Kf V1020 To V1021 Update Adobe

• Kf V1020 To V1021 Update Adobe Flash
• How To Update Adobe Flash
• Kf V1020 To V1021 Update Adobe File

Hi, relative newbie here.Use CaseI have 4 (Chinese) characters, each in a separate layer, horizontally aligned over a 15 sec timeline. 3D turned on for each character. Hi, relative newbie here.Use CaseI have 4 (Chinese) characters, each in a separate layer, horizontally aligned over a 15 sec timeline. 3D turned on for each character.

Motion always happens between 2 keyframes. So, what you need are 3 keyframes as you can see in the example from Rick of letter C. There is no linear rotation keyframe and no curved keyframe but a motion between two keyframes which is linear or eased (curved).Key 1 to key 2 is a linear rotation, you are using linear keyframes. From key 2 to key 3, you apply ease-keyframes making this to an non-linear motion. Play around with the speed editor to get used to it how to edit speed graphs.

It's a bit confusing at the beginning but makes sense after a while.Martin. I re-read your post and got an overall better idea: follow the leader.You create the complete animation cycle on the first character. Let it spin for some seconds, at least as much as the last character actual need. Then make the spin-out animation as you already did. For the spin-only part, you can use the script I posted above and loop it, or you set it up by hand once. You wrote 10 full rotations per seconds. Should be easy to calculate how many rotations you need for, say 4 seconds of pure spinning, right?Next you activate expressions on the following character - the x-rotation property of course.

And you'll add this line of code:thisComp.layer(index+1).transform.xRotation.valueAtTime(time-1);This takes to rotation value from layer index+1 (= the layer below the current one) at a time-1 (= one second earlier).You copy this line to every other character above.Martin. MartinMany thanks for the quick reply. TBH, my head is spinning on this issue. No pun intended. I think I need to crawl before I run, so can I ask a really basic question(s):How can I create 2 keyframes, where the first is linear (the constant rotation) and the second is the curve I've got above (or any curve, for that matter).I guess I'm getting lost on just the basics of keyframes - I can do or the other of the above keyframes, but when I have 2 keyframes one after the other, they 'interact' such the original line / curve is altered.

So, I can have a constant number of rotations, but when I add the second keyframe, the first one is no longer a constant - it morphs into a curved keyframe also.I've searched all over youtube for an answer on this and just can't find anything that explains how to concatenate 2 or more keyframes while preserving the settings of the first one.Sorry for the bonehead question. Once I can do the basics, I'll go back to fiddling with code.Thanks again. I don't see the expression you are using for rotation. I do see keyframes with some curves applied that slow down the rotation make slow down and then back up.You have a couple of options that are pretty easy. The first is to just use keyframes. Set the first rotation keyframe at zero, but set the last rotation keyframe where you want the last layer to stop rotating. Adjust the bezier curves on the speed graph to get the look you want, then copy this animation to all text layers.The next step is easy.

Go back to the standard timeline, select all layers and press the U key to reveal all keyframes, then select the first text layer and drag it to the left until the last keyframe is where you want the last letter to stop rotating. Repeat with the second text layer. Then extend the out points of all 3 text layers. This is manual, and easy, and would take most users less than 2 minutes to do.If you want to use expressions then I would suggest you write an expression with an if statement and use a marker to trigger the slow down and end of the rotation. Then all you have to do is add a marker to each layer and drag it to where you want the rotation to stop.This kind of expression would probably take me about 30 minutes to write and perfect so for a single project it wouldn't be worth it.Another option is to just add a rotation text animator and put all three characters in the same text layer.

A couple of text animators and an overlapping range could do the trick, but the first solution is still the fastest. Rick and Martin,Man thanks for all the explanations and options!I'm going to opt out of expressions for the moment until I have fully mastered the basics of keyframes (so, assume all code has been deleted).Actually, I've been able to: a) set up multiple keyframes; b) copy rotations to new layers; and c) stagger the keyframes for each character - so, I'm close to getting the effect I want.But, per Martin's last note, I'm missing a critical step when I try to set up a linear motion between KF 1 and KF 2, followed by an eased motion between KF 2 and KF 3. I can do one or the other, but not both, e.g.:- setup KF's 1,2 and 3.- create a linear motion between 1 and 2.- but when I try to set up a curved motion between 2 and 3, it somehow changes the 1 to 2 motion to a curved motion.Found a video that seems to demonstrate combined linear and curved motions across 3 KF's (for positions) - will try to apply to rotations and will report back on (hopeful) success.Again - thanks for the explanations! Motion always happens between 2 keyframes. So, what you need are 3 keyframes as you can see in the example from Rick of letter C. There is no linear rotation keyframe and no curved keyframe but a motion between two keyframes which is linear or eased (curved).Key 1 to key 2 is a linear rotation, you are using linear keyframes.

Kf V1020 To V1021 Update Adobe Flash

From key 2 to key 3, you apply ease-keyframes making this to an non-linear motion. Play around with the speed editor to get used to it how to edit speed graphs. It's a bit confusing at the beginning but makes sense after a while.Martin. I admit it was a bit unclear explained.Usual, you start with linear motion, put in all keyframes and values and make a rough timing. In the next step you change the motion style to a more living, characteristically one by applying ease and editing the speed graph.

So, in the end you'll have KF1 as linear (because that is what you want there), but KF2 and 3 as ease. Just like in Ricks screenshot - the letter C.To get to smooth transition from linear to ease (KF1 to 2), play around with the speed curve editor until you get used to it.Btw. Nobody will ever be able to tell if your letters are rotation 10 times per second or less or more. There is no need to be 100% precise. Trust your eyes - if it looks good, it is good.Martin. I finally got it!For some odd reason, I thought that a keyframe was the begin point, end point and motion in between.

I now understand that each point is a keyframe.so.I was grabbing both the beginning and ending keyframes (K1 and K2), but in so doing, I affected the motion between K2 and K3.I think I'm set for the moment.One observation about the many 'how to' videos out there - they focus on the mechanics, not the conceptual framework. So, if you only need to replicate what these videos show, no problem.

But, lacking a conceptual framework (i.e. What is a keyframe?), extrapolating to the next effect can be somewhat problematic.Anyway, thanks for your patience and explanations! Congrats!The concept of keyframes is to set different states and interpolate between them. Curves determine how this interpolation should happen.This goes back to classic animation, where the 'chief draftsman' made the key frames, and the 'draftsman staff' draws the in-betweens.

In the case of AE, the staff is the computer.Your idea of a concept would be to apply a behavior, what is more the concept of programming. With expressions, this concept would be also possible, but AE is not the ideal environment for such. Meaning you'll have to write lot of code which executes fairly slow and after all you would be way faster by just keyframing this.Martin. Martin,I think I spoke too soon.It seems that;- for spatial properties (e.g. Position), KF1 equals the start position and KF2 equals the end position.

Makes sense.- but for 'motion' properties (e.g. Rotation), KF1 and KF2 do not equal the start and end rotational speeds, respectively - they seem to represent the relative difference between the start and end.If I set both to 20 X 0.00, I get no rotation at all. But if I set KF1 to 20 and KF2 to 0, then I get an average rotational speed of 10 (X 360 = 3600).This was actually my original question - for the rotation property, what do the attributes really mean? Would it be correct to say that, for rotation only (and IDK, maybe other properties), that the attributes are only meaningful relative to each other - and there must be a different value for KF1 and KF2.ExampleSo.if I want a constant rotation of 10 (X 360), I need to set KF1 to 20 and KF2 to 0 and make it a linear interpolation.IMHO, this is a really inconsistent implementation for rotation.Screenshot - KF1. I already pointed out that the system of keyframes relies on changes of states.

How To Update Adobe Flash

Therefore, setting the same values for two keyframes results in zero motion, since there is no value change, no changes in states.Next, this- but for 'motion' properties (e.g. Rotation), KF1 and KF2 do not equal the start and end rotational speeds, respectively - they seem to represent the relative difference between the start and end.is a wrong assumption, since you never ever set up speeds in AE, just values. The speed is a direct result of the values you set up and the time span between the key frames.If you want to move something (move, rotate, scale, whatever), you'll need two different values and a time span between them to get a motion, because this is what motion is.You'll might miss that in AE we can't go beyond 359° rotation angle. Therefore, 360° is the same as 1x0.0 and -20x0.0 is the same as -7200° (in Unity, this is different for example and terrible confusing).If you animate a rotation from -7200° (-20x0.0) to 0° in a time span of 2 seconds, this will result in 3600°/sec motion - exactly what the graph shows you. Since this is a linear motion due to linear keyframes, the speed graph is a straight line. No acceleration or deceleration.(If you switch to the value graph (the switch button is on under the graph, right next to the eye-icon), you'll see a up going line, representing the rotation value for each frame. MartinThanks for the complete explanation.Probably not worth debating this point, but, in the case of rotation, it would make more sense to me if the ending KF simply stated the net rotations.

Unless I'm missing sth, KF1 = 10 and KF2 = 20 yields the same behavior as KF1 = 0 and KF2 = 10.no?Whereas, spatial animation does indeed have an absolute starting and ending point.It feels like one design solution was used for 2 very different use cases.IDK, maybe it will suddenly make sense later on.Either way, thanks again for all the time you spent explaining this! I don't get what you mean by, but please explain!it would make more sense to me if the ending KF simply stated the net rotations.If I move an object from start to end, and the movement is not a closed cycle, it's like rotation an object from let's say 0 to 45 degree. I have an absolute starting and ending point.But with a full 360 degree rotation, it happens that start and end point are visual the same - but not the values. If you lay out the movement as sinus wave, you have traveled 2Pi of way. You are way more left or right then from the starting point.Rotation from 10x0.0 to 20x0.0 is visual the same like from 0x0.0 to 10x0.0, that's correct.

Just like sin( 3.1415) is the same as sin( 6.2831). That's the nature of rotation.However, 0x0.0, 10x0.0, 20x0.0 are mathematically not the same and it's important to be able to tell them apart.If you want to animate 10 full rotations in 1 second, you can start at 100x95.5 and go to 90x95.5, but there is hardly a need for the first value being such high. So you rather start at 0x0.0 and go to 10x0.0, because this is the clearest way to read from pure keyframe values what is going on.Martin.

IntroductionLong term health in cancer survivors require both preventive health services and certain health behavior practices in order to prevent the major chronic diseases that can occur for any adult in the general population. Despite this we currently do not know the pattern of clinical preventive services and health behaviors of cancer survivors in the US population. The present study examines the patterns of preventive health activities in two domains: clinical preventive services and healthy lifestyle practices in a heterogeneous population of cancer survivors. MethodsLongitudinal analyses of Medical Expenditure Panel Survey (MEPS) data, a nationally representative health survey, for the calendar years 2000 through 2004 were conducted.

Cancer survivors were defined as individuals diagnosed with cancer in the baseline year and alive in the subsequent year. To address both provider based and behavioral health activities, two categories of care were included: clinical preventive services consisting of influenza immunization, routine physical examination, and a dental check up within the last year using the follow-up year data and healthy lifestyle practices including engaging in moderate/vigorous exercise three times per week, maintaining a body mass index (BMI) within normal range, and not currently smoking. Chi-square tests and Poisson regressions were performed to identify factors that were associated with these preventive health activities. ResultsUnadjusted rates of preventive health activities were as follows: 78% had a routine physical check up, 66% visited the dentist at least annually, and 54% received an influenza immunization.

Kf V1020 To V1021 Update Adobe File

Across healthy lifestyle practices, 80% did not smoke, 52% engaged in regular exercise, and 37% maintained their BMI within normal range. Only 31% received all three clinical preventive services and only 16.5% engaged in all three healthy lifestyle practices.

Across both domains of preventive health activities, age, marital status, and education were positively associated with the number of services. Presence of diabetes and poorer mental health were associated with greater number of clinical preventive services and lower number of healthy lifestyle practices. Cancer survivors with fair/poor perception of their mental health had lower number of clinical preventive services and those with fair/poor perception of physical health engaged in lower number of healthy lifestyle practices. Demographic and health status factors impacted the two domains differentially. Discussion/ConclusionsThe rates and predictors of preventive care varied by type of service/domain suggesting that individualization is needed in creating a comprehensive preventive service and lifestyle activity plan that accounts for the survivor’s specific total care needs, including all comorbidities. However, it was also found that cancer survivors are less likely to engage in all types of preventive activities; a one-size-fit-all approach is not recommended for preventive health education and planning for this population.