’s position. This reuses the stored position of the gradientw hen draw ing new brush lines or painting colour zones. Enable theUse Stored Colour Gradientoption in the Paint or Brush Tool

Properties view to do this.

Pencil to Brush

Converts the selected centre line pencil strokes into contour strokes
brush lines.

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Chapter 4: Tools Properties

Icon

Property

Description

Because pencil lines are defined by their centre lines, tw o pencil linesthat brush against each other may not actually make a closed shape,even if they appear closed. If you select several pencil lines that areclose together, you can use this button to close the small gaps
betw een these pencil lines and make them into a single pencil line.

Merge Pencil Lines

NOTE
Points must be close enough to be merged. If there is a large
gap betw een the lines, they w ill not be merged.

The Reverse Pencil Thickness option inverts the thick and thin section
on a selected pencil line. This option w ill take the thickest size on theline and apply it to the thinnest, and it w ill apply the thinnest to thethickest.

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Icon

Property

Description

Offset X

Lets you enter a value to reposition the selection along the X-axis.

Offset Y

Lets you enter a value to reposition the selection along the Y-axis.

W idthLets you enter a value to resize the w idth of the selection.

HeightLets you enter a value to resize the height of the selection.

Lock

Locks or unlocks the ratio betw een the W idth and Height values.

Angle

Lets you enter specific values to rotate the selection. A positive value
rotates the selection counter clockw ise and a negative value rotates
the selection clockw ise.

Pencil Selection
If the selection contains pencil lines, the Pencil Selection section appears at the bottom of the Tool Properties
view , allow ing you to adjust the properties of those pencil lines.

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Chapter 4: Tools Properties

Icon

Property

Description

Maximum Size

Adjusts the size of the parts of the pencil lines that are the thickest.
Parts of the pencil lines that are betw een the minimum andmaximum sizes w ill be adjusted proportionally.

Minimum Size

Adjusts the size of the parts of the pencil lines that are the thinnest.
Parts of the pencil lines that are betw een the minimum andmaximum sizes w ill be adjusted proportionally.

You can adjust the start, end, and join style of a pencil line.

lStart: Lets you select the style of the start tip, w hich is thefirst tip you drew . You can choose betw een Round or Flatstyle.

lEnd: Lets you select the style of the end tip, w hich is the last
tip you drew . You can choose betw een Round or Flat style.

lJoin: Lets you select the joint style. The joints are w here theline curves abruptly. You could also define the Join style as
the corner style. You can choose betw een Round, Mitre andBevel style.

Pencil Line Shape

Allow s you to apply one of the available line thickness stencils tothe selected pencil lines. Stencils set the w idth of a pencil lines allalong its length. You can use one of the preloaded presets, or create
your ow n pencil stencils.

Pencil Stencils

Adding Texture to a
Pencil Line

Pencil lines support texture. Once a pencil line is draw n, you canapply a preset texture or load your ow n. Textures are independent
from pencil stencils.

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Text Selection
If your selection include text boxes created w ith the Text tool, a Text Selection section w ill appear at thebottom of the Tool Properties view , allow ing you to adjust the formatting of the w hole text box.

TIP
You can also adjust the formatting of parts of the text in the text box using the Text tool—see Text
Tool Properties on page 1169.

Icon

Property

Description

Lets you select the font in w hich to display the text.

Font

Makes the selected text bold.
Bold

Makes the selected text italic.
ItalicAlign Left

Aligns the text in the selected text box to the left.

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Chapter 4: Tools Properties

Icon

Property

Description

Aligns the text in the selected text box to the centre.

Align Center

Aligns the text in the selected text box to the right.

Align Right

Makes the text in the selected text box take all the horizontal space byadjusting the spacing betw een each w ord. Text that use a single line
and text in the last line of a paragraph is aligned to the left.

Justify

Allow s you to set the size of the selected text.
Size

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Icon

Property

Description

Allow s you to increase or decrease the spacing betw een eachcharacter.

Kerning

Auto Kern

Sets the kerning automatically based on the font’s predefined
standard.

Allow s you to increase or decrease the indentation of the first line oftext in each paragraph.
IndentIncreases or decreases the space betw een each line of text.

Line Spacing

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Chapter 4: Tools Properties

Shift and Trace Tool Properties
The Shift and Trace tool allow s you to temporarily move, rotate and scale draw ings, then trace over them inother draw ings, using Onion Skin to keep the outlines of the shifted draw ings in your draw ing space. Contrary
to Shift and Trace w ith the Draw ing Desk, you can use the Shift and Trace tool in the Camera view .

How to access the Shift and Trace Tool Properties
1. Do one of the follow ing:l

In the Tools toolbar, double-click on the Hand

tool and select Shift and Tracein thepop-up menu.
l

In the top menu, select Drawing > Drawing Tools > Shift and Trace.

The Shift and Trace tool properties appear in the Tool Properties view .

Icon

Tool Name

Description

Shift and Trace Tool Options

Enable/Disable Shiftand Trace

Enabled by default. W hen disabled, draw ings that w ere repositioned,rotated or scaled w ith the Shift and Trace tool appear in their original
position.

Display Cross Hair

Enabled by default. W hen disabled, cross hairs added w ith the Shift andTrace tool are invisible.

Show manipulatorsfor shift and trace

Enabled by default. This displays the manipulator allow ing you to rotateand scale draw ings for Shift and Trace, as w ell as to re-position their pivot

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Icon

Tool Name

Description

point. W hen hidden, you can only shift draw ings laterally.

Show the outline of
the selected shift andtrace draw ing

W hen enabled, the contours of each brush stroke for the current draw ing
w ill appear highlighted in cyan.

Enabled by default. W hen using the Shift and Trace tool, peg holes areShow /Hide Pegs

Peg Position

displayed at the bottom of every draw ing to help keep track of how offset
draw ings are from their original position and from each other. You canalso click and drag on the left or right peg hole of a draw ing to rotate itaround the centre peg hole. W hen disabled, those peg holes are hidden.

Allow s you to select on w hich edge of the draw ings to display peg holes.
By default, they are displayed at the bottom of the draw ings.

Modes and Operations

W hen selected, clicking on the draw ing w ill add a cross hair w here you
click. Cross hairs are marks that appear on the same location on every
Set Add Cross HairModedraw ing in the current layer and w hich move w hen you offset a draw ing
w ith the Shift and Trace tool, and they appear in the Onion Skin renditionof neighbouring draw ings as w ell. This allow s you to keep track of how
offset each draw ing is.

Remove All Cross
Hair

Removes all the cross hairs created for shift and trace.

Reset Selected
Draw ings Shift
Position

Undoes all transformations done w ith the Shift and Trace tool on theselected draw ings, resetting them to their original position, angle andscale.

Reset All Draw ings
Shift Position

Undoes all transformations done w ith the Shift and Trace tool on all
draw ings, resetting them to their original position, angle and scale.

Info

Selected Draw ings

The element name and draw ing name of the currently selected draw ing.

Position

The offset of the current draw ing from its original position on the x and y1155

Chapter 4: Tools Properties

Icon

Tool Name

Description

axes, in fields, w hen moved w ith the Shift and Trace tool.

Scale

The Shift and Trace scale factor of the currently selected draw ing, w hen
scaled w ith the Shift and Trace tool.

Rotation

The Shift and Trace rotation angle of the currently selected draw ing, indegrees, counterclockw ise, w hen rotated w ith the Shift and Trace tool.

Pivot

The offset, in fields, of the current draw ing's pivot point from its centre, on
the x and y axes. The pivot point is the point from w hich draw ings arerotated and scaled.

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Smooth Editor Tool Properties
W hen you select the Smooth Editor tool, its properties and options appear in the Tool Properties view .

Icon

Tool Name

Description

The Smoothing Style options allow you to smooth aportion of your draw ing by tracing a smoothing strokeover the zone to optimize or by selecting an area ofthe draw ing w ith the Marquee or Lasso.
Note that by default, the Smooth Editor tool colour isyellow , it w as changed to orange for screen grab
clarity.

Smoothing Style

The Show Control Points option allow s you to showor hide the Bezier points around lines. W hen the
Bezier points are displayed, you can see the result ofyour smoothing and the number of points left on the
curve. W hen it is turned off, only the original artw ork
is displayed.

Show Control Points

This is w here you set the minimum and maximum
sizes of your draw ing tool w hich w ill produce the thickand thin effect on your stroke. This w orks w ith thepressure sensitivity of a pen tablet.

Minimum Size andMaximum Size

This options is available w hile using the Brush
Smoothingl1157

style.

Maximum and Minimum Size: Defines the
maximum and minimum w idth of the stroke.

Chapter 4: Tools Propertiesl

Up/Down arrows: Use the up and dow narrow s to set the minimum and maximum sizevalue.

The Smoothness impacts the strength of thesmoothing result. The higher the value, the morepoints are removed and the smoother the curve. The
Smoothness range is from 0 to 100; the default value
is 20.

Smoothness

You can modify the colour of the control points
displayed on the artw ork w hile w orking w ith the
Smooth Editor tool by double-clicking on the colour
sw atch.

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Stamp Tool Properties
The Stamp tool allow s you to create and use stamps, w hich can contain one or several draw ings that can be
stamped individually or in sequence onto your artw ork.

How to access the Stamp tool properties
1. In the Tools toolbar, select the Stamptool.

The tool's properties are displayed in the Tool Properties view .

Stamp Properties
The follow ing options allow you, among other things, to preview your stamp, to change the size of your stamp
as w ell as to flip it horizontally and vertically.
Property

Description

The Preview area lets you see a preview of w hat w ill appear if you draw a stroke w ith the
Stamp tool.
Preview Area

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Chapter 4: Tools Properties

Property

Description

The arrow button right of the preview area opens the Stamp Properties dialog.

Stamp Properties
DialogW hile the Tool Properties view only gives you access to a few of the stamp properties and alist of stamp presets, the Stamp Properties dialog gives you access to all the available options
for the w ay your stamp w ill be applied. For more information on the Stamp Properties dialog,
see the Stamp Properties Dialog on page 1163 section below .

The tw o-ended arrow s to the left and over the Stamp thumbnail allow you to flip the stamp
horizontally or vertically.
Flip Horizontally/ Flip Vertically

The maximum scaling factor to apply to the stamp before stamping it onto the draw ing.
This setting is a percentage, w hich is relative to the size of the original draw ing that w as used
to create the stamp. This means that, at 100%, the draw ing w ill be stamped into your artw ork
in its original size.

Maximum Scale

NOTE
If the tool is used w ith a pressure sensitive tablet, the scale of the stamp can be made to
be relative to the amount of pressure you put on your pen. To do this, you must reducing
the Minimum Scale property of your stamp in the Stamp Properties dialog. If the
Minimum Scale setting is left at its default value, w hich is 100%, the size of the stamp
w ill not vary.

W hen using a multi-draw ing stamp, this is the number of the draw ing in the series that w ill
be stamped on the next time you use the Stamp tool. For example, if your stamp has 3
draw ings and this is set to 2, the next draw ing that w ill be stamped on is the second draw ing
in the series.
Stamp

If your stamp's Cycle setting is set to Hold, then you have to use this slider to select w hichdraw ing to stamp w ith the Stamp tool.
If your stamp's Reset Cycle for Each Stroke option is enabled, then you can use this slider toselect w hich draw ing to start each stroke w ith.
Otherw ise, w hen you draw a stroke w ith the Stamp tool, the Stamp slider w ill automatically1160

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Property

Description

update to the next draw ing in the sequence.

TIP
You can also cycle through the draw ings in your stamp by using the Left Arrow and Right
Arrow keys.

NOTE
The Cycle and Reset Cycle for Each Strokee options are available in the Stamp
Properties dialog.

Stamp Presets
These options allow you to select, create and manage stamp presets.
Contrary to the Brush and Pencil tools, creating a Stamp preset is required to use the Stamp tool, as thispreset w ill contain the draw ings to stamp onto your artw ork. A Stamp preset is created by selecting one orseveral layers, then adding a preset to the Stamp Presets list. If several layers are selected, the Stamp w ill
contain a series of draw ings, w hich it w ill stamp onto your artw ork in a sequence as you draw strokes w ith the
Stamp tool.
Icon

Property

Description

Presets list

The list of Stamp presets. Click on one of the presets to select it anduse it in your draw ing.

Creates a new Stamp preset based on the selected artw ork. The
artw ork can either be a selection made w ith the Selecttool, or by

selecting a layer.
New Brush Preset

If several layers are selected, this w ill create a multi-draw ing Stamp.
As you draw a stroke w ith the Stamp tool using a multi-draw ing
stamp, each draw ing in the stamp w ill be applied onto your artw ork,
one after the other.

Delete Brush

Deletes the currently selected preset.

Brush Presets Menu

Open a menu that contains all of the previous options, along w ith allof the follow ing options:1161

Chapter 4: Tools Propertiesl

New Brush Preset: Creates a new stamp based on theselected artw ork.

lRename Preset:Allow s you to rename the currently selected
preset.

lImport Brushes:Allow s you to import brush presets exported
from Harmony.

l

Export Brushes:Allow s you to export your brush presets into
an .xml file.

l

Small Thumbnail: Displays presets in a grid of small
thumbnails w ith a preview of their tip.

lLarge Thumbnail: Displays presets in a grid of big thumbnails,
w ith their name and a preview of their tip.

lStroke View: Displays presets in a list, w ith their name and apreview of a stroke done w ith each preset.

Drawing Options
These options affect the w ay your draw ing strokes are added to your artw ork
Icon

Property

Description

W hen enabled, your brush strokes w ill appear behind the existingartw ork.

Draw Behind

NOTEYour brush stroke w ill temporarily appear over your artw ork as
you draw it, until you release the mouse cursor or tablet pen.

Allow s you to enable or disable snapping for this tool and all otheranimation and draw ing tools that support snapping, as w ell as to selectw hich types of snapping are enabled.
Snapping
If you double-click or long-click on this button, it w ill open a pop-up
menu in w hich you can toggle different snapping modes. You can also
click on this button to toggle it off, w hich w ill disable all snapping

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modes, and click on it again and toggle it on to re-enable the snapping
modes w hich w ere previously enabled.
This tool supports the follow ing snapping mode:lSnap to Alignment Guides: W hile draw ing, the draw ing tool
w ill snap against nearby alignment guides.

Stamp Properties Dialog
The Stamp Properties dialog allow s you to set more specific settings for your stamp, such as pressure
sensitivity, spacing, angle, randomness and, for multi-draw ing stamps, how to cycle through each draw ing inthe stamp. To open the Stamp Properties dialog, click on the arrow button right of the stroke display area.

Property

Description

The maximum scaling factor to apply to the stamp before stamping it onto the draw ing.
Maximum Scale

This setting is a percentage, w hich is relative to the size of the original draw ing that w as
used to create the stamp. This means that, at 100%, the draw ing w ill be stamped into yourartw ork in its original size.

Minimum Scale

The minimum scaling factor to apply to the stamp before stamping it onto your draw ing.

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Chapter 4: Tools Properties

Property

Description

W hen using the Stamp tool w ith a pressure-sensitive pen tablet, the size of the stamps
applied onto your artw ork w ill vary betw een its Minimum Scale and Maximum Scale
properties, relative to the amount of pressure you apply to the pen.
This setting is relative to the Maximum Scale property. This means that if the Maximum
Scale is set to 50% and the Minimum Scale is set to 50%, the actual scaling factor applied tothe stamp w ill vary betw een 25% and 50%.
This setting is also used w ith the Random Size setting.

The tw o-ended arrow s to the left and over the Stamp thumbnail allow you to flip the stamp
horizontally or vertically.
Flip Horizontally /Flip Vertically

The Roundness and Angle parameters allow you to change the shape and orientation of thestamp.
lRoundness: The vertical scaling to apply to the stamp. Reducing this setting
squashes the stamp vertically, allow ing you to turn round or square stamps into flatstamps.

lRoundness &Angle

Angle: The angle at w hich to rotate the brush tip, counterclockw ise.

NOTE
The squashing is not relative to the angle—if the stamp is rotated, the squashing w ill
still be done relative to the stamp's original orientation.

Spacing

Defines the amount of space betw een each stamp that is applied onto the artw ork. The
larger the value, the greater the space betw een each stamp.

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Property

Description

The percentage of randomness to apply to the size of the stamp. This makes the size of thestamp randomly vary betw een its Maximum Scale and Minimum Scale settings each time itis applied to your artw ork.

Random Size
The greater the value of the Random Size property, the closer to its Minimum Scale the sizeof each stamp can get. For example, if the Random Size setting is set to 50% and the
Minimum Scale is set to 50%, the size of the stamp w ill randomly vary betw een 75% and100% of its Maximum Scale.

The maximum value of randomness to apply to the angle of the stamp. This makes theRandom Angle

Random Spacing

angle of the stamp randomly vary w ithin the range of degrees in this setting, in either
direction, each time it is applied to your artw ork. For example, if the stamp's Angle is set to0°, and the Random Angle is set to 180°, each instance of the stamp w ill be at a random
angle varying betw een -90° and 90°.

The maximum amount of randomness to apply to the spacing of the stamp. Increasing thissetting makes the distance betw een each instance of the stamp vary randomly as you draw
a stroke. At 100%, this makes the distance betw een each stroke vary betw een 0% and200% of its Spacing property.

For multi-draw ing stamps, this decides the logic w ith w hich to cycle through the sequenceof draw ings in the stamp as you draw a stroke.
Cycle

l

Forward: Starts by applying the first draw ing in the sequence, then the next one,and so on until it reaches the last draw ing in the sequence, then cycles back to thefirst one.

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Chapter 4: Tools Properties

Property

DescriptionlReverse: Starts by applying the last draw ing in the sequence, then the previous one,and so on until it reaches the first draw ing in the sequence, then cycles back to thelast one.

l

Forward- >Reverse: Starts by cycling forw ard through the sequence until it reaches
the last draw ing, then cycles backw ard to the first draw ing, and so on.

lReverse- >Forward: Starts by cycling backw ard through the sequence until itreaches the first draw ing, then cycles back to the last draw ing, and so on.

lRandom: Applies a random draw ing in the sequence each time the stamp is applied.

lHold: Applies a single one of the draw ings in the sequence over and over again.

TIP
W hen this option is set to Hold, you can select w hich one of the draw ings is stamped onby changing the Stamp setting in the Tool Properties view .

For multi-draw ing stamps. This makes it so each stroke you draw w ith the stamp too alw ays
starts w ith the first draw ing in the cycle, w hich is decided by the Stamp option in the Tool
Properties view .
Reset Cycle for
Each Stroke

W hen disabled, the Stamp tool keeps track of w hich draw ing it w as going to stamp next
w hen you finish draw ing a stroke by storing the number of that draw ing in the Stampsetting. W hen this option is enabled, it simply stops updating the Stamp setting. Hence,
your strokes alw ays start at the draw ing selected w ith that setting. Likew ise, you canmanually decide w hich draw ing to start your strokes w ith by adjusting the Stamp setting.

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Stroke Tool Properties
W hen you select the Stroke tool, its properties and options appears in the Tool Properties view .

Icon

Tool Name

Description

Draw Stroke as
Straight Lines

Enable the Draw Stroke as Straight Lines option if you w ant the newstrokes you draw to be a perfect straight line. Disable the option if you
w ant the stroke to follow the mouse gesture.

Connect Line Ends

Enable the Connect Line Ends option if you w ant the start or end point of
your new stroke to connect to your existing strokes to make sure no gaps
are left in your draw ing.

W hen enabled, draw ing a closed shape w ill automatically fill it w ith thecurrently selected Paint colour.

Auto FillW hen enabled, draw ing a closed shape w ill automatically remove theoutstanding lines.

Trim Extra Lines

Align Handles AfterTrim

W hen the Trim Extra Lines option is enabled, enable this option to makethe point w here the beginning and end of the stroke meet into a smooth
curve rather than a hard corner.

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Auto-Flatten Mode

By default, w hen draw ing on a vector layer, each new stroke is created asa separate draw ing object, w hich can be edited independently from otherparts of the artw ork. W hen enabled, the Auto-Flatten option
automatically merges strokes into existing artw ork.

Allow s you to perform draw ing operations on both the Line Art and Colour
Art layers of your draw ing simultaneously.
Apply to Line andColour Art

NOTE
If you have Overlay and Underlay Art layers enabled, they w ill also
be affected w hen this option is enabled.

Apply to Synced
Draw ing Layers

If the currently selected layer is synced w ith another layer, the tool w ill
w ork on both the current layer and its synced layer.

Smoothness

You can modify the central line smoothness of your line using this option.
This parameter smooths the initial movement of your line. Increasing thevalue w ill result in a smoother line w ith few er control points. Use the left
and right arrow s to increment the value by one full unit. Use the Up Dow n slider to quickly increment the value.

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Text Tool Properties
The Text tool lets you add text fields to your project, in w hich you can type text, then adjust its formatting
using various fonts and text attributes.
W ith the Text tool selected, you can select text w ithin text boxes you created and change the formatting of
the selection. You can also select and manipulate text boxes using the Select tool, and change the formattingof the entire text box in the Select tool properties.

How to access the Text tool propertiesl

In the Tools toolbar, select the Text

tool.

The tool's properties are displayed in the Tool Properties view .

Icon

Property

Description

Lets you select the font in w hich to display the text.

Font

Makes the selected text bold.
Bold

ItalicMakes the selected text italic.

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Chapter 4: Tools Properties

Icon

Property

Description

Aligns the text in the selected text box to the left.

Align Left

Aligns the text in the selected text box to the centre.

Align Center

Aligns the text in the selected text box to the right.

Align Right

Makes the text in the selected text box take all the horizontal space byadjusting the spacing betw een each w ord. Text that use a single line
and text in the last line of a paragraph is aligned to the left.

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Icon

Property

Description

Allow s you to set the size of the selected text.
Size

Allow s you to increase or decrease the spacing betw een eachcharacter.

Kerning

Auto Kern

Sets the kerning automatically based on the font’s predefined
standard.

Allow s you to increase or decrease the indentation of the first line oftext in each paragraph.
IndentIncreases or decreases the space betw een each line of text.

Line Spacing

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Transform Tool Properties
W hen selecting the Transform tool, several options are available in the Tool Properties view .

Icon

Tool Name

Description

Sets the selection mode to Lasso, w hich allow s you to selectmultiple items by draw ing a lasso around them.
Lasso

TIP
W hen this option is enabled, you can press and hold theAlt key to temporarily use Marquee mode.

Sets the selection mode to Marquee, w hich allow s you to selectmultiple items by draw ing a rectangle around them.
MarqueeTIP
W hen this option is enabled, you can press and hold theAlt key to temporarily use Lasso mode.

Easy Drag

W hen enabled, you can drag the selection by clicking anyw here
inside its bounding box. By default, you must click on the artw ork
in the selection to be able to drag it.

Allow s you to enable or disable snapping for this tool and allother animation and draw ing tools that support snapping, as
w ell as to select w hich types of snapping are enabled.
Snapping

If you double-click or long-click on this button, it w ill open a popup menu in w hich you can toggle different snapping modes. You
can also click on this button to toggle it off, w hich w ill disable allsnapping modes, and click on it again and toggle it on to re-1172

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enable the snapping modes w hich w ere previously enabled.
This tool supports the follow ing snapping modes:lSnap to Alignment Guides: W hile moving the selection
or one of its control points, it w ill snap against nearbyalignment guides.

lSnap and Align: W hile moving the selection, therectangular bounding box of the selection w ill align w ith
the rectangular bounding boxes of other elements in yourscene. If you move one of your selection's control points,
it w ill also align w ith the bounding boxes of otherelements.

lSnap to Grid: W hile moving the selection, the mouse
cursor w ill snap against the intersecting points of the
grid.

TIP
To display the grid, select View > Grid > Show
Grid from the top menu or press Ctrl + '.

Peg Selection ModeIn the Camera view , the Peg Selection Mode limits the selection
to peg layers instead of draw ing layers. This mode is usefulw hen you have created a character rig using peg layers for eachdraw ing. That w ay, you do not accidentally select the draw ing
layer w hen you w ant to animate on the peg.
W hen disabled, the Transform tool selects the draw ing layers.

Control Selection Mode

W hen enabled, you can select several control points in the
Camera view by draw ing a lasso or marquee around them. By
default, draw ing a lasso or marquee in the Camera view w ill
select layers in the area.

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Chapter 4: Tools Properties

NOTE
This option w orks w ith curve and envelope deformation
points as w ell as Animated Matte Generator control
points.

Allow s the selection and manipulation of different types ofinterfaces, such as pegs and curves, together in the same
operation.
Mixed Manipulation Mode

Hide Manipulator Controls

W hen enabled, certain deformation controls and extra controls
w ill be able to be selected and manipulated w ith the Transform
Tool. This w ill extend the bounding box used by the tool toencompass the selected controls. These controls can then betransformed at the same time w ith other selected pegs,
draw ings and compatible controls.

The Hide Manipulator Controls button lets you hide thebounding box and manipulator controls from the Camera vieww hen an element is selected.

Flips the current selection horizontally.
Flip Horizontal

You can also select Animation > Flip > Flip Horizontal from the
top menu or press 4 or 5.

Flips the current selection vertically.
Flip Vertical

You can also select Animation > Flip > Flip Vertical from the top
menu or press 4 or 5.

Rotate 90 Degrees CW

Rotates the current selection 90 degrees clockw ise.

Rotate 90 Degrees CCW

Rotates the current selection 90 degrees counter-clockw ise.

Use the Offset X and Offset Y operation fields to enter specificvalues and precisely reposition the selected shape.

Offset X ad Y

1. X: Type a value in this field to reposition your selection
along the X-axis.

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2. Y: Type a value in this field to reposition your selection
along the Y-axis.
3. Up/Down arrows: Use the up and dow n arrow s tomodify the value in the X or Y value field.

Use the W idth and Height operation fields to enter specificvalues to resize the selected shape w ith precision.

W idth and Height

1. W idth: Type a value in this field to resize the w idth ofyour selection.
2. Height: Type a value in this field to resize the height ofyour selection.
3. Up/Down arrows: Use the up and dow n arrow s tomodify the value in the W idth or Height fields.
4. Lock icon: Click the lock icon to lock or unlock the ratio
betw een the W idth and Height values.

The Angle operation lets you to enter specific values andaccurately rotate the selected shape.

Angle
1. Angle: Type a degree value in this field to rotate yourselection.
2. Up/Down arrows: Use the up and dow n arrow s tomodify the value in the Angle value field.

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Chapter 4: Tools Properties

Zoom Tool Properties
The Zoom tool lets you zoom in and out of the Camera, Draw ing, Side and Top view s. You can also use it toreset the zoom level.

How to access the Zoom tool properties
1. In the Tools toolbar, select the Zoom

tool.

The tool's properties are displayed in the Tool Properties view .

Tool Options
Icon

Parameter

Description

Zoom In ModeUse the mouse cursor to zoom in to the Camera or Draw ing view .

Zoom Out ModeUse the mouse cursor to zoom out of the Camera or Draw ing view .

Operations
Icon

Parameter

Description

Zoom in the Camera or Draw ing view .
Perform Zoom In
The keyboard shortcut is 2.

Perform Zoom
Out

Zoom out the Camera or Draw ing view .

Reset Zoom

Restores the current zoom level to 100%.

Reset View

Restores the original display by resetting any pan, rotation or zoom actions.

The keyboard shortcut is 1.

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Chapter 5: Toolbars

Chapter 5: Toolbars
Harmony contains toolbars w hich, by default, are located at the top of the interface. Some view s also have a
toolbar w hich you can reposition to suit your w ork style. You can show or hide toolbars, as w ell as customize itw ith the tools you use most often and hide the ones you don't.
W orkspace Toolbars

1180

Advanced Animation Toolbar

1181

Art Layer Toolbar

1183

Control Point Toolbar

1185

Coordinate Toolbar

1187

Deformation Toolbar

1188

Display Toolbar

1193

Easy Flipping Toolbar

1194

Edit Toolbar

1195

File Toolbar

1196

Flip Toolbar

1198

Game Toolbar

1199

Mark Draw ing Toolbar

1200

Master Controller Toolbar

1201

Mini Playback Toolbar

1203

Node Caching Toolbar

1204

Onion Skin Toolbar

1205

Pen Settings Toolbar

1207

Playback Toolbar

1210

Scripting Toolbar

1213

Shift and Trace Toolbar

1214

Tool Presets Toolbar

1216

Tools Toolbar

1217

W orkspace Toolbar

1223

View Toolbars

1224

3D Graph View Toolbar

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Animated Matte Generator Toolbar

1226

Script Editor Toolbar

1229

Timeline View Toolbar

1233

Xsheet View Toolbar

1238

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W orkspace Toolbars
Harmony has a series of toolbars that are added by default at the top of the interface. These toolbars can be
moved on the sides of the interface as w ell as w ithin specific view s.
All top toolbars can be added by selecting W indows > Toolbars in the top menu.
Advanced Animation Toolbar

1181

Art Layer Toolbar

1183

Control Point Toolbar

1185

Coordinate Toolbar

1187

Deformation Toolbar

1188

Display Toolbar

1193

Easy Flipping Toolbar

1194

Edit Toolbar

1195

File Toolbar

1196

Flip Toolbar

1198

Game Toolbar

1199

Mark Drawing Toolbar

1200

Master Controller Toolbar

1201

Mini Playback Toolbar

1203

Node Caching Toolbar

1204

Onion Skin Toolbar

1205

Pen Settings Toolbar

1207

Playback Toolbar

1210

Scripting Toolbar

1213

Shift and Trace Toolbar

1214

Tool Presets Toolbar

1216

Tools Toolbar

1217

W orkspace Toolbar

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Advanced Animation Toolbar
The Advanced Animation toolbar contains tools to position and animate layers. The Scale, Translate andRotate tools can be used to reposition the permanent pivot position of a layer. Unlike the Transform tool, eachtool in the Advanced Animation toolbar performs a single operation, either rotate, scale, translate or scale inrelation to the camera distance.

How to access the Advance Animation toolbar
1. Select W indows > Toolbars > Advanced Animation.

Icon

Tool Name

Description

TranslateLets you move the selected element along the X and Y
axes.

RotateTurns a selected element around its pivot point.

Increases or decreases the size of a selected element.
You can scale an object up to make it larger or dow n
to make it smaller. Press Shift to scale the element
w hile maintaining its proportions.

Scale

Skew

Slants the selected element.

Maintain Size

Keeps elements the same size aspect ratio in the
Camera view as you move them tow ards or aw ay
from the camera.

Spline Offset

Lets you reposition the visual trajectory w ithout
offsetting or modifying your animation. By default, thetrajectory is located at 0,0,0 fields. If your elements
w ere draw n in a different location than the centre of
the draw ing area, it w ill look like the trajectory is notaligned w ith your draw ing. Also, if you have several
elements attached to one trajectory, you might w ant
your trajectory to be at a different location torepresent the group's motion better.

Reposition Draw ing

Lets you reposition, scale, rotate or skew all draw ing

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Chapter 5: Toolbars

strokes on every draw ing included in a layer.

Capture the mouse movement and apply to the X andY position of Peg or Draw ing.
It allow s you to select the follow ing options:Capture Speed: It reduces or accelerate the speed at
w hich keyframes are recorded as you trace theanimation by hand.
Keyframe Interval: It show s the number of frames
separating keyframes generated in the animation.
Capture Motion

Smoothing: It show s the degree of smoothing appliedon the animation that you trace.
Capture: Clicking Capture button w ill enable thecapture of a path in the camera view , w hen a draw ing
or peg is selected.
This acts as a security lock that prevents the user from
accidentally capturing a motion path in the camera
view . The button automatically resets its state w hen
you complete the animation.

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Art Layer Toolbar
The Art Layer toolbar lets you access the art layers. By default, only the Line Art and Colour Art are displayed.
A draw ing is composed of tw o layers, a line layer and a colour layer. The colour layer is alw ays placed under
the line layer. These layers are accessible in the Draw ing or Camera view (using draw ing tools). W hen you
view the final draw ing, you w ill see the final composition of the lines and colours, not tw o separate layers.

You can draw and paint in all layers. If you prefer to w ork in a single layer, everything can be done in the LineArt layer.
You can change your preferences to enable the advanced use of layers and have access to four layers insteadof tw o:lOverlaylLine ArtlColour Artl

Underlay

How to access the Art Layer toolbar
1. Select W indows > Toolbars > Art Layer.

How to enable the Support Overlay and Underlay Arts option
1. Select Edit > Preferences ( W indow s/Linux ) or Harmony Premium > Preferences ( macOS ).
2. In the Preferences dialog box, select the Advanced tab.
3. In the Advanced Options section, select the Support Overlay and Underlay Arts option.
4. Click OK.

Icon

Tool Name

Description

Preview Line Art andColour Art

Displays all Art layers.

Overlay Art

Makes the Overlay Art layer current.

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Chapter 5: Toolbars

Line Art

Makes the Line Art layer current.

Colour Art

Makes the Colour Art layer current.

Underlay Art

Makes the Underlay Art layer current.

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Control Point Toolbar
The Control Point toolbar displays parameters w hen you select a keyframe or control point in the Camera,
Timeline or Xsheet view . You can edit keyframes and control point parameters, such as the continuity, bias,
tension and lock-in-time.

How to access the Control Point toolbar
1. Select W indows > Toolbars > Control Point.

Icon

Tool Name

Description

Frame

Indicates the current frame.

Locked in Time

Locks a control point in time, making it a keyframe.

Constant Keyframe

Removes any interpolation and keeps the keyframe
value constant up to the next keyframe.

Controls how sharply the path bends as it passes
through a control point or keyframe.

T

TensionControls the smoothness of a transition betw een thesegments joined by a point.

C

Continuity

B

Bias

Controls the slope of the path so it flow s tow ards one

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Chapter 5: Toolbars

side of the motion point or the other.

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Coordinate Toolbar
T-ANIMCO2-001-001

The Coordinate toolbar displays parameters of keyframes or control points in the Camera, Timeline or Xsheet
view . You can edit keyframes and control point parameters, such as the position, scale and rotation
coordinates.

For tasks related to this toolbar, see Coordinates and Control Points View on page 1269.

How to access the Coordinate toolbar
1. Select W indows > Toolbars > Coordinate.

Parameter

Description

The translation fields display the X, Y and Z translation values of the selectedTranslation

layer. You can enter precise values to set the first frame and last frame position ofa layer. By default the Z value field is disabled. It w ill automatically become active
w hen the 3D option is enabled.

Scale

The scale fields display the X, Y and Z scaling values of the selected layer. You
can enter precise values to set the first frame and last frame size of a layer. By
default the Z value field is disabled. It w ill automatically become active w hen the
3D option is enabled.

Rotation

The rotation fields display the X, Y and Z rotation values of the selected layer. You
can enter precise values to set the first frame and last frame rotation of a layer. By
default the Z value field is disabled. It w ill automatically become active w hen the
3D option is enabled.

Skew

The skew field displays skew value of the selected object. You can enter a precise
value to set the skew of the object.

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Chapter 5: Toolbars

Deformation Toolbar
T-RIG-007-009
The Deformation toolbar contains the various tools and options used to create a deformation rig. This toolbar
is displayed in the default interface.
By default, the Deformation toolbar only contains the essential options. If you right-click on the toolbar andselect Customize, you can add additional buttons.

NOTE
The Customize option is only available if a toolbar is right-clicked in the space above the Camera
view . To move the toolbar to the space above the Camera view , either click and drag the toolbar
directly to the space above, or right-click in the space above and select the toolbar you w ish to
add.

Default Buttons
Icon

Tool Name

Description

Rigging Tool

The Rigging tool is used to create either a Bone orCurve deformation chain. You also use it to set up theresting position.
To learn more about the Rigging tool's properties, see
Rigging Tool Properties on page 1138.

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Deformation Chain and
Hide All Others

Displays the deformation controls for the selected
element and all of its children in the Camera view , andhides the deformation controls for any other element
in your scene.

Show Selected
Deformers

Displays the deformation controls for the selected
element and all of its children in the Camera view . If
deformation controls for other elements are currently
visible, they w ill remain visible as w ell.

Show Deformation Mesh

Overlay the deformation mesh as a w ireframe overthe draw ings.

W hen several points from a curve or envelope
deformation chain are selected, this displays amanipulator bounding box around them. Using thismanipulator, you can move, rotate and scale theselected points together.

Show Manipulator

Reset Current Keyframe

The Reset Current Keyframe copies the resting
position, the original setup of your skeleton before
undergoing any deformation, to your current frame.
Once you have created a deformation chain, you can
use the Rigging tool to adjust the position andappearance of the rig to fit the element. W hen theskeleton is in place, you can use the Reset Current
Keyframe button to reset the current frame position to
the resting position.

Create New Deformation
Chain

The Create New Deformation Chain option allow s you
to create a new deformation chain on a samecharacter. For example, if you have draw ings for thedifferent view s of your puppet (front, profile, back,1189

Chapter 5: Toolbarsetc.), you can use this feature to setup a new set ofchains for each angle w ithout having to create
completely different puppets.

The Rename Transformation option allow s you to give
specific names to your different transformation chains.
By default, chains are named Transformation plus thenumber of the chain, such as Transformation 2. You
can rename these to identify them easier, such as
front, side, back, and so on.

Rename Transformation

The Transformation Selector drop-dow n menu allow s
you to assign an existing chain to a set of draw ings.
For example you might w ant to reuse the front
deformation chains for another series of draw ing.
Transformation Selector
W hen creating a new draw ing, the Default
Transformation is assigned. W hile on the newdraw ing frames, from the drop-dow n menu, select a
different chain to automatically assign it.

The Enable Deformations button allow s you todisplay your draw ings in their original state or w ith
deformations w hile creating additional draw ings.
Depending on the artw ork you need to create, you
might need to refer to the other images either
deformed or in their original position.
Enable Deformations

NOTE
Disabling deformations is only a display
mode. Although draw ings w ill not appear
deformed in the Camera view , even in RenderView mode, they w ill still be deformed in therendered images.

Matches the draw ing name and draw ing location pathin the Transformation Sw itch node's Properties w ith
the draw ing name and draw ing location path found in
the Draw ing Layer's Properties. For this button to
w ork, a draw ing node connect to a deformation group,
w ith a Transformation Sw itch inside, must be
selected.

Associate Parent
Transformation Sw itchw ith Selected Element

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Optional Buttons
Icon

Tool Name

Description

After you have created a deformation chain using
Elliptic as the Zone of Influence type, you canselect your deformer and click on this button toconvert it to a Shaped type. Control points w ill
appear around the shape making it easy tocustomize.You can also convert the Elliptic zone ofConvert Elliptic Zone of Influence to Shapeinfluence to a shape. Select Animation >Deformation > Convert Elliptic Deformation ROI
to Shape. This w ill create a much smaller initialzone of influence than if you w ere to convert it
directly to a shape.

NOTE
You can also convert the Elliptic zone ofinfluence to a shape. Select Animation >Deformation > Convert Elliptic
Deformation ROI to Shape. This w illcreate a much smaller initial zone ofinfluence than if you w ere to convert it
directly to a shape.

Convert to New Draw ing and Add
Deformation Chain

Takes the pose/draw ing and the deformer of theselected frame and converts it to a newpose/draw ing w ith the corresponding deformer.

Remove All Keyframes

The Remove All Keyframes option removes all
keyframes on the selected deformation chain.

The Show All Controls button lets you visualize theresting position in red (Setup mode) and the active
position (Animation) in green at the same time

Show All Controls

The Show All Regions of Influence button displays

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Chapter 5: Toolbars

all regions of influence in the deformers in yourproject. Note that the deformer’s controls must be
visible in order for its zones of Influence to show .
The regions w ill not be displayed w hen adeformer’s zone of Influence is set to Infinite or
Zero.

NOTE
Region of influences are not available forGame Bone deformers.

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Display Toolbar
The Display toolbar lets you select the different Display nodes available in the node system.

W hen your scene does not have a Display node, it is automatically set to Display All w hich uses the Timelineview ordering and show s floating nodes from the Node view . You can also set your scene to use Display All
using the Display toolbar.

NOTE
If you try to add a peg or other transformation layer in the Timeline view w ithout having a layer
selected, an error message w ill display. Make sure to change to Display All. The peg layer w ill befloating in the Node view and w ill not be visible in the Timeline view . The Timeline view show s
only layers that are connected to the Composite node.
If you sw itch to Display All, you run the risk of not realizing w hen you have floating nodes that are
not connected to your composite. For this reason, it is not recommended to w ork in Display All
mode.

How to access the Display toolbar
1. Select W indows > Toolbars > Display.

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Easy Flipping Toolbar
T-LAY-003-007
The Easy Flipping toolbar lets you rapidly flip through draw ings in the Draw ing view as is done w ith paper
draw ings. In order for the features in this toolbar to w ork, you must be in the Draw ing view .

How to access the Easy Flipping toolbar
1. Select W indows > Toolbars > Easy Flipping.

Icon

Tool Name

Description

Previous Draw ing

Displays the previous draw ing of your animation.

Next Draw ing

Displays the next draw ing of your animation.

SliderLets you flip forw ards or backw ards through yourdraw ings by moving the slider.

Loop

Displays draw ings in the first frame after you reachthe last frame of your animation.

Easy Flip

Automatically flips through the draw ings based on
the FPS.

Preroll

Sets the number of draw ings to be flipped throughbefore the starting draw ing. The starting draw ing isdetermined by the position of the red playhead in theTimeline view .

FPS

Sets the speed of playback in the units of frames per
second.

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Edit Toolbar
The Edit toolbar contains common operations such as Undo, Redo, Cut, Copy and Paste. These commands canalso be found in the Edit top menu.

How to access the Edit toolbar
1. Select W indows > Toolbars > Edit.

Icon

Tool Name

Description

Undo

Removes the last change made to your project.
Harmony supports multiple undo, so you can undochanges you made in the order you made them.

Redo

Redoes an operation you have undone. This commandis active only after you use the Undo command.

Cut

Removes selected objects. You can then paste theobject or its properties to another object.

Copy

Copies selected objects and properties.

Paste

Places an object you cut or copied into the location
you select in a view .

Create Symbol

Creates a symbol from selected draw ing elements inthe Draw ing or Camera view , nodes in the Node view ,or a layer or cells in the Timeline view .

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File Toolbar
The File toolbar contains buttons for common file operations such as New , Save and Open. These commands
can also be found in the File top menu.

NOTE
The

New , andServer,Save As buttons are only available in Harmony Stand Alone. W ith Harmony

Control Center must be used to create scenes.

How to access the File toolbar
1. Select W indows > Toolbars > File.

Icon

Tool Name

Description

New (Harmony Stand
Alone)Creates a new scene w hile closing any scene already open. The New
Scene dialog box opens, asking for directory, name, and resolution
information.

Open

Displays the Open Scene dialog box w here you can brow se for ascene file. You can open a new scene from the current one and theprevious scene w ill close.

Save

Saves all changes made to the opened scene, draw ings, palettes, andpalette lists.

Saves the current file w ith a different name and at a different location.
Save As

Saves the current state of a scene as another scene. The Save As
w indow prompts you for a new name and a different location for thisscene before saving it. This w ill create a complete scene directory forthe new scene.

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Icon

Tool Name

Description

NOTE
The scene name cannot exceed 23 characters.

Import Images

Imports bitmap images w hich you can choose to vectorize.

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Flip Toolbar
The Flip toolbar lets you determine the type of draw ing to include in your flipping selection. You can flip
through the key, breakdow n or in-betw een draw ings individually, or view a combination.

How to access the Easy Flipping toolbar
1. Select W indows > Toolbars > Easy Flipping.

Icon

Tool Name

Description

Show Key Draw ings

Displays key draw ings w hen flipping throughdraw ings.

Show Breakdow nDraw ings

Displays breakdow n draw ings w hen flipping throughdraw ings.

Show In-betw een
Draw ings

Displays in-betw een draw ings w hen flipping throughdraw ings.

Show Retake Key
Draw ings

Displays retake key draw ings w hen flipping throughdraw ings.

Show Retake Breakdow nDraw ings

Displays breakdow n retake draw ings w hen flipping
through draw ings.

Show Retake In-betw een
Draw ings

Displays retake in-betw een draw ings w hen flipping
through draw ings.

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Game Toolbar
The Game toolbar contains tools for setting anchors and props, as w ell as exporting to sprite sheets and Easel
JS.

How to access the Game toolbar
1. Select W indows > Toolbars > Game.

Icon

Tool Name

Description

Toggle Anchor

Adds the Anchor parameter to the selected layer.

Toggle Prop

Adds the Prop parameter to the selected layer.

Export to Sprite Sheets

Opens the Export to Sprite Sheets w indow w here youcan export your animation as sprite sheets .

Export to Easel JS

Opens the Export to Easel JS w indow w here you canexport your animation as Easel JS.

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Mark Drawing Toolbar
The Mark Draw ing toolbar lets you identify draw ings such as key, breakdow n and in-betw een. The draw ing
Identification feature can help the animator stay w ell organized and save time w hen identifying key,breakdow n or in-betw een draw ings in the Xsheet and Timeline view s.

How to access the Mark Drawing toolbar
1. Select W indows > Toolbars > Mark Drawings.

Icon

Tool Name

Description

Mark as Key Draw ing

Identifies the selected draw ing as a key draw ing.

Mark as Breakdow nDraw ing

Identifies the selected draw ing as a breakdow n
draw ing.

Mark as In-betw een
Draw ing

Identifies the selected draw ing as an in-betw een
draw ing.

Mark as Retake Key
Draw ing

Identifies the selected draw ing as a key retakedraw ing.

Mark as Retake
Breakdow n Draw ing

Identifies the selected draw ing as a breakdow n retakedraw ing.

Mark as Retake Inbetw een Draw ing

Identifies the selected draw ing as a in-betw een retakedraw ing.

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Master Controller Toolbar
T-RIG3-008-002
The Master Controller toolbar allow s you to launch one of the w izards that are packaged w ith Harmony w hichcan be used to generate Master Controller w idgets.

How to access the Master Controller toolbar
1. Do one of the follow ing:

Icon

l

In the top menu, select W indows > Toolbars > Master Controller.

lRight-click on any existing toolbar and select Master Controller.

Tool Name

Description

Stack W izard

Opens the Master Controller Stack W izard, w hich allow s you to create a
Master Controller that combines a 2D point w idget and a slider. The 2D point
w idget can be used to rotate part of your rig in any direction, used a grid ofpreset poses, and the slider can be used to sw itch betw een different grids ofposes.

Grid W izard

Opens the Master Controller Grid W izard, w hich allow s you to create a Master
Controller w ith a 2D point w idget that can be used to rotate part of your rig inany direction, using a grid of preset poses—see Master Controller Grid W izard
Dialog Box on page 123.

Slider W izard

Opens the Master Controller Slider W izard, w hich allow s you to create a
Master Controller w ith a slider w idget w hich can be used to change the poseof part or all of your rig, based on a line-up of 2 or more poses—see Master
Controller Slider W izard Dialog Box on page 235.

Unroll Poses
W izardOpens the Unroll Poses W izard, w hich allow s you to take an existing Master
Controller and break it into the set of poses that w ere used to generate it. You
can then make changes to the poses and generate an updated Master

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Icon

Tool Name

Description

Controller.

Function W izard

Opens the Function W izard, w hich allow s you to create a custom Master
Controller that controls a specific parameter in a selection of one or several
draw ings or nodes.

If you selected a group containing Master Controllers, or multiple nodes inShow Master
Controllers

Deformer on
Deformer
W izardw hich there are Master Controllers, this w ill open a dialog allow ing you toselect some or all of these Master Controllers and to display their controls in
the Camera view .

Opens the Deformer on Deformer W izard, w hich allow s you to create a Curve
deformer over an Envelope deformer. The Curve deformer w ill be converted toa set of Master Controller w idgets w hich can be used to deform the points ofthe Envelope deformer, w hich w ill in turn deform the draw ing it is rigged to.
This makes it possible to combine the versatility of an Envelope deformer w ith
the ease of use of a Curve deformer—see See Deformer On Deformer W izard
Dialog Box on page 58..

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Mini Playback Toolbar
The Mini Playback toolbar allow s you to quickly preview a short span of animation starting a few frames
before the current frame and ending a few frames after the current frame, at a customizable frame rate.

How to add the Mini Playback toolbar to your workspace
1. Do one of the follow ing:

Icon

l

In the top menu, select W indows > Toolbars > Mini Playback.

l

Right-click on any existing toolbar and select Mini Playback.

Tool Name

Description

Mini Playback
DialogOpen the Mini Playback dialog. This dialog allow s you to set the amount offrames before and after the current frame to playback w hen using Mini Playback,to set the speed of Mini Playback and to start Mini Playback.

Mini Playback

Begins Mini Playback using the last settings entered in the Mini Playback dialog.
By default, Mini Playback w ill play 5 frames before and after the current frame,at the scene's frame rate.

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Node Caching Toolbar
The Node Caching toolbar allow s you to control how nodes in your scene are cached.

Icon

ButtonDescription

Toggle Node's
Cache

Toggles the Cached property of every selected node on or off.

Show cachedpreview

Re-enables cache for every element or rig in your scene for w hich it w as
temporarily disabled.

Alw ays
Playback w ith
CachedPreview s

W hen toggled on, if you play your scene, the cache w ill be re-enabled for every
element for w hich it w as temporarily disabled.

W hen toggled on, selecting a node in the Timeline or Node view w ill disable
caching for this node, or for any node connected underneath it.
Disable Preview
Cache w hen
selecting nodes

NOTE
Selecting an element in the Camera view alw ays disables the cache forthis element and its children, regardless of w hether this option is enabledor disabled. This option only affects w hat happens w hen selecting in theTimeline or Node view .

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Onion Skin Toolbar
The Onion Skin toolbar contains a few options that can be used w ith Onion Skin. Specifically, you can use it toquickly toggle the Enable Onion Skin for other elements option, as w ell as to only display draw ings w ith
specific markers in the Onion Skin.

How to access the Onion Skin toolbar
1. Select W indows > Toolbars > Onion Skin.

Icon

Tool Name

Description

In the Draw ing View , w hen the Light Table is enabled, making otherlayers visible alongside the current layer, this w ill make the Onion Skinfor other visible layers appear alongside the Onion Skin for the current
layer. Draw ings for elements above the current layer w ill appear inblue, and draw ings for elements below w ill appear in yellow .
Enable Onion Skin in
Other Elements

NOTE
The draw ings from other elements that get displayed in theOnion Skin are the draw ings that are exposed at the same timeas the draw ings displayed in the current layer's Onion Skin.

Show Key Draw ings

Only displays draw ings marked as key draw ings in the Onion Skin.

Show Breakdow nDraw ings

Only displays draw ings marked as breakdow ns in the Onion Skin.

Show In-betw een
Draw ings

Only displays draw ings w ith no marker in the Onion Skin. Draw ings
w ith no marker are considered in-betw eens.

Show Retake Key
Draw ings

Only displays draw ings marked as retake key draw ings in the Onion
Skin.

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Icon

Tool Name

Description

Show Retake Breakdow nDraw ings

Only displays draw ings marked as retake breakdow ns in the Onion
Skin.

Show Retake In-betw een
Draw ings

Only displays draw ings marked as retake in-betw eens in the Onion
Skin.

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Pen Settings Toolbar
The Pen Settings toolbar provides options for enabling and configuring the Pen Stabilizer, w hich can help you
draw smooth lines w ith precision and minutia. It also allow s you to access the Pen Pressure Feel dialog, w hichallow s you to configure how the pressure you apply to your tablet pen is processed by Harmony to affect thesize of your draw ing strokes.

NOTE
For information on how to use the Pen Settings toolbar, refer to the User Guide.

Icon

Parameter

Description

Allow s you to select a method for Harmony to stabilize your draw ing strokes.
Stabilization is a process by w hich Harmony uses the general direction of yourdraw ing strokes to create smooth, stable curves and avoid jittering and sharp
corners.
Harmony accomplishes this by his by letting you draw a stroke of a certain
length w ithout generating artw ork right aw ay. After your stroke has reachedthat length, Harmony starts generating an draw ing stroke that keeps trailingbehind your mouse cursor or tablet pen as you draw . Harmony uses the buffer
betw een your mouse cursor or pen tablet and the actual draw ing stroke togenerate smooth curves and ignore jittering and small mistakes.
The w ay Harmony does this depends on the stabilization method you choose:Pen Stabilizer
ModelStabilizer Off: No stabilization is performed. W hen you draw a stroke,artw ork for it is generated immediately.

lAverage: Harmony calculates the average direction of all of your mouseor pen gestures betw een the end of the actual draw ing stroke and thecurrent position of your mouse cursor or pen tip, and extends the strokein this average direction, effectively evening out jitter and rounding
sharp turns.

lPulled String: W hen you start draw ing a stroke, Harmony positions thedraw ing tool w here your stroke starts. As you move the mouse or tablet
pen, the draw ing tool remains in that position, but a "string" appears,

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Icon

Parameter

Description

linking your draw ing tool to your mouse cursor or pen tip.

This string has a certain maximum length. Once that length is reached,
the string pulls the draw ing tool in the direction of your mouse cursor ortablet pen.

NOTE
The distance betw een your mouse cursor or tablet pen and thestroke can be adjusted. For the purpose of demonstration, theseimages w ere done using the largest supported distance.

This parameter determines how far your draw ing strokes trail behind yourmouse cursor or tablet pen as you draw .
In the case of the Average technique Harmony lets you draw an invisible stroke
Pen Stabilizer
Distanceof a certain length before it starts generating the artw ork based on the average
direction of that invisible stroke. This parameter determines the invisible
stroke's length.
In the case of the Pulling String, Harmony binds your draw ing tool to yourmouse cursor or tablet pen w ith a virtual string of a given length. Thisparameter sets the length of that string.

Allow s you to enable or disable the follow ing options:l

Pen Stabilizer
Settings

Catch Up: W hen using stabilization, your draw ing strokes trail behind
your mouse cursor or tablet pen. W ith this option enabled, w hen you
stop moving your pen and just leave it pressed against your tablet, thebrush stroke w ill progressively catch up to the position of your pen.

NOTES

l

l

This option only w orks if you are draw ing w ith a pen tablet.

lThis option only w orks w ith the Average stabilization
method.

Show String: W hen using the Pulled String method, the virtual string
binding your draw ing tool to your mouse cursor or tablet pen w ill be

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Icon

Parameter

Description

displayed as you draw , allow ing you to visualize how the brush stroke
trails behind your mouse cursor or tablet pen.
lEraser: If enabled, strokes w ith theEraser tool w ill also bestabilized. By default, the stabilizer w orks w ith theandPen Pressure
Feel

Brush,

PencilStroke tools.

Opens the Pen Pressure Feel dialog, w hich allow s you to configure how
Harmony processes the pressure you put on your tablet pen before applying itto the thickness of your draw ing strokes—see Pen Pressure Feel Dialog Box.

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Chapter 5: Toolbars

Playback Toolbar
The Playback toolbar allow s you to play your animation as w ell as to set some playback options such as
looping, audio playback, playback range and playback speed.

Name

ButtonDescription

Plays the scene in the Camera or Draw ing
view .
Play
You can also select Play > Play or Stop fromthe top menu.

Renders your scene's frames, then opens therendered frames in Play for playback.
This allow s you to preview your scene's
animation in real time, w ith the effects
rendered and w ith no risk of slow dow n.

Render and PlayYou can click and hold this button to sw itch its
mode to Record and Play or Test SW F Movie.

Exports your scene as it appears in the Camera
view into a movie file, then opens it in yourw orkstation's default video player.
Record and PlayThis allow s you to preview your animation
w ithout any risk of slow dow n, but it does notpreview the effects in your scene. How ever, it
is much faster than Render and Play.

Quickly exports your scene as a Flash Movie(.swf), then opens it in your w orkstation's
default w eb brow ser.

Test SW F Movie

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If pressed, your scene w ill repeat indefinitely
w hen playing. Otherw ise, it w ill stop w hen theend is reached.

Enable Loop

You can also select Play > Loop from the topmenu.

W hen pressed, your scene's soundtrack w illplay during playback.
Enable SoundYou can also select Play > Enable Sound fromthe top menu.

W hen pressed, you w ill hear a sample of yourscene's soundtrack at the current frame w hen
moving your scene's playhead in the Timelineview .
Enable Sound Scrubbing

This allow s you to easily situate w here theaction is relative to the sound track.
You can also select Play > Enable Sound
Scrubbing.

Allow s you to quickly play your scene forw ard
or backw ard to preview your animation.
Moving the handle tow ards the right w ill playyour scene forw ard, w hile moving it tow ards
the left w ill play your scene backw ard.
The closer to the edge you move the handle,
the faster the playback w ill be, allow ing you todose the speed at w hich your scene is played.
W hen the handle is at the edge, your scene
w ill play at its actual framerate.

Jog Frames

Once the head is released, it returns to the
middle and playback stops.

Frame

Lets you manually enter the current frame
number, setting the playhead's position.

Start

Let's you manually enter the number of thefirst frame to play during playback.

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Chapter 5: Toolbars

TIP
You can also click on Start (just leftof the input field) to quickly set theStart frame to the current frame.

Let's you manually enter the number of thefirst frame to play during playback.

TIP

Stop

You can also click on Stop (just left of
the input field) to quickly set the Stop
frame to the current frame.

Lets you set the amount of frames that shouldbe played during every second of playback,w hich is how the playback speed isdetermined.
FPS (Frames per second)

NOTE
This does not change the frames per
second setting in your scene's
resolution settings.

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Scripting Toolbar
The scripting toolbar allow s you to create buttons that run functions in your scripts. You can add one button
for each function you w ant to be able to run, and clicking on the button w ill instantly run the script function
your linked it to.

How to add the Scripting toolbar to your workspace
1. Do one of the follow ing:

Icon

l

In the top menu, select W indows > Toolbars > Scripting.

l

Right-click on any existing toolbar and select Scripting.

Tool Name

Description

ManageScripts

Opens the Scripts Manager dialog box w here you can add scripts and functions
to your Scripting toolbar.

Stop Script

Stops the execution of a script launched from the Scripting toolbar.

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Shift and Trace Toolbar
The Shift and Trace toolbar allow s you to temporarily move, rotate and scale draw ings, then trace over themin other draw ings using Onion Skin. Contrary to Shift and Trace w ith the Draw ing Desk, you can use the Shiftand Trace toolbar in the Camera view .

How to access the Shift and Trace toolbar
1. Do one of the follow ing:l

In the top menu, select W indows > Toolbar > Shift and Trace.

l

Right-click on any existing toolbar and select Shift and Trace.

NOTE
You can also select the Shift and Trace
the Handtool from the Tools toolbar, under the pop-up menu oftool. W hen the Shift and Trace tool is active, all the commands in the Shift and Trace

toolbar are available in the Tool Properties view .

Icon

Tool Name

Description

Enables the Shift and Trace tool, w ith w hich you can temporarily offset,
rotate and scale draw ings.

Shift and Trace Tool

The transformations done on draw ings w ith the Shift and Trace tool are
only meant to allow you to trace these draw ings, and can be undone at
any time to reset the draw ings back to their intended position.
Selecting the Shift and Trace tool also enables Shift and Trace and Onion
Skin.

Enable/Disable Shiftand Trace

Enabled by default. W hen disabled, draw ings that w ere repositioned,rotated or scaled w ith the Shift and Trace tool appear in their original
position.

Set Add Cross HairMode

W hen selected, clicking on the draw ing w ill add a cross hair w here you
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Icon

Tool Name

Description

draw ing in the current layer and w hich move w hen you offset a draw ing
w ith the Shift and Trace tool, and they appear in the Onion Skin renditionof neighbouring draw ings as w ell. This allow s you to keep track of how
offset each draw ing is.

Remove All Cross
Hair

Removes all the cross hairs created for shift and trace.

Reset Selected
Draw ings Shift
Position

Undoes all transformations done w ith the Shift and Trace tool on theselected draw ings, resetting them to their original position, angle andscale.

Reset All Draw ings
Shift Position

Undoes all transformations done w ith the Shift and Trace tool on all
draw ings, resetting them to their original position, angle and scale.

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Tool Presets Toolbar
The Tool Presets toolbar lets you create new tool presets and manage them.

How to access the Tool Presets toolbar
1. Select W indows > Toolbars > Tool Presets.

Icon

Tool Name

Description

New Tool Preset

Creates a new tool preset from the current tool
settings.

Manage Presets

Opens the Manage Tool Preset dialog box w here you
can update, organize, and delete existing presets.

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

TIP
Many toolbar buttons have a keyboard shortcut associated to them. You can check w hich keyboard
shortcut is associated to a button by leaving your mouse cursor over the button for a second. If the
button has a keyboard shortcut, it w ill be indicated in the tooltip that appears.

By default, the Tools toolbar hides some of its tools inside pop-up menus. For example, to select thetool, you must double-click or long-click the

Select tool button, and select1217

CutterCutter in the pop-up menu.

Chapter 5: Toolbars

How ever, it is possible to make the Tools toolbar display each tool as a separate button by enabling the Flat
Tools Toolbar preference. This makes the selection of tools quicker.

How to make every tool in the Tools toolbar display in buttons rather than pop- up
menus
1. Do one of the follow ing to open the Preferences dialog:ll

W indows or GNU/Linux:l

In the top menu, select Edit > Preferences.

l

Press Ctrl + U.

macOS:l

In the top menu, select Harmony Premium > Preferences.

l

Press ⌘ + U.

2. Select the General tab.
3. In the Options section, check the Flat Tool Toolbar option.
4. Click OK.
5. Close and relaunch Harmony.

NOTE
In Flat Tools Toolbar mode, some tools are hidden from the Tools toolbar by default. To
customize w hich tools are displayed in the Tools toolbar, and the order in w hich they aredisplayed, right-click on the Tools toolbar and select Customize.

How to customize which tools are displayed in the Tools toolbar when it is in Flat
mode
1. Right-click on the Tools toolbar and select Customize.
The Toolbar Manager dialog appears.

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2. In the Available Tools list, select each tool that you w ant to add to the Tools toolbar, then click on
the Add the selected tool to the toolbar

button.

3. In the Toolbar list, select each tool that you w ant to remove from the Tools toolbar, then click on
the Remove the selected tool from the toolbar

Tool Name

Iconbutton.

Description

Allow s you to select and reposition, scale, rotate and skew brushstrokes, pencil lines, shapes and other parts of your artw ork.

SelectCutterAllow s you to cut a part of your artw ork, then reposition, scale,rotate and skew it.

Reposition All
Draw ings

Allow s you to reposition, scale, rotate and skew all draw ings in
the current layer.

Contour Editor

Allow s you to edit the vector contours of brush strokes, pencil
lines and shapes in your artw ork. You can add, remove, tw eak andmove vector points, move the Bezier handles of the vector points
as w ell as deform vector outlines.

Centerline Editor

Allow s you to tw eak and deform a brush stroke by manipulating
the points at the centre of its line rather than its contour.

Pencil Editor

Allow s you to adjust the thickness of a pencil line at its different
points and corners, tw eak the shape of its extremities and scale its
texture.

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Chapter 5: Toolbars

Smooth Editor

Allow s you to optimize contours and lines by removing its extra
points, making them easier to edit.

Perspective

Allow s you to deform artw ork by applying a perspective effect onit.

Envelope

Allow s you to deform and w arp artw ork by moving points andtw eaking lines in a grid.

Edit Gradient/Texture

Allow s you to adjust the position, angle and size of gradients andtextures in a colour zone.

Brush

A pressure-sensitive tool for creating a contour shape w ith a thickand thin line effect, as if created w ith a paint brush.

PencilA pressure-sensitive tool for draw ing outlines. Pencil lines are
made of central vector lines, making them easier to tw eak and edit
than brush strokes.

Text

Allow s you to add text and to format it.

EraserA pressure-sensitive tool for erasing parts of a draw ing.

Paint

Allow s you to fill colour zones w ith a colour or texture.

Ink

Allow s you to recolour pencil lines w ith precision by changing thecolour of one segment at a time.

Paint Unpainted

Allow s you to quickly fill empty zones in your artw ork w ith acolour or texture, leaving filled zones unchanged.

Repaint

Allow s you to quickly repaint painted zones in your artw ork.
Empty zones w ill remain empty.

Unpaint

Allow s you to empty filled colour zones of their colour andtexture.

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StrokeAllow s you to create invisible lines that can serve as colour zones
that can be filled, or close the gaps in existing colour zones.

Close Gap

Allow s you to close open shapes so that they can be filled w ith
the Paint tool. By draw ing a stroke near a small gap in a shape,
this tool w ill create a small invisible stroke connecting the tw oclosest points around the gap.

Line

Draw s a straight line segment going from one point to the other.

Rectangle

Draw s a rectangle.

EllipseDraw s an ellipse.

Polyline

Allow s you to draw shapes, segmented lines or complex curvedlines by clicking to create each point in the sequence of line
segments.

Colour Eyedropper

Pencil Texture
Eyedropper

Allow s you to select a colour by clicking on a colour in yourartw ork.

Allow s you to select a pencil texture by clicking on a textured
pencil line.

Draw ing Pivot

Allow s you to position the pivot on a draw ing layer by clicking
w here you w ant its location to be.

Morphing

Allow s you to create and configure a morphing sequence, w hichw ill automatically generate the in-betw eens betw een tw o
draw ings in the current layer.

Hand

Allow s you to pan the Camera and Draw ing view s.

Zoom

Allow s you zoom in and out of the Camera and Draw ing view s.

Rotate View

Lets you rotate the Camera and Draw ing view s just like w ith a realanimation disc.

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Chapter 5: Toolbars

Shift and Trace

Allow s you to temporarily move draw ings so you can trace overthem in other draw ings using Onion Skin.

W hen this option is selected, every time you use theTransform,
Animate Current Frame

Advanced Animation orInverseKinematic tools to manipulate an element in your scene, theposition of the element w ill be stored in a keyframe at the current
frame. This allow s you to animate elements in your scene w ithout
creating keyframes manually.

W hen this option is selected, if you use theTransform or
Advanced Animation tools to make transformations

Animate Onion SkinRange

to an element in your scene, the transformations w ill be stored as
keyframes at the beginning and at the end of the current Onion
Skin range, as w ell as on every existing keyframe in-betw een.
This can be useful if you w ant to reposition an element that you
have already animated, but only during a specific range of frames,
w hich you can define by enabling Onion Skin and setting theOnion Skin range to cover that range of frames.

W hen this option is selected, if you use theTransform or
Advanced Animation tools to make transformation
Animate Off

to an element in your scene, the transformations w ill affect theelement throughout the w hole scene. This can be useful if you
w ant to reposition an element after you have already animated it.

Transform

Allow s you to select draw ing layers and position, rotate, scale andskew them.

Inverse Kinematics

Allow s you to pose a character model by pulling on its
extremities, such as hands and feet, and have the other connected
limbs follow . Can be used on any piece connected in a hierarchy.

Onion Skin

Displays the previous and next frames of an animation. Usefulw hen animating cut-out characters.

Advanced Onion Skin

Enables Advanced Onion Skin, a more flexible kind of Onion Skinthat can be easily configured using the Onion Skin view .

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W orkspace Toolbar
The W orkspace toolbar lets you load other w orkspaces. The first time you start Harmony, the default
w orkspace is loaded. Other w orkspaces are available such as the Hand-Draw n Animation and Compositing
w orkspaces; these display different view s and toolbars. You can access these w orkspaces and any you create,from the W indow s menu and the W orkspace toolbar.

How to access the W orkspace toolbar
1. Select W indows > Toolbars > W orkspace.

Icon

Tool Name

Description

W orkspace List

Allow s you to select an existing w orkspace.

Opens the W orkspace Manager w here you can
W orkspace Manager

organize, display, and remove w orkspace from yourlist.

W hen the Automatically Save W orkspace preferenceis disabled, the Save W orkspace button becomes
available. This allow s you to manually save your new
w orkspace configuration.

Save W orkspace

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Chapter 5: Toolbars

View Toolbars
Harmony has a series of view specific toolbars that are only available in a given view . These toolbars can be
moved only w ithin their view .
All view toolbars can be added, as long as the view is visible, through the top menu W indows > Toolbars >desired toolbar.
3D Graph View Toolbar

1225

Animated Matte Generator Toolbar

1226

Script Editor Toolbar

1229

Timeline View Toolbar

1233

Xsheet View Toolbar

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3D Graph View Toolbar
The 3D Graph toolbar w orks in conjunction w ith the elements in the 3D Graph view .

How to access the 3D Graph toolbar
1. W ith the 3D Graph view open in your w orkspace, do one of the follow ing:l

From the top menu, select W indows > Toolbars > 3D Graph.

l

Right-click on the top area of the 3D Graph view and select 3D Graph.

NOTE
This toolbar is for use w ith the 3D Graph view . For more information on this view , see 3D Graph
View on page 1242.

Icon

Functionality

Description

Enable SubnodeEnables the selected subnode, making it and all its enabledchildren visible. You can also enable a selection of multiple
subnodes.

Disable SubnodeDisables the selected subnode, making it and all its children
invisible. You can also disable a selection of multiple subnodes.

Make Properties Available

W hen the 3D model is connected to a Subnode Animation node,
this w ill add the properties (ie: position, angle, scale) of theselected subnode to the Subnode Animation node's list of
properties in the Timeline view . This is useful if you w ant to add
keyframes to a subnode before animating it or if you w ant tooutline w hich subnodes should be animated and w hich ones
should not.

Add 3D Kinematic Output

Creates a 3D Kinematic Output node and connects it under the 3D
Model's Subnode Animation node. This 3D Kinematic Output node
w ill be configured to use the currently selected subnode's
animation. You can then connect this 3D Kinematic Output node toan element in your scene to apply the selected subnode's
animation to that element.

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Animated Matte Generator Toolbar
The Animated Matte Generator toolbar displays by default at the top of the Animated Matte Generator view ,adding some extra functionalities for editing and animating Animated Matte Generator nodes.

How to access the Animated Matte Generator toolbar
1. Add the Animated Matte Generator view to your w orkspace by doing one of the follow ing:l

From the top-right corner of any currently visible view , click the Add View

button andselect Animated Matte Generator.
l

From the top menu, select W indows > Animated Matte Generator.

2. Click on the Animated Matte Generator to set the focus on it.
3. In the top menu, select W indows > Toolbars > Animated Matte Generator.

NOTE
This toolbar is for the Animated Matte Generator view . For information about the options andfunctionalities of the Animated Matte Generator view , see Animated Matte Generator View on
page 1244.

Icon

Functionality

Description

Adds the attribute for the position and handles of theselected matte point(s) to the list of visible attributes for the
Animated Matte Generator node in the Timeline view .
Set up the Selected Points for
Animation

If you expand the parameters of an Animated Matte
Generator toolbar in the Timeline view , by default, you w ill
see its interpolation factor and its colour properties, w hich areanimatable, but you w ill not see the attributes of each of thecontrol points of the matte contours.

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Icon

Functionality

Description

Attributes for a point are automatically added to the node's
list of attributes if you animate the point in the Camera view .
A keyframe is created at the same time for these attributes, torecord the point's position.

You can use this button to add the attributes of the currently
selected control points in the matte contour to the list of
attributes of the Animated Matte Generator node in theTimeline view , w ithout requiring you to animate them first.

This can serve as an indication to animators as to w hichcontrol points they are supposed to animate and w hich ones
should be left in their default position.

Merge Inner and Outer Matte
Contours

By default, the points in the animated matte generator's outer
contour and their corresponding points from the inner contour
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Chapter 5: Toolbars

Icon

Functionality

Description

instead of tw o mattes. If you disable one of the contours by
toggling off the Outer Contour

or Inner Contour

visibility buttons in the Animated Matte Generator view , you
can animate the other contour's points separately from thehidden contour, w hich causes the points to be separated. This
command puts separated contour points from the inner andouter contours in the same position, and locks them back
together, as they w ere initially.

Deletes every keyframe in the scene for the selected matte
Delete Matte Point Animation

points, as w ell as their attributes in the Timeline view . This
resets the selected points to their original position and makes
them static throughout the scene.

Deletes the selected matte control points from the contour.

NOTE
If a point from one of the tw o contours is deleted, thecorresponding point from the other contour w ill also
be deleted. It is not possible to have a different
amount of points on a matte's inner and outer
contours.

Delete Selected Matte Point

Delete Unused Matte Generator
Attributes

This cleans up the list of attributes for the Animated Matte
Generator layer in the Timeline view by removing attributes
that have been created for points that no longer exist. For
example, points that w ere created for a draw ing that w as
deleted, or for a part of a draw ing that w as erased or
modified.

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Script Editor Toolbar
The Script Editor toolbar gives you quick access to some commonly used commands for editing and testing
scripts in the Script Editor view —see Script Editor View on page 1312.

How to access the Script Editor toolbar
1. Add the Script Editor view to your w orkspace by doing one of the follow ing:l

In the top-right corner of an existing view , click on the

Add View button and select Script

Editor.
l

In the top menu, select W indows > Script Editor.

2. Click on the Script Editor view to set the focus on it.
3. In the top menu, select W indows > Toolbars > Script Editor.

Icon

ButtonDescription

Creates a new script. W hen you click on this button, you are first prompted totype in a name for the script. Then, you w ill be prompted to select w hichlocation to save the script in:l

User: Saves the script to a directory in your user preferences directory.
You w ill be able to run and edit the script from any scene as long as you
are logged in as the same user.

NOTE

New Script

If you are using Harmony Stand Alone, the script w ill be saved tothe preferences for your account on your computer. if you areusing Harmony Server, the script w ill be saved to the preferences
for your Harmony database user.

lGlobal: If you are using Harmony Server, select this option to save thescript to the Harmony database's global script directory. Anyone w ho islogged in to the database w ill be able to edit and run this script.

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Chapter 5: Toolbars

Icon

ButtonDescriptionlEnvironment: If you are using Harmony Server, select this option to savethe script to the current scene's environment. Anyone w ill be able to edit
and run the script as long as they are w orking on a scene inside thisenvironment.

lJob: If you are using Harmony Server, select this option to save the scriptto the current scene's job. Anyone w ill be able to edit and run the script
as long as they are w orking on a scene inside this job.

l

Scene: Save the script to the scene's scripts sub-folder. Anyone w ill
be able to edit and run the script w hen w orking on this specific scene.

lSystem Variable: Save the script to the directory in the TOONBOOM_GLOBAL_SCRIPT_LOCATION environment variable. This option is only
available if this environment variable is set.

NOTE
For more information on script locations, see Script list on page 1312.

Allow s you to import a script from your machine into Harmony. W hen you clickon this button, you are prompted to brow se for and select a script on your filesystem. Then, you are prompted to select w hich location to import the script in:l

User: Saves the script to a directory in your user preferences directory.
You w ill be able to run and edit the script from any scene as long as you
are logged in as the same user.

NOTE
If you are using Harmony Stand Alone, the script w ill be saved tothe preferences for your account on your computer. if you areusing Harmony Server, the script w ill be saved to the preferences
for your Harmony database user.

Import ScriptlGlobal: If you are using Harmony Server, select this option to save thescript to the Harmony database's global script directory. Anyone w ho islogged in to the database w ill be able to edit and run this script.

lEnvironment: If you are using Harmony Server, select this option to savethe script to the current scene's environment. Anyone w ill be able to edit
and run the script as long as they are w orking on a scene inside thisenvironment.

lJob: If you are using Harmony Server, select this option to save the scriptto the current scene's job. Anyone w ill be able to edit and run the script
as long as they are w orking on a scene inside this job.

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Icon

ButtonDescriptionl

Scene: Save the script to the scene's scripts sub-folder. Anyone w ill
be able to edit and run the script w hen w orking on this specific scene.

lSystem Variable: Save the script to the directory in the TOONBOOM_GLOBAL_SCRIPT_LOCATION environment variable. This option is only
available if this environment variable is set.

NOTES
l

W hen you import a script, any user interface (.ui) or icon (.png) filethat is in the same directory and has the same filename as the script
w ill also be imported.

l

For more information on script locations, see Script Editor View on
page 1312.

Deletes the selected script.

NOTES
l

You cannot delete a script if it is in the Application Resources location,
as those are scripts that are installed w ith Harmony.

l

If you delete a script that w as originally in Application Resources but
w hich you copied to another location so you could make changes to it,
the original version of the script in the Application Resources folder
w ill be restored to the list.

Delete Script

Refresh Script
File List

Refresh the list of scripts in the Script Editor. If there are new scripts in your user
preferences or your scene's scripts sub-folder, click on this button to be able toopen them in the Script Editor.

Allow s you to type in the path and name for your preferred text editing
softw are.

NOTES
Set External
Editorl

On macOS, only typing the name of your preferred text editing
softw are is enough if that application supports the AppleScript OpenDocument protocol.

l

On W indow s and GNU/Linux, unless your text editor is in yoursystem's PATH environment variable, you w ill have to type in the fullpath to the editor.

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Icon

ButtonDescription

Open w ith
External Editor

Opens the selected script in the chosen external text editing softw are.

Prompts you to select w hich script and w hich function to use w ith the
and

Run

Debug buttons.

NOTES
Set Targetl

You can set the entire script as the target by selecting the <Nothing>
function from the functions list.

l

You cannot link an entire script to a toolbar button. Only functions
w ithin scripts can be added as toolbar buttons. Therefore, running or
debugging an entire script rather than one of its functions should bedone for testing purposes only.

Runs the target script and function.

NOTES
l

If you have not set a target script and function, you w ill be prompted
to set one w hen you click on this button.

l

You can set or change the target script and function by clicking on theRun

Set Target button.
l

If you are editing <<<Sandbox>>>, this button w ill simply run w hat
you typed into the sandbox, regardless of w hether another target is
set.

Open the target script and function in the Qt Script Debugger, in w hich you cantest and debug the function.

NOTES
l

If you have not set a target script and function, you w ill be prompted
to set one w hen click on this button.

l

You can set or change the target script and function by clicking on the

Debug

Set Target button.
l

Stop Execution

If you are editing <<<Sandbox>>>, this button w ill simply debug
w hat you typed into the sandbox, regardless of w hether anothertarget is set.

If a script is currently running, this interrupts its execution.

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Timeline View Toolbar
The 3D Graph toolbar w orks in conjunction w ith the elements in the 3D Graph view .

How to access the Timeline view toolbar
1. Do one of the follow ing:l

In the top menu, select W indows > Toolbars > Timeline View.

lRight-click on the space at the top of the Timeline view and, in the context menu, selectTimeline View.

Icon

Name

Description

Allow s you to quickly apply an ease to the selected animation keyframes in thecamera view .

Set Ease TypeTo set the ease of an animation, simply select the first keyframe in the
animation, then select the ease type in this drop-dow n. The ease-in w ill beapplied to the selected keyframe, and the ease-out w ill be applied to the next
keyframe in the timeline.
The follow ing presets are available:

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Icon

Name

Description

Icon

PresetEase- In (Selected
Keyframe)

Ease- Out (Nextkeyframe)Linear0%0%Slow ease-in

25%

0%

Medium ease-in

50%

0%

Fast ease-in

75%

0Fast ease-in /ease-out

75%

75%

Medium ease-in/ ease-out

50%

50%

Slow ease-in /ease-out

25%

25%

Slow ease-out

0%

25%

Medium easeout

0%

50%

Fast ease-out

0%

75%

Quick Ease

Sets the ease before and after the selected keyframe to 33%.

Quick Ease In

Sets the ease before the selected keyframe to 33%.

Quick Ease Out

Sets the ease after the selected keyframe to 33%.

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Icon

Name

Description

Set Ease on
Selected
Keyframes

Opens the Set Ease on Keyframes dialog. In this dialog, you can set the ease-in(before) and the ease-out (after) on the selected keyframes to a custom
percentage.

Set Ease forMultiple
Parameters

Opens the Set Ease for Multiple Parameters dialog. This dialog allow s you toadjust the Bezier handles on all the selected animation keyframes in theTimeline.

Create Empty
Draw ing

Creates a draw ing in the selected cell, replacing any draw ing that may alreadybe exposed in that cell and the follow ing ones until it meets another draw ing,
key exposure or a blank cell.

Creates a duplicate of the selected draw ing in the layer. The duplicate draw ing
w ill be exposed at the selected frame instead of the original draw ing. Hence,
this command allow s you to instantly start w orking on a duplicate of thecurrent draw ing and retain the original.
Duplicate
Draw ing

NOTE
W hen duplicating a draw ing, the exposure at the selected cell is replaced
w ith the new draw ing, up until the next key exposure.

Insert Keyframe

Adds a keyframe on the selected cell in the Timeline view .

DeleteKeyframes

Deletes the selected keyframes.

Set Motion
Keyframe

Converts the selected keyframes to motion keyframes. W ith motion keyframes,
Harmony generates the interpolation betw een the motion keyframe and thenext keyframe. This means that a value for each frame betw een the keyframes
is calculated by Harmony to progress from the value of the previous keyframeto the value of the next keyframe.

Set Stop-Motion
Keyframe

Converts the selected keyframes to stop-motion keyframes. Betw een a stopmotion keyframe and the next keyframe, Harmony does not generate any
animation and the element remains static until the next keyframe.

Go to Previous
Keyframe

Goes to the previous keyframe.

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Icon

Name

Description

Go to Next
Keyframe

Goes to the next keyframe.

Add Key
Exposure

Adds a key exposure to the selected cell.

Delete Key
Exposure

Removes key exposures from the selected cells.

Centre On
Selection

Scrolls the layers list to the currently selected layer. This is useful if you w ant
to select a layer in the Camera view , then manipulate its timing Timeline view .

CreateKeyframes On

Opens the Create Keyframes On dialog box, in w hich you can create keyframes
at every set number of frames w ithin a given range of frames.

Fill Empty Cells

Fills the empty frames in the selection w ith the exposure just before. For
example, if you select a range of frame that starts w ith an exposed draw ing
and then ends w ith empty cells, all of the empty cells in the selection w ill befilled w ith the exposed draw ing just before the empty cells.

Paste Mode: All
Draw ing
Attributes

Paste Mode:
Keyframes Only

Sets the Paste Mode to All Draw ing Attributes. In this mode, w hen you cut or
copy and paste frames in the Timeline view , both the animation keyframes andthe exposed draw ings w ill be pasted.
Likew ise, if you drag and drop frames in the Timeline view , both the animation
keyframes and the exposed draw ings w ill be moved.

Sets the Paste Mode to Keyframes Only. In this mode, w hen you cut or copy
and paste frames in the Timeline view , only the animation keyframes w ill bepasted. The exposed draw ings w ill not be pasted.
Likew ise, if you drag and drop frames in the Timeline view , only the animation
keyframes w ill be moved. The exposed draw ings w ill not be affected.

Paste Mode:
Exposures Only

Sets the Paste Mode to Exposures Only. In this mode, w hen you cut or copy
and paste frames in the Timeline view , only the exposed draw ings w ill bepasted. The animation keyframes w ill not be pasted.
Likew ise, if you drag and drop frames in the Timeline view , only the exposeddraw ings w ill be moved. The animation keyframes w ill not be affected.

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Icon

Name

Description

Add Prefix or
SuffixOpens the Add Prefix or Suffix dialog. This dialog allow s you to instantly
rename all the selected layers by adding a prefix or a suffix to their name.

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Xsheet View Toolbar
The Xsheet toolbar contains the common timing operations such as Add Column, Delete Column, Clone
Column, and so on. These options can also be found in the top menu.

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Chapter 6: Views
The Harmony interface is composed of different view s, each one designed for a specific purpose. You can
modify the location of the view s by adding a new view as a tab or as a w indow . You can also sw ap the locationof a view .
W hen a view is active, a red rectangle appears around the view . Keyboard shortcuts and top menu options areassociated w ith the active view . If a menu option is greyed out, it means it does not apply to the layer, draw ing
or other type of selection or the option does not apply to the active view .
3D Graph View

1242

Animated Matte Generator View

1244

Camera View

1251

Colour View

1261

Coordinates and Control Points View

1269

Draw ing View

1272

Draw ing Substitutions View

1275

Function View

1277

Guides View

1280

Integrated Help View

1284

Layer Properties View

1285

Library View

1287

Master Controller View

1290

Message Log View

1292

Metadata Editor View

1293

Reference View

1295

Node View

1297

Node Library View

1299

Onion Skin View

1302

Perspective View

1309

Script Editor View

1312

Side View

1317

Timeline View

1319

Tool Properties View

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Top View

1330

Xsheet View

1332

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Chapter 6: View s

3D Graph View
W hen a 3D model is selected, the 3D Graph view allow s you to view a list of the subnodes composing the 3Dmodel, arranged in their hierarchy. You can select a subnode from the list. W hen a subnode is selected, you
can manipulate it w ith the Transform tool, disable or enable it.
If your 3D model is connected to a Subnode Animation node, you can select this Subnode Animation node anduse the 3D Graph view to select and animate a subnode, to add its properties to the Subnode Animation's
properties in the Timeline view , or connect a subnode to a 3D Kinematic Output node to it so that its animation
can be applied to another element.

How to access the 3D Graph view
Do one of the follow ing:l

From the top menu, select W indows > 3D Graph.

l

From any of the other view s, click the Add View

button and select 3D Graph.

SectionDescription

3D Graph menu

Access commands through this menu—see 3D Graph View Menu.

3D Graph toolbar

See 3D Graph View Toolbar.

Subnode list

Lists the selected 3D model's subnodes in a tree hierarchy and allow s you
to select a subnode.

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NOTE
Subnodes preceded w ith aicon are transformation subnodes

w hich are only used to affect the position, size and angle of its childsubnodes. Subnodes preceded w ith aare geometry subnode,

w hich actually contain a visible part of the 3D model.

Selected subnode hierarchy and
name

Displays the subnode's parent hierarchy follow ed by the subnode's name.

Search bar

Allow s you to filter and search for subnodes. Typing anything in the field
w ill make the subnode list only display subnodes that contain the typed
text string in their name, along w ith their parents.

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Chapter 6: View s

Animated Matte Generator View
The Animated Matte Generator view allow s you to configure and animate the matte created by a AnimatedMatte-Generator node. It also allow s you to quickly add Animated-Matte-Generator templates to your Nodeview .

How to access the Animated Matte Generator view
1. Do one of the follow ing:l

From the top-right corner of any currently visible view , click the Add View

button andselect Animated Matte Generator.
l

From the top menu, select W indows > Animated Matte Generator.

How to display the Animated Matte Generator controls and enable the AnimatedMatte Generator view options
1. In the Tools toolbar, select the Transform tool or press Shift + T.
2. In the Timeline or Node view , select the Animated Matte Generator node you w ish to configure oranimate.
3. In the Camera view toolbar, click on Show Controls

or press Shift + F11.

NOTEThe Animated Matte Generator view also has its ow n toolbar. For information on the buttons inthis toolbar, see Animated Matte Generator Toolbar.

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Icon

Functionality

Description

Editing Mode

Allow s you to manipulate the matte's contour points by
dragging them in the Camera view . Use this mode to edit andanimate your matte.

Define Matte Point

If the Animated Matte Generator node is connected to asnapping source draw ing, this allow s you to define w hichpoints and contours of the matte should snap to the contoursof the snapping source draw ing, by clicking on them.

Set to Snap

If you click on a point in this mode, it w ill be set to snap to thenearest contour of the snapping source draw ing.

If you click on a contour in this mode, the contour w ill be set tosnap to the nearest contour of the snapping source draw ing,
and w ill be made to match its curve. Both points on either endof that contour w ill also be set to snap to the snapping source
draw ing.

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Chapter 6: View s

Points and contours that are configured to snap w ill snap to
the closest point or contour they can find in the snapping
source, provided that they are at a reasonable distance fromtheir actual coordinates. This distance can be adjusted bychanging the Drag-to-Snap Distance parameter in the
Animated Matte Generator's layer properties.

Allow s you create a point on the contour of the map byclicking on one of the matte's contour w here you w ant the
point to be created.

Add Matte Point

NOTE
Adding a matte point to one of the matter's contours
w ill also add a point to the matte's other contour. It is
not possible to have a different amount of points on amatte's inner and outer contours.

NOTE
Contrary to tools like the Contour Editor, you cannot
use a keyboard shortcut to click and add a point to amatte contour.

Matte Visibility Settings

Outer Contour

W hen enabled, the matte's Outer Contour and its controls
display in the Camera view , and the Outer Contour can be
modified.

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TIP
You can hold Alt w hile pressing this button to quickly
enable the outer contour and disable the inner contour
simultaneously. You can also hold Shift w hile pressing
any of the Matte Visibility Settings buttons to quickly
enable all matte visibility settings.

W hen enabled, the matte's Inner Contour and its controls
display in the Camera view , and the Inner Contour can be
modified.

NOTE
A matte alw ays has an outer contour and an innercontour. By default, both contours are merged
together, having the same shape and points, allow ing
you to animate them simultaneously as if the matte
had a single contour. You can separate the points of
the inner and outer contours by hiding one of thecontours and making modifications on the othercontour.

Inner Contour

NOTE
W hen tw o contour points are separated, you can lockthem back together by selecting them and clicking on
the Merge Inner and Outer Matte Contour

buttonof the Animated Matte Generator toolbar or by
moving one of the points close to its corresponding
point until they snap together.

TIP
You can hold Alt w hile pressing this button to quickly
enable the inner contour and disable the contour
simultaneously. You can also hold Shift w hile pressing
any of the Matte Visibility Settings buttons to quickly
enable all matte visibility settings.

Point Id

W hen enabled, the identification number of each of thematte's points display in the Camera view . These numbers areused to track w hich point of the outer contour are matchedw ith w hich points of the inner contour.

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Chapter 6: View s

TIP
You can hold Shift w hile pressing any of the Matte
Visibility Settings buttons to quickly enable all mattevisibility settings.

W hen enabled, moving one of the control points of the mattecontours w ill scale the entire matte. A purple square w ill
appear in the middle of the matte's contour. Moving thissquare w ill change the position of the pivot point used for
scaling the contour.

Scaling Controls

TIP
You can hold Shift w hile pressing any of the Matte
Visibility Settings buttons to quickly enable all mattevisibility settings.

Keyframe Settings

Auto Key on All Points

By default, w hen a matte control point is moved in the
Camera view , a keyframe is created for that point and its
handles. W ith this option enabled, a keyframe w ill be created
for all the points in the matte and all of their handles.

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W hen moving a control point, this w ill look for keyframes onother control points right before and after the current frame
and, if it finds any, it w ill create keyframes for the control
point being moved at these frames. This ensures thatanimating w ithout the Auto Key on All Points option does notcreate overlapping animation for control points, but does notcreate unnecessary keyframes.

Fix Adjacent Keyframes

Node Systems Creation

If a Composite or Matte-Composite node is selected in the
Node view , this creates an Animated Matte Generator
template w ith an empty matte draw ing layer in the Nodeview , then connects the new ly created Animated-MatteGenerator node to the selected composite.

Add Matte to Composite

Composite Operation

W hen using the Add Matte to Composite option on a Matte
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Chapter 6: View s

Matte Generator node being created w ill be connected to theselected Matte Composite node in Add, Subtract or Intersect
mode.

This creates an Animated Matte Generator template in the
Node view w hich includes a Matte draw ing layer, anAnimated Matte Generator node, a Colour Selector and a
Cutter.

Add Matte Generator

If a draw ing layer is selected w hen clicking this button, it w ill
be connected as the peg of the Matte draw ing layer, and as
the input of the Colour Selector node.

This creates a similar template to the one created by the Add
Matte Generator button, except that the Animated-MatteGenerator node created by this option is connected to thematte port of the Cutter node, and the Colour-Selector nodeconnected to the selected layer is connected to the input portof the Cutter node.

Add Matte Generator as Mask

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Camera View
The Camera view is the centre of operations in Harmony. In this view , you can draw , paint, animate, set up yourscene, manipulate objects, open symbols and preview your animation.
The Camera view also has a top and bottom toolbar that you can use to navigate in the view , change thedisplay mode or go up your symbol hierarchy.

How to access the Camera view
Do one of the follow ing:l

From the top menu, select W indows > Camera.

l

From any of the other view s, click the Add View

Icon

button and select Camera.

SectionDescription

View Menu

The View menu contains all the tools and options that you can use in
the Camera view to draw , animate or set up the scene.

Editing Stack

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Chapter 6: View s

Icon

SectionDescription

hierarchy w hen you are editing a symbol. You can click on the
different names to go back up to the different parent symbols or the
top/current project.

Camera View Toolbar

The Camera View toolbar contains all the tools and options you canuse in the Camera view to draw , animate or set up the scene. The
toolbar can be displayed or hidden by right-clicking on it andselecting or deselecting the Camera View toolbar.

W hen you have a draw ing layer or draw ing selected, the Light Table
button button allow s you to fade the colours of the other layers so
you can see the current artw ork better as you edit w ith a draw ing
tool. Note that the light table does not w ork w hen using a layer
editing tool, such as the Transform tool.

Light Table

W hen this button is enabled, the draw ing that you are currently
editing w ith a draw ing tool is temporarily displayed in front of all theother elements. The actual scene is not modified.

Current Draw ing on Top

Camera Mask

The Camera Mask button show s or hides Displays a black mask
around the scene’s frame to avoid seeing the unnecessary artw ork.
This option is handy w hen you're animating and setting up the scene.
It allow s you to see your scene’s composition better.
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Icon

SectionDescription

Show > Camera Mask.

The proportion grid is displayed in the camera view to help w ith
proportions and balancing the composition of an image. The gridfollow s the camera frame, similar to camera mask and safe area.
The number of divisions in the proportion grid can be defined by theuser in the Preferences > Camera > Proportion Grid > Horizontal
Divisions > Vertical Divisions.
Proportion Grid
The default is 3 division on each axis to create a rule of third grid.

TIP
You can access the Proportion Gridbutton in the Camera

View toolbar.

The Safe Area button show s or hides Displays the TV safety zone
and the centre of the camera frame. The safe area adapts to thescene resolution, as w ell as the safety zone and frame’s centre.
You can also access this feature from the top menu by selecting
View > Show > Safe Area.

Safe Area

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Icon

SectionDescription

W hen enabled, alignment guides w ill be visible in the Camera andDraw ing view s.
Show Alignment Guides

This is enabled by default. Disabling this option w ill hide and disablealignment guides, meaning that animation and draw ing tools w ill not
snap to them, even if theSnap to Alignment Guides option isenabled in the Tool Properties view .

W hen you select an object in the Camera view w ith the Transform
tool, a bounding box alw ays appears around the object and theartw ork is tinted in fuchsia, red or yellow . Enabling this option w ill
only keep the bounding box and remove the colour tint.

BBox Selection Style

Draw ings that are locked in the Timeline view (cannot be selected in
the Camera view ) are displayed as w ireframes.

Outline Locked Draw ings

Toggles OpenGL Node Caching. W hen enabled, the preview imageof nodes that have the Cached layer property enabled w ill be cached
so as to help w ith performance w hen refreshing the OpenGL
preview image in the Camera view .
OpenGL Node Caching

You can also double-click or long-click this button to open a pop-up
menu in w hich you can select the size of cached preview images:
l

64x64

l

128x1281254

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Icon

SectionDescriptionl

256x256l

512x512l

1024x1024

Smaller cached images w ill look less detailed, but w ill increase theperformance of node caching as w ell as decrease the amount ofmemory the cache requires. Larger cached images w ill look closer tothe actual OpenGL preview , but w ill impact performance and require
more memory to store.

Reset View

The Reset View button resets any panning, zooming or rotation donein the Camera view and returns the display to the initial settings. You
can also press Shift + M.

Saves the preview image of the Camera view in memory as asnapshot.

Take Snapshot

Harmony stores five snapshots and have a drop dow n list w ith fiveavailable slots. So if any snapshot w as in memory w hen taking asnapshot, it w ill be overw ritten by the new snapshot.

NOTES
l

Snapshots are not saved to the scene and are discarded
w hen the scene is closed.

Displays the snapshot currently in memory. To display the snapshot,
you must click and hold the button. Releasing it w ill restore theCamera view preview .

Show Snapshot

NOTE
The snapshot is displayed as it w as taken, regardless of thepreview mode of the Camera view . For example, if you took ascreenshot in Render View mode, and display it w hile in
OpenGL View mode, the snapshot w ill display as it w as taken
in Render View mode.

The Zoom menu lets you enlarge or reduce the Camera or Draw ing
view display.
Zoom Menu
To make the camera frame size alw ays match the size of your view ,select the Fit to View option. Click the drop-dow n arrow and select a

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Icon

SectionDescription

zoom level or press 1 and 2.

The OpenGL View Mode button sw itches the Camera view to fast
display, letting you see your animation play in real time. The OpenGL
display requires less memory. The final look of your effects is notshow n in the OpenGL View Mode. You must sw itch to the RenderView Mode to see your effects.

OpenGL View Mode

Render View Mode

The Render View Mode button sw itches the Camera view to a fully
rendered display show ing the final image of the current frame. If a
modification is done to your current frame or if you move to adifferent frame, click the Update Preview button to update thedisplay if your preview does not update automatically.The RenderView Mode display lets you see the final look of your frames
including effects and antialiasing. You cannot play back your scene in
Render View Mode. To see your scene fully rendered and to play it
back, you must press the Render and Play button in the Playback
toolbar.

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Icon

SectionDescription

The Matte View Mode button sw itches the Camera view to a mattedisplay show ing the alpha channel of the elements in your scene.
The transparency level ranges from 0 to 100 percent. Zero percent iscompletely transparent and represented by black and 100 percent iscompletely opaque and represented by w hite. Everything in betw een
these extremes has a transparency level somew here betw een 1 and99 percent and is represented in various shades of grey.
l

To access the Matte View mode, click on the Render View
button and select Matte View from the drop-dow n menu.

Matte View Mode

Depth View Mode

The Depth View mode displays images in a relative w hite to black
gradient scale. The object(s) closest to the camera are displayed in
w hite and the object(s) furthest from the camera are displayed inblack. If the position of the last object changes along the z-axis, that
object w ill still remain black, so long as it retains its position as theobject the farthest back. It does not matter w here that object is in 3D
space, it just matters w hat its position is relative to the other object inthe same space. The objects closest and farthest from the camera set
the range of the w hite to black scale. All the other objects fall
somew here in betw een.

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Icon

SectionDescriptionl

To access the Depth View mode, click on the Render View
button and select Depth View from the drop-dow n menu.

The colour space in w hich to display the preview image w hen in
Render Preview mode.
You can set this to any colour space supported by Harmony. It is
recommended to set this to the colour space intended for rendering
your frames, unless that colour space is not supported by yourmonitor. In the latter case, it’s recommended to set this to the closest
colour space available that your monitor can display.
The follow ing colour spaces are available:

Preview Colour SpacelLinear: The same primaries and w hite point as sRGB and Rec.
709, but w ith no gamma transfer curve applied to the colour
values. This colour space is useful for compositing
intermediary images that are meant to be rendered in sRGB
or Rec. 709.

l

Display P3: A colour space commonly used for digitalprojection. It has the same primaries as DCI-P3, the same
w hite point as sRGB and the same gamma transfer curve as
sRGB.

l

Display P3 Linear: The same as Display P3, except w ith no
gamma transfer curve. This colour space is useful forcompositing intermediary images that are meant to berendered in Display P3.

lRec. 709: The colour space used for HDTV. It has the same
primaries and w hite point as sRGB, but has a different
gamma transfer curve.

lRec. 709 2.4: The same colour space as Rec. 709 or sRGB,
except w ith a gamma transfer curve of 2.4 (per ITU-R
BT.1886). This colour space exists because some editing

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Icon

SectionDescription

systems use a gamma transfer curve of 2.4 instead of thestandard gamma curve for Rec. 709.
lRec. 2020: A colour space used for Ultra High Definition TV(UHDTV). It has a complex gamma transfer curve andprimaries that cover more of the human-perceivable colour
space than other colour spaces, especially in the area of
human-perceivable greens.

lRec. 2020 2.4: The same colour space as Rec. 2020, except
w ith a simple gamma transfer curve of 2.4 (per ITU-R
BT.1886). This colour space exists because some editing
systems use a gamma transfer curve of 2.4 instead of thestandard gamma curve for Rec. 2020.

lRec. 2020 Linear: The same colour space as Rec. 2020,
except w ith no gamma transfer curve. This colour space isuseful for compositing intermediary images that are meant tobe rendered in Rec. 2020.

lsRGB: A colour space typically used for standard computer
monitors. It has the same primaries and w hite point as Rec.
709, but has a different gamma transfer curve.

NOTE
You can only select the display colour space in
View mode. In

Render

OpenGL View mode, the preview image is

generated in the colour space selected in the Display Colour
Space drop-dow n in the Camera tab of the Preferences
dialog.

TIP
You can have multiple Camera view s in your w orkspace, each
set to their ow n colour space. Hence, you can preview yourscene on multiple monitors w ith different colour spaces by
having a Camera view on each monitor.

Draw ing NameThe Draw ing Name field displays the name of the selected draw ing,
as w ell as the layer containing it. If the cell does not contain any
draw ing, an Empty Cell text is show n in the field.

Preview Resolution

The Preview Resolution button sets the resolution of the renderpreview . A low er preview resolution w ill result in a faster loading1259

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Icon

SectionDescription

time w hen preview ing an effect.

Tool Name

The Tool Name field displays the name of the selected tool. If you
temporarily override a draw ing tool using a keyboard shortcut, thetool’s name w ill be highlighted in red. You can temporarily override atool by holding its keyboard shortcut w ithout the Alt key. For
example, the Select tool shortcut is Alt + S. If you hold dow n the S
key, you w ill sw itch to the Select tool. W hen you release the key, you
w ill return to the tool you w ere using.

Frame Number

The Frame Number field displays the number of the current frame.

Selected Colour

The colour sw atch displays the currently selected colour in the
Colour view .

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Colour View
The Colour view is w here you create colours and palettes and import existing palettes into your project. The
Colour view is also necessary for draw ing, painting and creating colour styling.

How to access the Colour view
Do one of the follow ing:l

From the top menu, select W indows > Colour.

lFrom any of the other view s, click the Add View

button and select Colour.

Palette List Panel
Icon

OptionDescription

View Menu

The View menu contains all the commands and options that you canuse in the Colour view to manage colours and palettes.

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Collapse/Expand Palette
List

Allow s you to show or hide your palette list and its options. By
default, the palette list is displayed, but you may w ant to hide it if you
are w orking w ith a single palette and w ant to allow more verticalspace for the colour sw atch list.

Add Palette

Allow s you to create a new palette.

Deletes the currently selected palette. If the colour sw atch is used inyour project, zones painted w ith colour sw atches w hich have been
deleted w ill turn red, easily identifying them so you can repaint themw ith another colour sw atch.

Remove Palette

Link Palette

Allow s you to add a palette from a different location, be it in a scene,
job, environment or even an element to your palette list. The palette
w ill be linked to its original location rather than copied to yourscene's folder. Hence, if you make changes to the original palette, it
w ill affect the colour of elements in your scene.
If you w ant to import a palette as a copy into your scene's palette
library, right-click on your palette list and select Import. You can also
link to a palette in any location on your machine or netw ork by
selecting Link to External.

Moves palettes further up or dow n the palette list.
Order Palette List

Edit Palette List Mode
Indicator

If a palette has been cloned, the highest palette among the original
palette and its clone(s) w ill be used by Harmony. This can beoverridden by using a Colour-Override effect—see Colour-Override
Node on page 657.

In Harmony Server, this icon appears w hen you have the modifying
rights on your scene's palette list. W hile several users can w ork on ascene at the same time, only one user may have the right to modify apalette list at any given time.

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NOTE
In Harmony Stand Alone, you can alw ays modify your scene's
palette list. On Harmony Server, you must unlock your palette
list before making modifications to it.

Show Colour Palettes

Show s only colour palettes in the palette list. This is the default
option.

Show Pencil Texture
Palettes

Show s only pencil texture palettes in the palette list.

Show All Palettes

Show s both colour and pencil texture palettes in the palette list.

Palette List
Icon

Description

In Harmony Server, this indicates that you have the rights to modify the palette.

Indicates that the palette is stored at the same level as its palette list. For example, a palette that isstored in the scene's palette library and w hich is listed in the scene's palette list, or a palette that isstored in an element's palette library and w hich is listed in that same element's palette list.

Indicates that the palette file is stored in an external location, such as a different scene, an element in
a different scene, a job other than the scene's job, an environment other than the scene's environment,
or a custom location on your file system or netw ork. This means the palette is liable to be missing if it
is moved from its original location, or if the scene is exported from the database into an offline sceneor to a different database.

This indicates that the palette is stored at a higher level than its palette list, making it a shared
palette. For example, a palette in your scene's palette list that is stored in the palette library of thescene's job or environment, or a palette in an element's palette list that is stored in the palette libraryof the scene.

Indicates a potentially dangerous situation. For example, a palette file that is stored in one of thescene's element folders, but w hich is added to your scene's palette list. The w hole scene can use thepalette, but since it's stored inside an element, deleting that element w ill make your w hole scene lose
access to that palette.

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Colour Swatch List Panel
Icon

OptionDescription

Add Colour

Adds a new colour sw atch to the bottom of your colour list.

The Remove Colour button lets you delete the currently selectedcolour sw atches. If the colour sw atch is used in your project, andconfirmation dialog w ill appear prompting you to confirm that you
w ant to delete the colour. Zones painted w ith colour sw atches
w hich have been deleted w ill turn red, easily identifying them so
you can repaint them w ith another colour sw atch.

Remove Colour

Allow s you to import a bitmap image as a texture, w hich can be
painted w ith just like a colour. W hen used w ith the Brush or Paint
tools, bitmap textures are tiled inside the shape they fill. The
scaling and position of the texture inside their shape can be
tw eaked w ith the Edit Gradient/Texture tool. W hen used w ith thePencil tool or one of the Shape tools, a bitmap texture w ill follow
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Set Current Brush Colour

W hen enabled, the colour you select in the colour view w ill beselected for the Brush tool.

Set Current Pencil Colour

W hen enabled, the colour you select in the colour view w ill beselected for the Pencil tool, as w ell as other tools that create
pencil lines, such as the Line, Rectangle, Ellipse and Polyline tools.

Set Current Paint Colour

W hen enabled, the colour you select in the colour view w ill beselected for the Paint tool.

W hen enabled, the colour you select w ill be selected for all
draw ing tools. W hen disabled, you can select individual colours
for the Brush, Pencil and Paint tools.

Link/Unlink Three Colours

In Harmony Server, this allow s you to get the modifying rights tothe selected palettes.

Edit Palette Mode

Since several people can w ork on any given scene at the sametime, and a palette can be shared betw een scenes, palettes may
be loaded in read-only mode w hen opening a scene on a Harmony
database. Then, an user w ould only be able to edit a palette by
first activating Edit Palette Mode. This prevents several users frommaking changes on the palette at the same time, since a user
cannot activate Edit Palette Mode on a palette that is alreadybeing edited by someone else. This also prevents users from
accidentally making modifications on important palettes.

In Harmony Server, this icon appears w hen you have the modifying
rights on the currently selected palette.
Edit Palette Mode Indicator

NOTE
In Harmony Stand Alone, you can alw ays modify yourpalettes.

Colour Sw atch Name

Each colour sw atch available in the Colour view can have its ow n
name, making it easy to identify w hich colour is used to paint w hat

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NOTE
Tw o colours can have the same name. Harmony identifies
colours by an identification number.

Also referred to as colour pots, the colour sw atch is the actual
colour information for a colour in your palette. It is represented bya rectangle displaying the colour in the list.
Colour Sw atch

Colour Editor Panel
The Colour Editor panel is an optional panel in the Colour view w hich can be enabled to edit your colour
sw atches on the go.

How to enable the Colour Editor panel
1. Do one of the follow ing:

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Right-click on the palettes list, then select Colour Editor.

lClick on the View Menu

Optionbutton and select Palettes > Colour Editor.

Description

This collapses or expands the Tint section of the Colour Editor panel.
W hen tint options are enabled, the Colour Editor panel can be used to add a tint
to the colour. This means that all sliders start w ith a value of 0 and that the new

Enable/Disable Tint Options

colour w ill be calculated relative to the old colour, using the algorithm chosen in
the Tint Mode option. As you change the values of the colour sliders, the colour inyour palette is not updated immediately. Rather, it is only updated w hen you clickon the Apply button.
W hen Tint options are disabled, the Colour Editor panel only has colour sliders,
and those sliders start out w ith the values of the selected colour. Changing thevalue of any of the colour sliders immediately updates the colour in your palette
w ith the new value.

Allow s you to select how the colour w ill be modified by the tint:lTint Mode

Offset: The chosen tint's colour values w ill be added to the selectedcolour's values to make the new colour. You can choose negative values if
you w ish to subtract from the selected colour's values.

lBlend: The selected colour w ill be blended w ith the selected tint,
resulting in the average betw een the selected colour and the tint.

Reset

In tint mode, this sets all the colour sliders to their neutral value, leaving theselected colour unchanged.

Apply

In tint mode, this applies the tint to the selected colour. Note that w hen tint mode
is not enabled, changes to the selected colour are automatically applied.

H (Hue)Sets the hue of the colour or tint.

S (Saturation)

Sets the saturation level of the colour or tint.

V (Value)

Sets the value of the colour or tint.

R (Red)Sets the red value of the colour or tint.

G (Green)

Sets the green value of the colour or tint.

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B (Blue)

Sets the blue value of the colour or tint.

a (Alpha)

Sets the alpha (transparency) value of the colour or tint.

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Coordinates and Control Points View
The Coordinates and Control Points view displays the parameters of keyframes or control points selected in
the Camera, Timeline or Xsheet view . You can also see the same information in the Coordinate and Control
Point toolbars.
In this view , you can edit keyframes and control point parameters, such as the position, continuity, bias, tension
and lock-in-time.

How to access the Coordinates and Control Points view
Do one of the follow ing:l

From the top menu, select W indows > Coordinates and Control Points.

l

From any of the other view s, click the Add View

button and select Coordinates and Control

Points.

Parameter

Description

Name

The name of the function curve to w hich the select point is linked.

Position

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Separate

Modifies modify the X, Y and Z coordinates independently. W hen this option isdeselected, all three parameters are linked. If one is deleted, all others w ill also
be deleted.

Cumulative Z

W hen a layer is parented to other layers that are moved forw ard or backw ard on
the Z-axis, the currently selected layer's Z position value may not be accurate
since its parent w ill also have an offset on the Z-axis. The Cumulative Z value is acompilation of all the Z-axis offsets to give the real Z-axis offset value related tothe (0,0) centre.

Separate Scale

Modifies the w idth and height values independently. W hen this option is
selected, the w idth and height are locked to the same value, forcing the scale tobe on a 1:1 ratio. If the option is deselected, you have the ability to squash andstretch your layer at w ill.

Scale

Rotation

Angle

The rotation angle value from the permanent pivot of the element.

Skew

This is the skew ing value.

Skew

Control Point and Keyframe

Frame

The frame at w hich the select point is set.

Locked in Time

Indicates w hether the point is locked to a specific frame (keyframe) or only locked
to a specific position and the curve can flow through it freely as other points arebeing added, moved, or adjusted (control point).

Stop-Motion
Keyframe

W hen this option is selected, the keyframe is set as a stop-motion point. Thismeans that there is no automatic interpolation created betw een the selected
point and the next one. The layer w ill maintain its position until the animation
reaches the frame of the next point and w ill then jump to the new position.
Deselect this option to generate interpolation and get the layer to progressively
move to the next position.

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keyframe.

Controls the smoothness of a transition betw een the segments joined by a point.

Continuity

Controls the slope of the path so it flow s tow ards one side of the motion point or
the other.

Bias

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Chapter 6: View sDrawing View
In Harmony, you can draw in both the Draw ing or Camera view s. Although the tw o view s are similar, there aresome differences w hen it comes to draw ing.
Only the selected draw ing is displayed by default in the Draw ing view . You can use features, such as the lighttable to display the current draw ing of all the enabled layers of your scene in w ashed-out colours, or theOnion Skin to display the previous and next draw ings of the currently selected draw ing layer.

How to access the Drawing view
Do one of the follow ing:l

From the top menu, select W indows > Drawing .

lFrom any of the other view s, click the Add View

Icon

button and select Drawing.

SectionDescription

View Menu

The View menu contains all the tools and options thatyou can use in the Draw ing view to draw , animate andpaint.

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This is the main space in the Draw ing view . It is w here
you draw and w here the draw ings are displayed.

Draw ing Area

The Zoom menu lets you enlarge or reduce theCamera or Draw ing view display.
To make the camera frame size alw ays match the sizeof your view , select the Fit to View option. Click thedrop-dow n arrow and select a zoom level or press 1
and 2.

Zoom Menu

Draw ing NameThe Draw ing Name field displays the name of theselected draw ing, as w ell as the layer containing it. If
the cell does not contain any draw ing, an Empty
Cell text is show n in the field.

Tool Name

The Tool Name field displays the name of the selected
tool. If you temporarily override a draw ing tool using akeyboard shortcut, the tool’s name w ill be highlighted
in red. You can temporarily override a tool by holding
its keyboard shortcut w ithout the Alt key. For
example, the Select tool shortcut is Alt + S. If you holddow n the S key, you w ill sw itch to the Select tool.
W hen you release the key, you w ill return to the tool
you w ere using.

Frame NumberThis field displays the current frame of the animation
you are w orking on.

Cursor Coordinates

This indicates the position of the your pointer in thedraw ing area.

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The Colour Picker allow s you to select a colour fordraw ing.

Colour Picker

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Drawing Substitutions View
T-H16NEW -002-001
The Draw ing Substitutions view allow s you to view all the draw ings in the selected layer in a list of
thumbnails, as w ell as to quickly select w hich draw ing should be exposed at the current frame.

How to access the Drawing Substitutions view
1. Do one of the follow inglFrom the top menu, select W indows > Drawing Substitutions.

l

In the top-right corner of any view , click on the

Add View button and select Drawing

Substitutions.

SectionDescription

Opens a menu w ith the Create Key Exposure option. This option can be enabled or disabled.
It determines w hat happens w hen you set the draw ing in the current frame to the samedraw ing as the draw ing in the previous frame.
View Menul

W hen enabled, the exposure of the draw ing at the current frame w ill be separated
from the draw ing in the previous frame w ith a key exposure.

l

W hen disabled, the exposure of the current frame w ill be merged w ith the exposure of
the previous frame.

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SectionDescription

Allow s you to select the draw ing to be exposed at the current frame. This w ill also replace thedraw ing for all subsequent frames during w hich the current draw ing is exposed.

Thumbnails

Current layer
name

The name of the currently selected layer. The draw ings in the thumbnails list are the draw ings
currently stored in this layer.

Zoom slider

Allow s you to change the size of the thumbnails.

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Function View
The Function view lets you edit function curves and parameters. It contains a visual graph for adding,removing, and editing keyframes, as w ell as adjusting the velocity. The Function view allow s you to display
multiple functions in the background as a reference.

How to access the Function view
Do one of the follow ing:l

From the top menu, select W indows > Function.

l

From any of the other view s, click the Add View

button and select Function.

How to display functions in the Function view
1. Open the Function view .
The Function view is blank until you select the layer containing the functions you w ant to display.

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2. To display a function in the Function view , click on the layer containing the functions to adjust in theTimeline view .
3. To select the functions you w ant to edit, select them in the Function list.

Parameter

Description

Function List

W hen selecting a layer in the Timeline view , all the corresponding functions are
displayed (if any). Select the functions you w ant to see and edit, and hide the ones
you don't.

Display Toolbar

Allow s you to modify how the editing area is displayed. You can hide the grid,disable the synchronization w ith the current frame, reset the zoom level andnormalize the function display by stacking them one over the other to comparethem regardless of their value range.

Current Frame

Displays the current scene frame.

Selected Keyframe Value

Displays the value of the selected keyframe.

Display Advanced Parameter
Values

Displays the Projection, Bias, Tension and Continuity parameters to adjust the
curve around the selected keyframe.

Keyframe, Velocity andInterpolation Options

This toolbar lets you add and delete keyframes, adjust the velocity curve, adjust
the segments to motion or stop-motion keyframes and set the velocity to create
steps instead of a constant progression.

Function Types

This toolbar lets you click on the different function types to enable or disable all
the listed functions of that type.

Value Scale

Displays the value range for the displayed editing area. It can be referenced toknow the value of a keyframe.

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Selected Keyframe

The selected keyframe is displayed in red. W hen selected, the keyframe values
are displayed in the corresponding fields.

Bezier Handles

The Bezier handles let you adjust the ease in and ease out of each keyframe. The
more the handle is pulled out horizontally, the slow er the animation w ill be. The
more the handle is pulled out vertically, the faster the animation w ill be.

Function Curve

The thin line going from keyframe to keyframe is the actual curve. The section of acurve located betw een tw o keyframes is called a segment.

Frame Scale

The Frame Scale displays the frame range for the displayed editing area. It can bereferenced to know the current frame of a keyframe.

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Guides View
The Guides view allow s you to add draw ing guides to the current scene, to select w hich guide to use, tomanage existing guides, to export and import guides and to enable or disable draw ing guides as w ell as theirvarious options.

NOTE
For more information on each type of guide and how to use them, refer to the User Guide.

Icon

Name

Description

Enable Guide

Enables or disables draw ing guides. W hen guides are disabled, they are
not visible and you cannot edit them or use them w ith draw ing tools.

Options

W hen enabled, w hen draw ing w ith theandAlign w ith Guide

Brush,

Pencil,StrokeLine tools tool, the cursor is automatically locked against the axisof the currently selected guide that most closely matches the angle of yourstroke, as if you w ere draw ing against a rule.
W hen disabled, the draw ing tools are not constrained by the axes of theguide, allow ing you to draw freely. The guide's axes act as a visual aids
only.

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Icon

Name

Description

Lock Guide

W hen enabled, you cannot do modifications on the currently selected
guide. This prevents making unw anted modifications to the guide w hen
draw ing.

Enable Guide w ith
EraserAllow s you to use the Eraser tool w ith draw ing guides.

W hen enabled, the guide's axes that go through the mouse cursor in thedraw ing space go throughout the entire draw ing space and display evenw hen you're draw ing.
Full Cursor Display
W hen disabled, the guide's axes that go through the mouse cursor only
display over a short distance from the mouse cursor. Also, the guide's axes
disappear w hen draw ing a stroke.

Show ReferenceLines

W hen enabled, semi-transparent reference lines for each of the currently
selected guide's axes appear all over your draw ing space.

Adjusts the amount of reference lines to display in your draw ing space.
Number of Lines

Guides List

Allow s you to add a guide to the scene's guides list. You can add a guideof one of the follow ing types:

New Guide

l

Ruler

l

Square Gridl

Isometric Perspectivel

1-Point Perspectivel2-Point Perspectivel3-Point Perspective (Bird’s-Eye View )l3-Point Perspective (W orm’s-Eye View )l3-Point Perspective (Horizontal Pan)l3-Point Perspective (Vertical Pan)l4-Point Continuous Perspective

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Icon

Name

Descriptionl4-Point Perspective (Vertical Pan)l5-Point Perspective (Fisheye)

NOTE
For more information on each type of guide and how to use them,refer to the User Guide.

Delete Guide

Deletes the selected draw ing guides from the scene's guides list.

Guides View Menu

Opens a menu w ith the follow ing commands:

RenameGuide

Renames the selected draw ing guide.

Cut

Cuts the selected draw ing guides from the list and adds them to the
clipboard.

Copy

Copies the selected draw ing guides to the clipboard.

Paste

Pastes draw ing guides from the clipboard to the current scene's guides
list. Pasted guides are inserted under the selected guide.

ImportGuidesImports draw ing guides that w ere previously exported to a file and inserts
them at the bottom of the scene's guides list. Duplicate guides are filteredout to avoid cluttering the list.

ExportSelected
GuidesExports the selected draw ing guides into a file.

Draw ing Guides List

Displays the scene's list of guides and allow s you to select w hich guide todisplay, edit and use.

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Icon

Name

Description

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Integrated Help View
Use the Integrated Help w hen you are unsure about w hat a certain menu item is or the function of a specificpreference in the Preferences panel.
If you keep the Integrated Help w indow open for the entire duration of your w ork session, then you can use theforw ard and backw ard arrow s to scroll through a history of the help information that you called up during yoursession.

How to access the Integrated Help view
1. Do one of the follow ing:l

From the top menu, select W indows > Integrated Help.

l

From any of the other view s, click the Add View

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Layer Properties View
The Layer Properties editor or view lets you adjust the properties of a layer in the Timeline view or a node in
the Node view . The Layer Properties can be view ed as a floating w indow or as a view (docked).
Each layer has its ow n set of properties that can be modified, including effect and peg layers. Display the Layer
Properties editor or view if you w ant to modify some of the layer’s properties, such as the name or theantialiasing quality.

NOTE
To know more about the parameters displayed in the Layer Properties view , see Nodes / Layers.

How to access the Layer Properties view
Do one of the follow ing:

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Chapter 6: View slFrom the top menu, select W indows > Layer Properties.

l

From any of the other view s, click the Add View

button and select Layer Properties.

How to access the Layer Properties editorlDouble-click on a layer in the Timeline view or a node in the Node view .

lRight-click on a layer in the Timeline view or a node in the Node view and select Layer Properties.

l

Select a layer in the Timeline view or a node in the Node view and press Shift + E.

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Library View
The Library view is used to store elements such as animation, draw ings, backgrounds and character models so
as to reuse in different scenes and projects. You can also use the Library view to create and store symbols, as
w ell as to store and import images, sound files and 3D models.
To reuse elements from a scene in other scenes, you must create a template so that you can import it into
different scenes. Templates can contain anything from a single draw ing to a w hole scene structure. You cancreate a template by creating it in a scene, then copying the elements you w ant in your template into a library.
The resulting template is structured like a mini-scene that contains only the elements you copied into it. A
template does not have any dependencies on the scene it w as originally created in. Hence, it can safely be
imported in any other scene.
Additionally, the Library view 's Draw ing Substitutions panel allow s you to quickly change the current frame's
exposure to one of the existing draw ings in a layer. This is especially useful for animating a cut-out character's
mouths, hands, eyelids and other such body parts w hich typically contain several draw ings to choose from.

How to access the Library view
Do one of the follow ing:l

From the top menu, select W indows > Library.

l

From any of the other view s, click the Add View

Icon

button and select Library.

SectionDescription

View Menu

The Library menu lets you access commands related to the Libraryview , importing .sw f movies and Illustrator files, add a new folder, and1287

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Icon

SectionDescription

refresh the library’s content.

The Preview w indow lets you see the content of the currently selected
template or symbol in the Template/Symbol list.

Preview W indow

Preview Playback

The Preview Playback button lets you play back the content of theselected template or symbol if it contains more than one frame. Pressthe Play button to play back the preview .

The Library Folder List displays all the folders linked to the Libraryview .

There are tw o default folders:
Library Folder Listl

Symbols: This folder is the only folder containing symbols. You
can organize it by adding subfolders inside.

lHarmony Premium Library: This is a default folder found on
the hard drive in your user documents. This folder can containtemplates, but no symbols.

You can link new library folders to the Library view and organize themw ith subfolders.

W hen w orking on a movie or series, you w ill probably end up w ith
many templates and symbols in your library. Using the Search tool,
you can quickly find the templates and symbols in your folders.
Library Search tool

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Icon

SectionDescription

Template/Symbol List

The Template/Symbol list displays the templates or symbols
contained in the selected library folder. You can display the templates
by right-clicking the symbols’ thumbnails and selecting View >Thumbnails.

A slider could be used to adjust the display size of thumbnails in the
Library view .

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Master Controller View
T-RIG3-008-008
The Master Controller view allow s you to quickly find, select and display Master Controllers in the current
scene.

How to add the Master Controller view to your workspace
1. Do one of the follow ing:l

In the top-right corner of an existing view , click on

Add View and select Master

Controller.
l

Icon

In the top menu, select W indows > Master Controller.

SectionDescription

Path

Allow s you to select a group in the current scene. W hen a group is selected,
only the Master Controllers w ithin that group w ill be listed in the Master
Controllers list. This can be useful if you have several characters and only
w ant the list of Master Controllers for a specific character.

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Icon

SectionDescription

Name

Allow s you to filter the Master Controllers in the Master Controllers list by
their path or name. W hen you type something in this field, only the Master
Controllers that contain the text you typed in their full path including theirname w ill be listed in the Master Controllers list.

Master Controllers

Allow s you to select one of the Master Controllers in your scene. This list
displays the Master Controllers in your scene w ith their full path in the grouphierarchy. Groups in the hierarchy are separated by forw ard slashes (/).
MasterControllers

If a group is selected in the Path list, only the Master Controllers w ithin thisgroup w ill appear in the list. If anything is typed in the Name field, only Master
Controllers w ith this text in their full path including their name w ill appear in
the list. Otherw ise, all the Master Controllers in your scene are listed.

Refresh List

Refreshes the Path list if there are any changes in the name or hierarchy ofgroups in your scene, as w ell as the Master Controllers list if there are anychanges in the Master Controllers in your scene.

Locate and SelectMaster Controller

If a Master Controller is selected in the Master Controllers list, clicking on thisbutton w ill select the actual Master Controller node. It w ill also make theNode View navigate instantly to and focus on that Master Controller node.

Show Master
Controller

If a Master Controller is selected in the Master Controllers list, clicking on thisbutton w ill display its w idget in the Camera view .

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Message Log View
The Message log view displays information gathered during a render task, such as w hich frames and at w hattime they w ere each rendered. The view also contains a list of the colour recovery operations.

How to access the Message Log view
Do one of the follow ing:l

From the top menu, select W indows > Message Log.

l

From any of the other view s, click the Add View

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Metadata Editor View

The Metadata Editor view lets you access the information of the props and anchors to be exported to Unity.

NOTE
Because the Unity game engine does not support Unicode characters, it is recommended to avoid
using it in scenes intended for games.

How to access the Metadata Editor viewlIn the top-right corner of a view , click the Add Viewl

In the top menu, select W indows > Metadata Editor.

Parameter

button and select Metadata Editor.

Description

This is a list of optional parameters you can create in a scene project to beexported to Unity. It w ill not have any incentive tow ards your scene assets, but
can help developers know w hat to do w ith the assets contained in your Harmony
scene.
Scene Metadata

Once in Unity, scene Metadata w ill appear in Inspector view > Metadata w hen the
Asset is selected in the Hierarchy view .

Name: Name of the Scene entry. (e.g. game.Armor001)

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Chapter 6: View s

Value: This can be anything that describes the state of an object. You could, forexample, have three different stages of armour: new , damaged and destroyed.

Displays only the props and anchors held inside your selection. If nothing isselected, no information w ill display. Name and value appear in this box as w ell.
Name w ill show you the associated .tvg name and value w ill be set as either On
or Off, depending on w hether you w ant the connection to be set as active or not.
Once in Unity, scene Metadata w ill appear in the Hierarchy view .
Node Metadata
Name: Name of the selected anchor or prop. (e.g. game.isAnchor). Notice that it
differs from the draw ing layer name on the top-left corner of the Node Metadata
section.

Value: Can be set to be active (On) or inactive (Off).

NOTE
For any anchor or prop information created w ithin the Metadata Editor, the naming convention
must alw ays use the prefix "game.". The term "game." is recognized automatically by Unity as a
metadata information. For example: game.Armor001.

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Reference View
W hen you are draw ing, you can use a fully-painted draw ing or bitmap image as a reference and load it in the
Reference view . This draw ing or bitmap image can be used and loaded in any of your Harmony scenes.
Once imported, your references w ill be saved in the scene, and you w ill not need to re-import them. To load
your previously used references in the scene, right-click the Reference View Toolbar and select Load Default
References.

How to access the Reference view
Do one of the follow ing:l

From the top menu, select W indows > Reference View.

l

From any of the other view s, click the Add View

Tool/Menu Itembutton and select Reference View.

Icon

Description

View Menu

The View menu contains all the tools and options thatyou can use to manage references.

Reference View Toolbar

The Reference View toolbar contains all the tools andoptions you can use in the Reference view to navigate
through and manage references.

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Chapter 6: View s

Allow s you to select a colour by clicking on a colour inyour artw ork.

Colour Eyedropper

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Node View
T-HFND-010-002
In the Node view , you can connect effects and compositing nodes to form a netw ork, also know n as a node
system. This view is very useful for rigging puppets, creating advanced effects and having a clear view ofcomplex scenes. The organization and order of the nodes determines the flow of data during the compositing
process and how your animation elements w ill be composited.

How to access the Node view
Do one of the follow ing:l

From the top menu, select W indows > Node View.

l

From any of the other view s, click the Add View

Icon

button and select Node.

SectionDescription

View Menu

The View menu contains all the tools and options thatyou can use to manage the node system.

Editing Stack

The Editing Stack menu displays the names of thesymbols and their hierarchy w hen you are editing asymbol. You can click on the different names to go
back up to the different parent symbols or the1297

Chapter 6: View s

top/current project.

Node System

The main area of the Node view is w here you can add
and organize different nodes to represent a scene.

Navigator

The Navigator view lets you pan the visible area tomove quickly through extensive node sets.

The Search toolbar lets you find and match a node in
the project. The search is not case-sensitive. Once you
have entered characters in the search field, press
Enter/Return to validate and find the pattern in thenode names. If successful, the node is selected andcentred in the view . If many instances are found, use
the Previous and Next buttons to cycle through eachnode.
Search Toolbar

W hen entering a group, the Group Navigation allow s
you to navigate back to the top and see the hierarchyof the group in w hich you are.

Group Navigation

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Node Library View
T-HFND-010-003
To add effects or other types of nodes to the Node view , you must first find them in the Node Library view .

W hen you create a new project in Harmony, the default node system that appears in the Node view looks
similar to the one below .

Notice how layers are connected to your scene's composite. For an effect to w ork, it must be connected as anintermediary betw een a layer and its composite, as if it w as made to filter the layer's draw ing information
before it reaches the composite.

How to access the Node Library view
Do one of the follow ing:

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Chapter 6: View slFrom the top menu, select W indows > Node Library View.

l

From any of the other view s, click the Add View

Icon

button and select Node Library View.

SectionDescription

View Menu

The View menu contains all the tools and options thatyou can use to manage the Node Library.

In the Node Library View toolbar, you can change how
the nodes are displayed. You can display nodes as
icons, as a textual list or as icons w ith their names anda description.

Node Library View
Toolbar

Node Categories

The Node Library view is conveniently divided into
several categories retaining the related nodes.

Category

Description

3D

Nodes related to w orking w ith 3D models w ithin
Harmony.

CombineNodes for combining images.

Deformation

Nodes needed for building a deformation chain, as
w ell as advanced effects such as Fold and Auto
Muscle. The Deformation category is divided into theBone and Distort categories.

Favorites

Nodes most commonly used. To add nodes to theFavorites category, select any node from any othersection and drag it onto the Favorites category.

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FilterEffect nodes, such as blurs. This category is
subdivided into the follow ing categories: Adjust, Blur,
Colour Correct, Isolate and Stylize.

Generator

Nodes that create an image, such as a gradient orcolour.

Group

Nodes for grouping, like Group nodes and Multi-PortIn nodes.

Misc

Various nodes including External, Note, Script andVisibility.

Move

Nodes for changing elements over time, like Peg
nodes, as w ell as certain transformations.

OutputOutput (Export) nodes such as Crop, Display, ScaleOutput and W rite nodes.

Nodes needed to construct complex particle systems.
This category includes a series of examples of particle

Particleeffects and is subdivided into the follow ing categories:
Basic, Examples and Modifier.

Plugins

Plugin nodes.

Shading

Nodes for light shading.

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Chapter 6: View s

Onion Skin View
The Onion Skin view allow s you to quickly configure onion skin. Using this view , you can choose the colour ofprevious and next draw ings, w hich kind of marked draw ings to display and w hether to measure the span ofonion skin per frame or per draw ing. W hen using Advanced Onion Skin, you can also use this view to pickw hich draw ings are included in the Onion Skin, as w ell as the opacity of the draw ings relative to how far they
are from the current frame.

How to access the Onion Skin view
1. Do one of the follow ing:l

In the top-right corner of a view , click on thel

In the top menu, select W indows > Onion Skin.

Add View button and select Onion Skin.

The Onion Skin view is added to your w orkspace.

A lot of the controls in the Onion Skin view are only accessible w hen using Advanced Onion Skin.

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How to enable Advanced Onion Skin
1. Do one of the follow ing:l

In the Tools toolbar, click and holdOnion Skin and selectAdvanced Onion Skin.

l

In the Onion Skin view , click on the

Advanced Onion Skin button.

l

In the top-left corner of the Onion Skin view , open the

View Menu and select Advanced

Onion Skin.
The controls for the Advanced Onion Skin are now accessible in the Onion Skin view .

UserInterface

SectionDescription

View Menu

Open the Onion Skin view menu, w hich contains extra options for
Advanced Onion Skin—see Onion Skin View Menu on page 393.

Previous Drawings Settings

Previous
draw ings
visibility
sw itches

Allow s you to select w hich draw ings before the current frame to include in
the Onion Skin. A draw ing that is toggled on w ill be visible in the Onion
Skin, and a draw ing that is toggled up w ill be excluded from it. You canselect a range of draw ings, or include and exclude specific draw ings
individually.

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Chapter 6: View s

UserInterface

SectionDescription

TIP
You can quickly select or deselect a range of draw ings by clicking
and holding on one draw ing, then dragging the mouse cursor over
the other draw ings you w ant to toggle.

Allow s you to adjust the opacity scale of draw ings before the current
frame. Each slider represents the opacity of one draw ing.
By default, moving one of these sliders w ill move the other sliders so thatthe opacity remain on a gradated scale. In this case, you can start byadjusting the opacity on one end, the opacity on another end and then, if
you w ant, adjust one of the sliders in-betw een to make a segmented
progression.

Previous
draw ings
opacity sliders

You can disable this behaviour by unchecking the Link Sliders option intheView Menu in the top-left corner of the Onion Skin view . This

option is enabled by default. W hen disabled, you can adjust the opacity ofeach draw ing independently.

Previous
draw ings colour

Allow s you to select the colour in w hich to display the draw ings before
the current frame.

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User
Interface

SectionDescription

Onion Skin Settings

Enables Advanced Onion Skin. Advanced Onion Skin allow s you to select,
on the fly, w hich draw ings to include in your Onion Skin, even if thosedraw ings are not consecutive draw ings, as w ell as the opacity scales forthe draw ings before and after the current frame.
Advanced Onion
Skin

Onion skinopacity slider

The controls for selecting w hich draw ings to display in the Onion Skin as
w ell as their opacity sliders are only accessible w hen Advanced Onion
Skin is enabled. Otherw ise, w hen using regular Onion Skin, the opacity ofdraw ings in the Onion Skin is determined by the Onion Skin settings in the
Preferences dialog. The amount of draw ings to include in the Onion Skin is
set using the Onion Skin Add / Reduce One Previous Draw ng and Onion
Skin Add / Reduce One Next Draw ing commands, available in the Camera
and Draw ing toolbars as w ell as in View > Onion Skin in the top menu.

Allow s you to set the overall opacity of all the draw ings in the Onion Skin.

Allow s you to select w hether the draw ings to include in the Onion Skin
are selected by frame or by draw ing.
lInclude byframes or bydraw ings

By Frames: Selects the draw ings to display in the Onion Skin by
their frame number relative to the current frame. For example, if
the Onion Skin is set to include 2 draw ings before and after thecurrent frame, it w ill include the draw ings up to tw o frames before
and up to tw o frames after the current frame, even if thosedraw ings are the same as the one in the current frame. This is more
useful for cut-out animation as it allow s you to position a draw ing
relative to its position in adjacent frames.

NOTE
This option only w orks in the Camera view .

l

By Drawings: Selects the draw ings to display in the Onion Skin by
the amount of different draw ings before and after the current
frame. For example, if the Onion Skin is set to include 2 draw ings
before and after the current frame, this w ill display the nearest tw o

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Chapter 6: View s

UserInterface

SectionDescription

different draw ings before and after the draw ing in the current
frame in the Onion Skin, even if those draw ings are further than 2frames aw ay from the current frame. This is more useful for frameby-frame animation.

NOTE
W hen this option is enabled, the handles allow ing you toadjust the extent of the Onion Skin in the Timeline view are
not available.

Next Drawings Settings

Allow s you to select w hich draw ings after the current frame to include in
the Onion Skin. A draw ing that is toggled on w ill be visible in the Onion
Skin, and a draw ing that is toggled up w ill be excluded from it. You canselect a range of draw ings, or include and exclude specific draw ings
individually.
Next draw ings
visibility
sw itches

TIP
You can quickly select or deselect a range of draw ings by clicking
and holding on one draw ing, then dragging the mouse cursor over
the other draw ings you w ant to toggle.

Allow s you to adjust the opacity scale of draw ings after the current frame.
Each slider represents the opacity of one draw ing.
Next draw ings
opacity sliders

By default, moving one of these sliders w ill move the other sliders so thatthe opacity remain on a gradated scale. In this case, you can start byadjusting the opacity on one end, the opacity on another end and then, if
you w ant, adjust one of the sliders in-betw een to make a segmented
progression.

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User
Interface

SectionDescription

You can disable this behaviour by unchecking the Link Sliders option intheView Menu in the top-left corner of the Onion Skin view . This

option is enabled by default. W hen disabled, you can adjust the opacity ofeach draw ing independently.

Next draw ings
colourAllow s you to select the colour in w hich to display the draw ings after thecurrent frame.

Marked Drawings Settings

Show Keydraw ings inOnion Skin

Only displays draw ings marked as key draw ings in the Onion Skin.

Show
Breakdow n
draw ings inOnion Skin

Only displays draw ings marked as breakdow ns in the Onion Skin.

Show Inbetw een
draw ings inOnion Skin

Only displays draw ings w ith no marker in the Onion Skin. Draw ings w ith
no marker are considered in-betw eens.

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Chapter 6: View s

UserInterface

SectionDescription

Show
RetakeKeydraw ings inOnion Skin

Only displays draw ings marked as retake key draw ings in the Onion Skin.

Show RetakeBD
draw ings inOnion Skin

Show RetakeIB
draw ings inOnion Skin

Only displays draw ings marked as retake breakdow ns in the Onion Skin.

Only displays draw ings marked as retake in-betw eens in the Onion Skin.

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Perspective View
T-HFND-008-016
The Perspective view is used during scene setup. It allow s you to see a multiplane scene’s orientation. The
Perspective view is similar to a 3D display, as it lets you rotate the scene through all possible angles tounderstand the spacing betw een the elements. You can also position and rotate your layers and the camera
inside the 3D display to achieve some 3D setup and camera moves.

How to access the Perspective view
Do one of the follow ing:l

From the top menu, select W indows > Perspective.

l

From any of the other view s, click the Add View

Icon

button and select Perspective.

SectionDescription

View Menu

The View menu contains all the tools and options thatyou can use to w ork in the Perspective view .

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Chapter 6: View s

Editing Stack

The Editing Stack menu displays the names of thesymbols and their hierarchy w hen you are editing asymbol. You can click on the different names to go
back up to the different parent symbols or the
top/current project.

X Control

The red circle rotates the view on its X axis.

Y Control

The green circle rotates the view on its Y axis.

Z Control

The blue circle rotates the view on its Z axis.

GridThis is a perspective (3D) grid reference.

Axis Reference Arrow s

The axis reference arrow s let you maintain yourorientation w hen navigating in the Perspective view .

Show /Hide Camera

Show s or hides camera frame in the Perspective view .

Reset View

Resets the pan, rotation, and zoom of the Perspective
view .

Reset Rotation

Resets the rotation of the Perspective view .

This field displays the current zoom level in the
Perspective view . You can use the Zoom level dropdow n menu to select a specific zoom level from thelist. Zoom levels from 2.5% to 6400% are available;
you can also select Fit To View to automatically use azoom level that lets you see all your scene layers andinformation in the Perspective view at once.

Zoom Menu

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Layer Name

This field displays the currently selected layer anddraw ing name.

Tool Name

This field displays the currently selected tool.

Frame NumberThis field displays the currently selected frame of youranimation.

This field displays the currently selected colour in the

Colour Sw atchpalette.

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Chapter 6: View s

Script Editor View
The Scripting view allow s you to edit scripts to run in Harmony directly from the application. It displays a list ofavailable scripts, from w hich you can select an existing script, edit it, test it and save it. The Script Editor w ill
highlight the syntax of your script for easy reading.

How to access the Script Editor view
Do one of the follow ing:l

From the top menu, select W indows > Script Editor.

l

From any of the other view s, click the Add View

button and select Script Editor.

Parameter

Description

Script Editor
menu

The menu for this view —see Script Editor View Menu on page 401.

Script Editor
toolbar

The toolbar for this view —see Script Editor Toolbar on page 1229.

The list of script files available as w ell as their location and their read and w rite permissions.
Selecting a script in this list w ill open it in the editor.
Script list

NOTE
The << Sandbox >> item at the top of the list does not correspond to an actual script file. It
is a temporary container to type and test code, and its content cannot be saved.

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The file list has three columns: File, Location and Permissions.
l

The File column indicates the filename of each script.

NOTE
The << Sandbox >> item at the top of the list does not correspond to an actual
script file. It is a temporary container to type and test code, and its content cannot
be saved.

l

The Location of the script can be one of the follow ing:lApplication Folder: Scripts that are packaged and installed w ith Harmony. Bydefault, you cannot edit these scripts until you select them and click on Make
Editable, at w hich point you are prompted to copy the script to a location fromw hich you can edit them.
Scripts in the Application Resources folder are in the follow ing location:ll

W indows: C:\Program Files (x86)\Toon Boom
Animation\Toon Boom Harmony 22
Premium\resources\scriptslmacOS: /Applications/Toon Boom Harmony 22
Premium/Harmony
Premium.app/Contents/tba/resources/scriptsl

GNU/Linux:/usr/local/ToonBoomAnimation/harmonyPremium_22/resources/scripts

User: Scripts that are saved in your user preferences. Those scripts can beedited and executed from any scene, provided that you are logged in as thesame user.
In Harmony Stand Alone, scripts in the User folder are in the follow ing location:l

W indows: C:\Users\[username]\AppData\Roaming\Toon Boom
Animation\Toon Boom Harmony Premium\2000-scriptslmacOS: /Users/[username]/Library/Preferences/Toon Boom
Animation/Toon Boom Harmony Premium/2000-scriptsl

GNU/Linux:/home/[username]/Toon Boom Animation/Toon
Boom Harmony Premium/2000-scripts

In Harmony Server, scripts in the User folder are in the follow ing location:/USA_DB/users/[username]/HarmonyPremium/2000-scriptslScene: Scripts in the scripts sub-folder of the currently open scene. These
scripts can only be edited and executed w hen the current scene is open.

lJob (Harmony Server only): W hen using Harmony Server, these are the scripts
saved in the directory of the current scene's jon. These scripts can be edited andexecuted by any user w hen any scene that is part of this job is open.
Scripts in the Job folder can be found in the follow ing location:1313

Chapter 6: View s/USA_DB/jobs/[job name]lEnvironment (Harmony Server only): W hen using Harmony Server, these arescripts saved in the directory of the current scene's environment. These scripts
can be edited and executed by any user w hen any scene that is part of thisenvironment is open.
Scripts in the Environment folder can be found in the follow ing location:/USA_DB/environments/[environment name]lGlobal (Harmony Server only): Scripts in the Harmony database's scripts
directory. These scripts can be edited by any user w hen any scene in the
database is open.
Scripts in the Global folder can be found in the follow ing location:/USA_DB/scriptslSystem Variable: Scripts inside the directory set in the TOONBOOM_GLOBAL_SCRIPT_LOCATION environment variable, if this variable is set. These scripts
can be edited and executed by anyone on your w orkstation.

NOTE
W hen tw o or more scripts w ith the same file name exist in different locations,Harmony w ill give priority to a single one of these scripts. The script given priority
w ill be the one listed in the Script Editor and the one executed if it is associated toa toolbar button.
W hich script is prioritized is determined by the order of priority of script locations.
From highest priority to low est priority, the order goes as follow s:User > Scene > System Variable > Job > Environment > Global >Application Resources
An exception to this rule is if you have a script w ith the same name in both thescene folder and your user preferences. In this case, both versions of the script w ill
be listed and you w ill be able to edit both.

l

The Permissions of the script can be one of the follow ing:lRead Only: You cannot edit the script in the Script Editor and save yourchanges.

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NOTES

l

l

If the script's location is the Application Resources folder, it w ill
alw ays be Read Only to prevent you from making changes to scripts
packaged w ith Harmony. How ever, you can click on the Make
Editable button below the script editor to make a copy of the script inyour user preferences folder, after w hich you can make changes tothis copy.

l

If the script is in any other location and is Read Only, then it is likelythat a netw ork administrator made the script or the folder containing
the script read-only to prevent other users from making unw antedchanges to it.

Read/W rite: You can edit the script in the Script Editor and save your changes.

A text field in w hich you can edit the selected script.

EditorNOTE
If the selected script is in the Application Resources folder, you w ill not be able to edit it
until you click on the Make Editable button.

Search toolbar

Allow s you to type in a keyw ord and search for this keyw ord w ithin the script. You can use the
Next button to go to the next instance of the keyw ord and thePrevious button to go to
the previous instance.

CancelIf you have made any changes to your script that you have not yet saved, this discards thosechanges and reloads the saved version.

If the selected script is a script that w as packaged w ith Harmony, and w hich you copied to yourUser folder, to the Scene folder or to the Job, Environment or Global folder to make changes toit, you can click on this button to delete this copy of this script and resume using the original
version of the script that is packaged w ith Harmony instead.
Restore to
Default

IMPORTANTThis w ill permanently delete your version of the script and any changes you have made toit.

VerifyVerifies that the script has no syntax error.

Make Editable

If the currently selected script is in the Application Resources folder, you cannot edit it. By
clicking on this button, the script can be copied to a location w here you can edit it.

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Chapter 6: View s

W hen you click on this button, you are prompted to choose w hether to copy in either of theselocations:lUser: Saves the script to a directory in your user preferences directory. You w ill be able
to run and edit the script from any scene as long as you are logged in as the same user.

NOTE
If you are using Harmony Stand Alone, the script w ill be saved to the preferences
for your account on your computer. if you are using Harmony Server, the script w ill
be saved to the preferences for your Harmony database user.

lGlobal: If you are using Harmony Server, select this option to save the script to theHarmony database's global script directory. Anyone w ho is logged in to the database
w ill be able to edit and run this script.

lEnvironment: If you are using Harmony Server, select this option to save the script tothe current scene's environment. Anyone w ill be able to edit and run the script as longas they are w orking on a scene inside this environment.

lJob: If you are using Harmony Server, select this option to save the script to the current
scene's job. Anyone w ill be able to edit and run the script as long as they are w orking
on a scene inside this job.

l

Scene: Save the script to the scene's scripts sub-folder. Anyone w ill be able to edit
and run the script w hen w orking on this specific scene.

lSystem Variable: Save the script to the directory in the TOONBOOM_GLOBAL_SCRIPT_
LOCATION environment variable. This option is only available if this environment
variable is set.

NOTE
This button w ill be greyed out if the script is in any location other than Application
Resources and is read only.

Saves the modifications you made to the script.
Save

This button replaces the Make Editable button after you have used the Make Editable button tocopy the script to a location from w hich you can edit it.

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Side View
T-HFND-008-015
The Side view is used mainly for multiplane scenes and to position elements in 3D space. It allow s you to see
a scene’s stage from the side. This lets the camera cone and spacing betw een the elements to be seen.

How to access the Side view
Do one of the follow ing:l

From the top menu, select W indows > Side.

l

From any of the other view s, click the Add View

Icon

button and select Side.

SectionDescription

View Menu

The View menu contains all the tools and options thatyou can use to w ork in the Side view .

Thumbnails

A thumbnail of each draw ing layer in the scene. The
order of the thumbnail images is based on eachelement’s FB position in the scene space. You can see
a representation of the FB position of each layer in the1317

Chapter 6: View scamera cone.

Camera Cone

The camera cone represents the camera’s position andfield-of-view (FOV).

Axis Reference Arrow s

The axis reference arrow s let you maintain yourorientation w hen navigating in the view .

Show /Hide Camera

Show s or hides camera frame in the Perspective view .

Reset View

Resets the pan, rotation, and zoom of the Perspective
view .

This field displays the current zoom level in the
Perspective view . You can use the Zoom level dropdow n menu to select a specific zoom level from thelist. Zoom levels from 2.5% to 6400% are available;
you can also select Fit To View to automatically use azoom level that lets you see all your scene layers andinformation in the Perspective view at once.

Zoom Menu

Layer Name

This field displays the currently selected layer anddraw ing name.

Tool Name

This field displays the currently selected tool.

Frame NumberThis field displays the currently selected frame of youranimation.

Colour Sw atchThis field displays the currently selected colour in thepalette.

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Timeline View
T-HFND-006-002
To set your animation timing, you w ill mostly w ork w ith the Timeline and Xsheet view s. It's extremely useful
to become familiar w ith the Timeline view , how it w orks, and its interface.
The Timeline view is the main view used w hen adjusting the timing of draw ings, adding keyframes andordering layers. The Timeline view displays layers, effects, sounds, keyframe values, scene length, layer
names, draw ings, keyframes, timing, and frames.

The Timeline view allow s you to read your timing from left to right. It represents the scene’s elements in theirsimplest form. You can also see the layers and their names, as w ell as the draw ing’s exposure. The draw ing
name is displayed w hen you place your pointer over the draw ing’s exposure.

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How to access the Timeline view
Do one of the follow ing:l

From the top menu, select W indows > Timeline.

l

From any of the other view s, click the Add View

Icon

button and select Timeline.

SectionDescription

View Menu

The View menu contains all the tools and options that you can use to
manage models.

The Enable/Disable All button lets you enable or disable layers. Disablinga layer makes the scene behave as if it didn't exist, including w hen
rendering the scene. For example:l

A disabled draw ing layer w ill be invisible.

l

A disabled sound layer w ill be mute.

l

A disabled peg layer w ill not affect the position of its child layers.

To disable a layer, click the layer's Enable/Disable button or press D.

To enable a layer, click the layer's Enable/Disable button or press A.
Enable/Disable Layer

NOTE
Next to sound layers, the Enable/Disable layer button w ill look like
this:

.

TIP
You can enable or disable all layers by clicking on the Enable ordisable all layers
button in the top row .

Enable/Disable Solo
Mode

Solo mode allow s you to only view specific layers in the Camera view andhide all others. W hen solo mode is enabled on one layer, only this layer

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w ill be visible. If solo mode is enabled on several layers, and only theselayers w ill be visible. If solo mode is not enabled on any layer, all enabledlayers w ill be visible.
You can also use solo mode on sound tracks. If solo mode is enabled on
any sound tracks, only those sound tracks w ill play during playback.

TIP
W hen some layers are in solo mode, you can disable or re-enablesolo mode on all layers that have it enabled by clicking on the
Toggle solo mode on or off
button in the top row .

For w hen the Onion Skin option is enabled, this allow s you to enable ordisable Onion Skin on specific layers.

Add to/Remove fromOnion Skin

TIP
To activate the general Onion Skin preview , in the Tools toolbar,
click the Onion Skin button

Lock/Unlock Layer

The Lock/Unlock Layer button lets you prevent the selection or editing ofa layer in the Camera view . To select some of the layers w ithout selecting
others, in the Timeline view , lock the layers you do not w ant to select.
W hen a layer is locked, its name is displayed in red.

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In the top menu, there is a series of locking options. Select Animation >Lock > select one of the follow ing:lLock: Locks the currently selected element.

l

Unlock: Unlocks the currently selected element.

lLock All: Locks all the elements in the Camera view .

lUnlock All: Unlocks all the elements in the Camera view .

lLock All Others: Locks all the elements in the Camera view
except the currently selected one.

Each draw ing layer has a little colour sw atch that has tw o functionalities:lSingle- clicking a layer's colour sw atch toggles Outline mode on
or off. Outline mode makes the layer display as nothing but theoutlines of its vector shapes in the Camera view , allow ing you to
see the draw ing's shape w ithout it blocking the view of layers
behind it.

lDouble- clicking the layer's colour sw atch opens a colour picker
dialog that allow s you to change the layer's track colour. The trackcolour displays in the layer's track in the Timeline view , allow ing
you to give special visibility to specific layers. It also determines
the colour of the layer's outlines if it's in outline mode.

Toggle Outline Mode /Change Track Colour

Show /Hide
Thumbnails

Expands the layer to display a thumbnail of the draw ing in the current
frame, as w ell as for each draw ing in the timeline.

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NOTE
By default, the timeline's zoom level does not allow enoughhorizontal space to fully display the thumbnails of draw ings
exposed for one or tw o frames only. To see the thumbnails fordraw ings w ith short exposure, you must increase the timeline's
zoom level—see Timeline Zoom on page 1328.

W hen a draw ing layer is in Show Thumbnails mode:lAn exposure indicator appears at the right of each exposeddraw ing in the timeline, indicating the amount of frames thedraw ing spans over.

l

An Opacity parameter appears to the left of the layer, allow ing
you to set the layer's opacity level.

TIP
You can show or hide thumbnails for all draw ing layers by clicking
on the Show /Hide All Thumbnails

button in the top row .

Allow s you to set the opacity level of the layer. Click and drag the value
left or right to decrease or increase the layer's opacity.
Opacity

NOTEThis parameter only displays for draw ing layers that are in Show
Thumbnails mode.

Active Draw ing Layer
Indicator

This icon appears next to the active draw ing layer, w hich is the layer you
draw on w hen using draw ing tools.

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NOTE
The active draw ing layer is not alw ays the selected layer. For
example, if you select a draw ing layer, then a peg layer, the peg
layer w ill be the selected layer, but the active draw ing layer w ill
remain the last draw ing layer you selected, until you select anotherdraw ing layer.

The Add Layers button lets you add new layers to the Timeline view .
Add Layer

W hen you click the Add Layers button, a menu appears displaying themost commonly used layer types so that you can quickly add them to yourscene. If you need to add other types of layers, you must use the Nodeview and the Node library.

DeleteThe Delete Layers button lets you delete the currently selected layers in
the Timeline view .

Add Draw ing Layer

The Add Draw ing Layer button lets you automatically add a new draw ing
layer to the Timeline view . By default, the layer is named Drawing.

The Add Peg button lets you add a peg layer to the timeline. If several
layers are selected, a peg is added and parented to each layer.
Add Peg

The Expand/Collapse button is used to display the children layers of aparent layer. Once a layer is parented to another layer, it is indented to
the right and the Collapse/Expand Children button appears on the parent
layer allow ing you to show or hide the child layer.
Expand/Collapse

Show /Hide Functions

The Show /Hide Functions button lets you display the functions
embedded in each layer. The functions are the different coordinates andvalues used to record a layer’s parameters at each frame. This informationis stored on the function curves using keyframes.
If the layer can be connected to another layer, for example to use a1324

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draw ing layer as a matte, expanding a layer's functions w ill also list its
possible connections. You can connect layers by dragging and dropping alayer onto another layer's connection.

Adds a keyframe at the current frame of the selected function or removes
the keyframe at the current frame of the selected function, if there is one
already.
Add/Remove
Keyframe

NOTE
This button only displays for function layers.

Moves the timeline cursor to the previous keyframe on the selectedfunction.
Previous Keyframe

NOTE
This button only displays for function layers.

Moves the timeline cursor to the next keyframe on the selected function.

Next Keyframe

NOTE
This button only displays for function layers.

Displays the Function menu, w hich allow s you to create a new function
for the function layer, or to link it to an existing shared function.
Function Menu

NOTE
This button only displays for functions layers, in the Parameterscolumn—see Show /Hide Parameters on page 1327.

Function Keyframe

A frame w here the value for one or more of the layer's functions is preset.
The position of each layers in key poses for digital animation is recorded
in function keyframes. You can grab and move function keyframes as w ell

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as copy, cut, paste and delete them.

TIP
If you have a keyframe and a draw ing selected simultaneously, andyou w ish to delete the keyframe w ithout deleting the draw ing's
exposure by doing one of the follow ing:l

In the Timeline toolbar, click on the Delete Keyframe
button.

l

Press F7.

l

From the top menu, select Animation > Delete Keyframe

NOTE
If a collapsed layer has children that have function keyframes, you
w ill see a w hite squareinstead.

The Split button lets you split the Timeline view in tw o sections, allow ing
you to see tw o different portions of the Timeline view . This can be useful
if you need to often sw itch betw een tw o specific points of a lengthy
scene.

Split

Draw ing Exposure

View Modes

In the Timeline view , w hen a draw ing is exposed, it is represented by agrey block that extends from the first frame it is exposed to the last frame
it is exposed.

Lets you choose betw een different view modes allow ing you to decide
w hich layers are listed in the Timeline view . This can be useful if you're
w orking on a scene w ith a lot of layers, and you only w ant layers you w ill
be w orking on to appear in the Timeline view so as to declutter it. The
follow ing view modes are available:lNormal View Modew ill show all the layers that are connected

to your scene's display node.

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Selection Only Modew ill hide all the layers that are notcurrently selected, leaving only the currently selected layers in theTimeline view .

lView Tagged Layers

w ill only show layers w hich you havetagged.

TIP
You can tag a layer by doing one of the follow ing:lRight click on the layer and select Tag > Timeline Tag.

lOpen the Timeline view menu

and select Edit > Tag >Timeline Tag.

Show s or hides the Parameters column, right of the Layers column. The
Parameters column displays information on the layer at the current frame,depending on the type of layer it is:l

If the layer is a draw ing, it displays the name of the draw ing at thecurrent frame.

l

If the layer is a function, it displays the value of the function at thecurrent frame.

l

If the layer is a sound track, it displays the sound track's volume.

Show /HideParameters

Using the mouse, you can drag the parameter left and right to change its
value. This is especially useful for quickly changing a draw ing's exposure
at the current frame.

Show /Hide Additional
Links

Show s or hides the Additional Links column. The Additional Links column
displays layers that are connected under the layer, but for other purposes1327

Chapter 6: View sthan being the parent of those layers. For example, if a layer is used as
the matte of an effect, the effect w ill be displayed in that layer's
Additional Links.
If more than one layers are in a layer's Additional Links, only the first ofthese layers w ill be displayed, follow ed by the amount of extra linked
layers there are.
By clicking on the Additional Links, you can open a menu listing the linked
layers, and click on one of these layers to navigate to it.
In the follow ing example, the BOOM_Animation layer is used as thematte of Cutter_1 and Cutter_2:

Reduces or increases the w idth of frames in the Timeline view . Move theslider right to increase the w idth or left to reduce it. You can also press 2
Timeline Zoom

to zoom in and 1 to zoom out w hen the Timeline view is focused on.
If you w ant to reset the Timeline view 's zoom, click on the Timeline Zoon
icon left of the slider.

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Tool Properties View
T-HFND-004-002
The Tool Properties view contains the most common options and operations related to the currently selected
tool. W hen you select a tool from the Tools toolbar, the Tool Properties view updates.
For example, if you choose the Select tool, the Tool Properties view w ill display the options and operations
related to it, such as Snap to Contour, Apply to All Draw ings, Flip Horizontal, and Flatten.

NOTE
To learn more about the options appearing in the Tool Properties view , see Tools Properties on
page 992.

How to access the Tool Properties view
Do one of the follow ing:l

From the top menu, select W indows > Tool Properties.

l

From any of the other view s, click the Add View

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button and select Tool Properties.

Chapter 6: View s

Top View
T-HFND-008-014
The Top view is used mainly for multiplane scenes and to position elements in 3D space. It allow s you to see
the scene’s stage from above. This lets the camera cone and the spacing betw een the elements be seen.

How to access the Top view
Do one of the follow ing:l

From the top menu, select W indows > Top.

l

From any of the other view s, click the Add View

Icon

button and select Top.

SectionDescription

View Menu

The View menu contains all the tools and options thatyou can use to w ork in the Side view .

Thumbnails

A thumbnail of each draw ing layer in the scene. The
order of the thumbnail images is based on eachelement’s FB position in the scene space. You can see
a representation of the FB position of each layer in thecamera cone.

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Camera Cone

The camera cone represents the camera’s position andfield-of-view (FOV).

Axis Reference Arrow s

The axis reference arrow s let you maintain yourorientation w hen navigating in the view .

Show /Hide Camera

Show s or hides camera frame in the Perspective view .

Resets the pan, rotation, and zoom of the Perspective

Reset View

view .

This field displays the current zoom level in the
Perspective view . You can use the Zoom level dropdow n menu to select a specific zoom level from thelist. Zoom levels from 2.5% to 6400% are available;
you can also select Fit To View to automatically use azoom level that lets you see all your scene layers andinformation in the Perspective view at once.

Zoom Menu

Layer Name

This field displays the currently selected layer anddraw ing name.

Tool Name

This field displays the currently selected tool.

Frame NumberThis field displays the currently selected frame of youranimation.

Colour Sw atchThis field displays the currently selected colour in thepalette.

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Chapter 6: View s

Xsheet View
T-HFND-006-003
The Xsheet view lets you read the timing vertically by displaying it in a grid, w ith each draw ing layer
represented by a column, each frame of your scene represented by a row , and each exposed draw ing
displayed by its name in the cells. It is meant to w ork like a traditional animation exposure sheet.
Using the functions panel, you can also view the functions and keyframes of the motion paths for the selectedcolumn, w ith the value of those functions for each frame listed in the cells.
Contrary to the Timeline view , the Xsheet view does not display pegs, effects or layer hierarchy. Hence, it is
optimized for traditional and paperless animation, w hereas the Timeline view is optimized for digital or cut-out
animation.

How to access the Xsheet view
Do one of the follow ing:l

From the top menu, select W indows > Xsheet.

l

From any of the other view s, click the Add View

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Harmony 22 Premium Reference Guide

Icon

SectionDescription

View Menu

The View menu contains all the tools and options thatyou can use to manage columns and timing.

View Toolbar

The view toolbar contains all the tools and options
you can use in the Xsheet view to manage columns
and timing.

The Xsheet view has three sections. By default, only
the main section is visible. It displays the draw ing
layers, also know n as draw ing columns.

Xsheet Main Section

W hen using advanced compositing and animation
techniques, unconnected functions (motion paths)
also appear in the main section. Unconnectedfunctions mean that some motion paths are notattached to any particular layer.
W hen you reconnect functions to a layer, they are stillvisible in the main section.

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Chapter 6: View s

The Functions section is used for more advanced
techniques. This section displays the functions (paths)
related to the selected layer in the Timeline view . By
default, the Functions section is hidden.
In the Xsheet view , click the Expand button located on
the right side of the main section. Click on the same
button to collapse it. You can also use the Show
Column List button in the Xsheet View toolbar. If you
select a draw ing column in the main section of the
Xsheet view , the function columns w ill not be
displayed. You must select the layer from the Timelineview .
Functions Section

The Column List section allow s you to show and hidecolumns in the Xsheet view . W hen you hide a layer inthe Xsheet view , it is also disabled in the Timelineview .

Column List Section

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You can use the Column List to hide individualcolumns or hide an entire column type (draw ing orfunction) from the Xsheet view . By default, theFunctions section is hidden.
In the Xsheet view , click the Expand button on theright side of the main section to show the Functions
section. Click on the same button to collapse it. You
can also use the Show Column List

button in the

Xsheet toolbar.
Go to the Xsheet view menu and select View > Show
Column List. Click the Expand button on the right sideof the Functions section to display the Column List
section.

Each column available in the Xsheet view has aheader displaying the column’s name. The column’sname is the same as the corresponding timeline layer.
If you rename one or the other, they w ill both berenamed.
A quick access menu is available w hen you right-click.
This menu contains the command affecting an entire
column such as renaming, changing the default
colour, or deleting a column.

Column Header

The tooltip that appears w hen you hover at the top ofeach Xsheet column show s the folder path to the1335

Chapter 6: View ssource draw ings for that column.

In Harmony, the column header show s the layer’s
name and the name of the draw ing folder to w hich it
is linked. If the name of the layer is the same as thedraw ing folder, the draw ing folder’s name w ill not be
displayed. For example; w hen you link a Timingcolumn to a certain element (and thereby the
Element’s folder). To modify the name of the element
folder independently from the column and layer name,you must select the Advanced Element Mode option
preference in the Advanced tab of the Preferences
dialog box.

A draw ing selected in dark red indicates that thedraw ing is currently displayed in the Draw ing and
Camera view s. The current draw ing selection is not
linked to the draw ing displayed in the Camera view
since draw ings from each visible layer are displayed
at once.

Current Draw ing

The darker frame appearing in the Xsheet view
represents the current frame.
Current FrameIn the draw ing columns, you can see the draw ing
names and their exposure. You can use anyalphanumeric symbol to name your draw ing. W hen adraw ing is exposed over more than one cell, a vertical

Draw ing Exposure

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black line is displayed to indicate the continuity of the
exposure. W hen there is no draw ing in a cell, the cellw ill be blank.

On the left side of the Xsheet view , the frame
numbers are show n indicating w here you are. These
read vertically instead of being displayed horizontallyas they are in the Timeline view .
lTo go to a particular frame, click the frame
number.

l

To select an entire range of frames, click anddrag a selection dow nw ards.

Frame Numbers

At the bottom-right of the Xsheet view , you can see
the current frame number, as w ell as the column
containing the draw ing currently displayed in the
Draw ing view .
Current Frame Display

The functions columns are displayed in the Functions
section of the Xsheet view . They represent the motion

Functions Column

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Chapter 6: View sand rotation you applied to a draw ing layer. Only thefunction columns related to the selected layer are
displayed.
A function column can also be related to an effect.
Selecting the effect layer show s you thecorresponding function column in the Xsheet view .
The function columns display the position value or
effect value on each cell. If there is a keyframe on acell, a black square is displayed. Holding the samevalue for several frames displays a vertical black line.

You can quickly increase or decrease the exposure of
the selected cell by clicking on the up and dow narrow s in the Increase/Decrease Exposure field.

Increase/Decrease
Exposure

The Overw rite/Insert button allow s you to decide thew ay the values are inserted into the Xsheet.

Overw rite/Insert Modes

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